The Wolverine (2013)

Debruge finds the film entertaining and unexpectedly existential, though its finale falls short of the preceding story. He especially praises Jackman’s emotionally vulnerable performance and the way the film gives Wolverine’s character new depth.

Dowd finds the film an enjoyable, self-contained action movie despite its underwhelming plot and thin supporting characters. He praises the kinetic set pieces, especially the fight atop a speeding bullet train.

Lehmann sees the film as a step forward for the franchise, though its third act collapses and the climactic battle disappoints. She praises the Japanese setting and especially the expertly staged bullet-train fight.

Hewitt finds it an improvement on the previous Wolverine film, though it ultimately slips into familiar, unsatisfying formula. He praises the distinctive Japanese setting and the inventive Shinkansen fight, while faulting the convoluted, effects-heavy finale.

Klein finds the film solidly made, with several impressive action sequences. He singles out the bullet-train fight for praise and faults the choice of romance, arguing Yukio is more interesting than Mariko.

The page identifies this as a review, but the critic’s verdict cannot be read in the available text. No specific praise or complaint is visible.

The review finds the film uneven rather than fully successful. It singles out Hugh Jackman's performance as a strength.

Osenlund finds the film strongest when it feels like a muted character study, though its plot eventually loses risk and falls into familiar blockbuster conventions. He praises the Japan setting and Mangold’s stylishly staged action, especially the train-top sequence and swordplay.

The critic calls it a definite improvement on the previous solo Wolverine film. They praise James Mangold’s use of Logan as a fish out of water.

The critic calls it perfectly decent but ponderous, and an improvement on the first Wolverine solo film. The spectacular action and Hugh Jackman’s performance stand out, while the pacing and Silver Samurai reveal disappoint.

The review finds the story vague, but appreciates the film’s steady Japanese setting and stylish action. It singles out the bullet-train fight and the snowy homage to Kurosawa’s “Throne of Blood.”

Lodge gives the film two out of five, indicating an unfavorable verdict. The available page text does not reveal what he singles out for praise or complaint.

Edelstein finds the film agreeable in its smaller scale but ultimately mechanical and poorly staged. He praises the inventive bullet-train sequence and Yukio’s energetic action, while faulting the plotting and villain.

O'Sullivan finds the film unfocused and weighed down by changes to its source material. She praises Hugh Jackman's watchable performance and singles out the bullet-train fight as a delight.

Barnes finds the film increasingly wearied, with predictable action and a duller, flatter feel. He singles out the opening hour’s gangster-thriller pacing, but says the later fights and drab scenery undermine it.

The critic calls it a refreshingly strong X-Men entry and possibly the best Wolverine film, praising its focused story and lively tone. They single out Mangold’s decision to strip Logan of his invulnerability for making the danger and action more engaging.

Wold finds the film a fitfully delivered, hit-and-miss entry that falls short of its promising setup. He praises Hugh Jackman’s performance and Mangold’s restraint in keeping cameos and distractions to a minimum.

The critic finds it an entertaining return to form, though it falls short of the series at its best. The Logan–Mariko scenes and the bullet-train fight stand out, while the villain and corporate intrigue disappoint.

Hunt finds The Wolverine a good, character-focused improvement over its predecessor, though its final act undermines the film. He praises the Japanese setting and the well-rounded supporting characters, especially Yukio.

The review finds the film interesting but flawed, and only a modest improvement over its predecessor. It praises the Japan-set samurai influence for giving the film a distinct flavour, while faulting its shift into conventional blockbuster spectacle.

The critic finds the film maddeningly frustrating, especially as its dark character story fails to mesh with superhero action. The review praises its occasionally engaging, introspective early moments but condemns the ridiculous, tone-deaf final act.

The review finds the film a successful but ultimately underwhelming stopgap before the next X-Men event. It praises Hugh Jackman’s charisma while faulting the film for lacking the wit and a compelling villain.