Crafting its grit in relation to the perceived silliness of other superhero films, Logan wants to be taken seriously. With a cool sense of nihilism, the film dismisses both the comic book origins and cinematic ancestors that helped birth it: “This is ice-cream for bed-wetters,” Logan says of an X-Men comic. With some heavy borrowing from George Stevens’ Shane (1953), Logan, perhaps, also wants to be taken “artistically,” establishing its themes and aesthetics in the Western genre. So, Logan has no distinct voice of its own, but seems to pat itself on the back for transplanting one Hollywood setting into another. At best, the film merely flirts with maturity, its display of extreme violence and even brief nudity foregrounding the film in just a slightly different type of juvenility that it seeks to separate itself from.

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