The result is yet another eclectic entry in Mangold's mostly solid filmography, which ranges from dramas like ' Walk the Line' and ' Girl, Interrupted' to his excellent remake of the Western ' 3:10 to Yuma' to the underrated Tom Cruise action comedy ' Knight and Day.' (He's also worked with Jackman previously in the unfortunate romance 'Kate & Leopold.') The setting and traditions are Eastern, but they're mixed with an old-West sense of virility.Īt the film's start, Logan is haunted by the memory not only of his lost love, Jean Grey (an ethereal Famke Janssen, reprising her role from the 'X-Men' films in dreams) but also of his time as a prisoner in Nagasaki during World War II. The script from Mark Bomback (' Unstoppable') and Scott Frank ('The Lookout') is based on a portion of the Marvel Comics series that finds Wolverine in Japan there, he must find himself by facing his past. He could do this in his sleep, but chooses not to. Whatever the situation, though, Jackman by now is more than comfortable with the role in his sixth outing, he's intrinsically entwined with the comic-book character, and at age 44, he's more physically fearsome then ever. You don't need to have seen the previous five films in which Hugh Jackman has starred as the brawny lead character, Logan-especially not the disappointing first solo adventure outside the series, 2009's ' X-Men Origins: Wolverine.' This is a far more successful melding of character, script and imagery-at least until the third act, when it just turns silly and needlessly cartoony.

It has such a strong aesthetic about it, it's almost as if 'The Wolverine' functions as its own stand-alone film, rather than as a piece of the ' X-Men' mythology. Far from it: Director James Mangold's film features some breathtakingly suspenseful action sequences, exquisite production and costume design and colorful characters, some of whom register more powerfully than others. That's not to say that 'The Wolverine' is painfully self-serious.

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