Just a few [non-plot descriptor/spoiler] thoughts on the latest entry into the filmverse version of The Wolverine, the eponymous and latest installment in the X-Men’s lone spin-off franchise, and wielder of damn near all the good lines in the X-Men films (incidentally, is that just fortuitous script development, or the result of some contractual rider for Hugh Jackman? “…and the undersigned parties hereto hereby agree that Mr. Jackman of the first party hereto, shall be entitled, but not necessarily obligated, to right of first refusal to perform the most situationally amusing and/or poignant and/or emotionally devastating dialogue in ALL motion picture productions for which he appears as the character Logan/Wolverine released by 20th Century Fox of the second party hereto, whether as featured lead or in cameo appearance, [while his colleagues who are not parties here shall be content to get some okay-jokey-stuff…]”). Up front disclaimer: while I’m familiar with Wolverine and some of his adventures, including time in Japan, the Silver Samurai, the X-Men, and his character background, I’m not an expert by any stretch, and am limiting this to only what the film offers the movie-goer.

In sum, aside from what can best be described as a decidedly weak and forced, “clunky” third-act that doesn’t hold to an otherwise solid movie, The Wolverine is worth seeing, and of the three comic-book-hero movies thus far in 2013, holds the top spot with depth, “believable” story within the universe created, and quite surprisingly, a compelling tale leading this viewer at least to want to see what unfolds next (as opposed to MoS’ regrettable: how much longer…?). No, it’s not perfect, and that third act is very problematic, but overall the film is refreshingly satisfying.

Credit to the filmmakers (and a well-executed ad campaign) for a surprise, early reveal that becomes a recurring, driving plot device, helping the audience understand what tortures Wolverine from within. Tying directly into a particular story- & character-relevant event in X-Men 3 (but jettisoning the crap), this surprise character facilitates Wolverine exploring what drives him and what he wants in a way that a multi-hero film wouldn’t be able to approach. A nod also to the film’s opening sequence, which treads into territory normally untouched by most films, whether they find their origin in comic-books or elsewhere.

Casting is, for the most part, very well done and enjoyable. Both of the lead Japanese actresses bring their characters depth and are believable, and though they each have a different kind of “close” relationship to Logan, the parts all fit together well (admission: with one character, I couldn’t help but think of Gogo Yabari’s perfectly obvious lethality not-so-cloaked by outward-innocence from Kill Bill, though I recognize Wolverine stories far pre-date “The Bride” encountering “Gogo”).

Without knowing all the comic-book history as a canon-compass, everyone “fits” their roles well, even if it is hard to completely accept all of the paternal characters’ motivations. To be fair, this may be partially brought about by “cleaning up” and balancing what I believe is nominally a crime family to something more akin to a wildly successful (but at least clean on the surface) family conglomerate/legacy, and not being able to fully resolve what is driving the characters as a result. So, while the audience is tested from time-to-time to stretch over a few holes in the plot-logic, for the most part it holds.

Of course, with the caveats “overall”, “otherwise”, “most part” and such, there are several questionable elements, and one of the bigger problem areas, without spoiling anything, lies in the “all-is-finally-revealed” arc for one character that simply doesn’t hold with the balance of the film. As a result, what presumably was the studio’s much sought-after epic battle (because for a film that is fairly tight most of the way, one is left wondering how the last part came to be) wasn’t really all that epic. This regrettably has a cascading effect on the secondary antagonist (who is on the first’s payroll to help him achieve his “dastardly plan”), resulting in a character that is at once both over-played and underused, and doesn’t provide any deeper satisfaction upon her exit in the already troubled last act. Credit to the costume designer, however, who has guaranteed new outfit ideas for convention goers by dressing this character in ever more body-hugging outfits as the film unfolds…

A more-generalized note for those looking for a classic “summer-flick”: The Wolverine is a “mature” film (especially in comparison to X-Men 3), though not always in the same sense of films like The Dark Knight or Skyfall; it shares a somber tone, and directly deals with loss of loved ones as well as internal trials, and asks of several of the characters what it is they want going forward (and the concomitant: at what cost?), but is also “mature” in a very basic, practical sense: almost the entire film takes place in Japan, and to the production’s credit, rather than everyone simply speaking English throughout the film, nearly two-thirds of the film is subtitled to account for the actors speaking Japanese, as they would “realistically” do when speaking among themselves, which means having to — brace for it — READ whole sequences of the film actively, unless you speak Japanese (special nod also to the filmmakers for using native Japanese actors for almost all the parts, rather than the often used “any Asian will do…” approach). While some may object to sustained subtitles in a “comic-book” film, it lends “authenticity” to the out-of-place-what-is-happening-to-me arc Logan finds himself in soon after arriving in the Land of the Rising Sun (and, apparently, bountiful stores of adamantium).

Much has been said, leaked, cheered, analyzed and discussed regarding the Easter Egg in the closing credits of The Wolverine, but the film itself is worth seeing, regardless of what promises lie ahead: it is thoroughly entertaining, blends action, humor and (comic-book) emotional depth well, and stands on its own. Bonus: it also deftly washes away the worst parts of X-Men 3 (and Origins, which increasingly appears to be considered “that film that no one shall speak of or acknowledge”) and connects well to the larger (well-regarded parts of the) X-Men filmverse.

The Wolverine is strong enough to make one further regret that the producers of the X-Men films missed so hard with a couple of their earlier installments, and didn’t explore the other X-Men in similar focus. Ideally, additional X-Men films will now continue to mean good X-Men films, with both First Class and The Wolverine setting the stage for the Days ahead.