Moving on from bullshit semantic spats...
Picture, if you will, a neo-Western in which an aging action icon with serious anger issues must, due to sudden circumstance, protect and transport a daughter he barely knows, who's being hunted by merciless killers. But, unlike
Logan, the 2016 Mel Gibson flick
Blood Father runs a mere 88 minutes, and I'm tempted to call it the better film. Both movies feature quiet respites in their second acts, but whereas
Logan introduces a family of random characters through sheer happenstance (who
also happen to have a laughably improbable connection to the worldwide mutant shortage), the downtime companions in
Blood Father showcase the crowd its protagonist came from, and highlights the ways they've grown apart, which strikes me as the more effective choice. (Again, I wish that the peaceful family in
Logan had been that of Shreiber's Creed.)
Erin Moriarty (the Kilgrave victim and murder suspect from
Jessica Jones) turns in a strong supporting performance as Gibson's daughter, and William H. Macy stands out in a cameo as an alcoholic washout named Kirby, making this an unofficial sequel to
Jurassic Park III for those whole like to make such connections. But of course the main attraction is Mel himself, in his first starring role since 2012's even more delicious
Get the Gringo.
Blood Father is a bit less fun, but it's no less artful, and the 60-year-old Gibson is still crazy buff, crazy compelling, and likely a bit just plain crazy, also. (Never mind the black and white cut: I now want to see a
Fury Road with him as Max even more than I did before.) To be fair,
Logan has many more moments that stick with me than does
Blood Father, but fans of the former may well enjoy the latter. It's a solid, gnarly low-key actioner from the director of the underrated
Assault on Precinct 13 remake.