For the uninitiated, the scene shift is surprising - and an effective way of dramatizing and accentuating the hero’s dual nature.īuilding on the previous installment’s glimpse of Wolverine as a combatant in many wars, the story opens on an eerie flashback to WWII Nagasaki, where he’s a POW who saves a Japanese soldier from the bomb.
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Jackman and company smartly try taking a step in a different direction with “The Wolverine.” Loosely adapted from an essential 1980s comics storyline co-created by artist and sometime filmmaker Frank Miller (“Sin City”), the movie dispatches the hero to Japan to grapple with a sinister criminal element and his own virtual immortality. And then the filmmakers had to go and squander the opportunity by making things overly busy, shoehorning a whole gaggle of mutant characters into what was ostensibly a solo vehicle. In short, it felt as though there was still plenty of potential when the X-franchise was spun off into “X-Men Origins: Wolverine” four years ago. Hugh Jackman’s screen version is just as vital, an incarnation whose popularity increasingly turned the original “X-Men” trilogy into a personal showcase, never mind the group dynamic or the way certain storylines had transpired on the comics page. He’s a deceptively complicated character, all hardness and berserker tendencies at a glance, but also given to some timely displays of honor and loyalty. Wolverine is easily the most prominent Marvel Comics superhero created after the 1960s “Silver Age” that produced Spider-Man, Iron Man, and most of the company’s other franchise heavyweights.