Logan director James Mangold hopes for an X-23 movie

Hugh Jackman and Dafne Keen in Logan

Logan review by Paul Heath at the 2017 Berlin Film Festival. Teaming here with X-Men: First Class cinematographer John Mathieson, Mangold has captured the inherent duskiness of the regions while hearkening back the very genre that inspires him.

She explained: "Inside, there was real consternation about the intensity of the tone of the film".

There are many memories of comic-reading that Logan will conjur up whether it's Old Man Logan, X-23, or even the works of Len Wein, Chris Claremont, and Frank Miller when they tackled Ol' Canucklehead.

That's probably not the quote word for word, but as Donald Pierce (head of security for a research facility up to no good and a southern drawl speaking cyborg leader played by Boyd Holbrook of Narcos rising fame) and his army of mercenaries physically have their way with Logan/Wolverine (Hugh Jackman reprising the role possibly for one last rodeo) beating the crap out of him, robot arm included, the feeling is mutual. In that time he's appeared in nine films, which is more times than anyone has ever played James Bond, Jason Bourne, or Gandalf. I was floored by the film's impact on the legacy of this timeless character. It's not outside the realm of possibility that Mangold cut a key scene from the movie that he didn't want to be spoiled by critics ahead of time, and with Logan set to reach the United Kingdom on February 28th, chances are we'll find out soon enough.

Here's a bonus, too: Logan is that rarest of things: a three act comic book movie where the final third doesn't let the side down (quite the opposite, in fact).

Patrick Stewart on if he is also done with the series: "Hugh has raised the flag that says goodbye".

It's been stated by director James Mangold in the past that the inclusion of X-23, the preteen female clone of Wolverine, is not created to kick of a brand new franchise - instead, the decision was, apparently, made with the idea of this movie being a one-and-done story. Emotional gut punches, risky filmmaking choices, and handsome performances from Jackman, Stewart, and Keen make Logan an absolute must see movie for anyone who can handle it.

Set in 2029, the movie catches up with the gruff old man years after he's hung up the hero mantle and is now a chauffeur in El Paso. The whole thing reveals his enthusiasm for the role and makes the X-Men franchise seem like a lot of fun. It also introduced Dafne Keen as Laura, a young girl with a mysterious past who comes into their lives. Director James Mangold and the writers have been working on it for eight years. This task, once finally taken, will set this struggling family on a unsafe road trip, with significant consequences and revelations that will deeply mark each of them irreparably. Can the same approach make other carefully selected projects better? However, there are plenty more stories that could be told. Wolverine has always been a sad figure, but the passage of time has given his Logan's suffering even more melancholic weight.

For the record, this is an even more grounded adventure than the 2013 outing. If you're looking for a comic book movie where notable landmarks in western cities fall, this ain't it. It's just as much an arthouse drama, or a prestige picture, as it is a big-budget, action-fantasy movie starring Wolverine.

Logan makes its intentions to buck superhero conventions clear from its opening scene.

Furthermore, Dafne Keen's portrayal as the X-23 weapon deserves elaboration; she's utterly fantastic. And there is an undeniable poignancy in this grim and somber tale of a former superhero withering away in impoverished obscurity, left with nothing but regret and grief. The violence in 'Deadpool' compared to this doesn't match up.

I will carp that certain violent beats undercuts some of my favorite dramatic beats and that the action itself isn't all that different from previous Wolverine skirmishes save for the lack of PG-13-specific framing/cutting. There's no spectacle like that in Logan, but there's something even more satisfying in watching the whole movie turn into a handsome, bloody tragedy. With a runtime of 135 in total, the first 40 just set the stage for the character piece the movie ends up being. But I felt it was Mangold's boldest choice, made in order to make his film feel real.

Yet Logan exists as a fascinating example of where mainstream cinema sits at this moment.

There's no point in spoiling what happens at the end of Logan, I'm guessing you have a pretty good idea.