Andrew | A.J.’s review published on Letterboxd:
Some are born, and some are dyin’
It’s alpha and omega
Logan Noir, a viewing experience that doesn’t truly change this great film aside from making the images inherently more mournful. The whole experience is like a funeral, laden with blood and death.
Mangold’s film us the polar opposite of what it could’ve been: an exploitative and dumb R-rated film, gruesome and vulgar without any sort of context.
Instead Logan is a film telling of exhaustion. Logan and Charles have been at this for too long, have seen too much. Logan himself is drawn into this conflict entirely reluctantly; it is always a fight-or-flight scenario for him rather than a giant set piece. Speaking of, there aren’t any in this film - unless you count a car chase that is contained to the area of about a football field.
Mangold made the right decision in every single way. This is *the* story for Logan, one about legacy, about toll, about the reaper. Faced with definite mortality and non-stop pain. Jackman’s performance channels this all masterfully, with every limp, every slurred word, every hacking cough.
Mathieson‘s cinematography was never meant to be in monochrome, but Mangold has done a spectacular job of transforming the images. Skies that once seemed restrictive now expand endlessly, blood splatters seem like gore rather than a special effect. The characters here are ghosts of their former selves, just trying to find the sun - and Logan Noir’s visual language communicates this idea perfectly.