Logan Noir (2017)

Seamlessly melding Marvel mythology with Western mythology, James Mangold has crafted an affectingly stripped-down stand-alone feature, one that draws its strength from Hugh Jackman’s nuanced turn as a reluctant, all but dissipated hero.

Each time the violence explodes, it’s slashingly satisfying, because it’s earned, and also because Mangold knows just how to stage it.

Logan is a film for people, like me, who thought the only good bit of X-Men: Apocalypse was Michael Fassbender crying in the woods, and left the cinema wishing that had been the whole thing. It’s something no-one could have expected: a creatively risky superhero movie. And it deserves to pay off.

In Logan, the clawed mutant Wolverine finally gets to slash through the constraints of a kid-friendly PG-13 rating, and the result is bloody, vicious fun. The squeamish will avert their eyes, and young children should not be allowed anywhere near this movie, no matter how many X-Men action figures they own.

Logan isn’t always a satisfying movie, but there’s a very satisfying answer to those questions waiting for viewers at the end of it. Satisfying not only because Mangold resolves things with some brilliantly expressive imagery, or because he endows this story with a no-shits-left-to-give honesty that defies its origins and justifies its spectacular violence and salty vocabulary, but because it proves how iconic Jackman has made this character over the last 17 years.