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After last year’s “The
Avengers” conquered the global box-office and geeky hearts everywhere, the
next phase in Marvel Studios pursuit of world domination was always going to be
prompt. “Iron Man 3” kicks off this new movement with confidence and style,
helping to alleviate most of the problems that plagued 2010’s patchy but
not-awful “Iron
Man 2”. That sequel was a fairly hollow and semi-rote entry in the studio’s
catalog Jon Favreau is wisely replaced in the director’s chair by Shane Black
for this latest slice of Stark madness, the former darling of the action genre
bringing a surging and deeply enjoyable identity back to proceedings. “Iron Man
3” benefits from Black’s wonderful way with dialog, understanding of actors and
some surprisingly cracking action, ensuring that audiences are left hankering
for further comic-book sourced shenanigans. Given how saturated that niche
market has become over the past 5-years, it’s quite an achievement on Black’s
part that “Iron Man 3” feels so fresh and natural.
Following his daring act of heroism in New York, Tony Stark (Robert Downey Jr.)
has begun experiencing panic attacks and crippling fits of nervousness, turning
to mechanical tinkering and professional obsession as means of escape. This
places strain on his relationship with partner Pepper (Gwyneth Paltrow) and
buddy Rhodes (Don Cheadle). When criminal mastermind The Mandarin (Ben Kingsley,
absolutely stealing the show) begins bombing American territory, Stark
challenges the villain, only to be quickly bested, isolated and left without his
arsenal of toys and equipment. Going back to basics, Tony begins to suspect that
slick scientist Aldrich Killian (Guy Pearce) might be involved with The
Mandarin’s violent scheming, using a volatile experimental military treatment to
deadly effect.
“Iron Man 3” feels tonally separate from the Jon Favreau pictures, Black
favoring a retro aesthetic for his spin on Stark. It’s no secret that Black shot
to prominence with his witty, playful scripts for actioners like “Lethal Weapon”
and “The Long Kiss Goodnight”, old-school vehicles which underlined intelligent
wordplay, distinctive atmospheres and ferocious set-pieces as cornerstones of
their DNA. “Iron Man 3” replicates these fascinations, everything from its weird
Christmas setting, small-town narrative detour and truly varied arsenal of
villains suggesting that with a new film-maker comes a new era. In this case the
change of pace favors over the top bombast and laughter to extreme levels; more
so than its predecessors “Iron Man 3” unfolds like an outright action-comedy,
and with Black’s skill in this arena so undiminished, fans should be more than
fine with the development.
The cast are absolutely electric, virtually everybody doing their best work of
the series so far. Whilst Jeff Bridges’ nefarious work in 2008’s “Iron
Man” is certainly worth remembering, the cocktail of Kingsley and Pearce
outstrips him, the pair finding a wonderful balance of menace and comedic
exuberance. Kingsley in particular is phenomenal, blending alongside Black’s
twisty character developments with utter assurance and unfaltering comprehension
of the material, allowing for some truly marvelous exchanges between him and
Downey. The leading man struts with his usual swagger, but also brings
commendable vulnerability to the table this time around, largely through
believable bouts of neuroses and an undying affection for Paltrow’s steely
Pepper Potts. The actress certainly seems to be having a blast, finally allowed
to partake in the chaos, upgraded from bystander to full-blown first lady of
Stark Industries. It’s a very human and engaging turn from a performer often
guilty of skipping such pulsing thespian sensibilities.
The set-pieces simultaneously manage to avoid repetition whilst embracing
spectacle, Black proving a dab hand at the big budget action stuff. There’s an
energy and coherency to his edits that is always appreciated, but his ability to
provide viable stakes keeps the excitement levels palpable. He doesn't go for
excessive CGI or digital bravura, instead the wonder of the blockbusting moments
arise from skilled camera-work and the fate of characters we genuinely come to
care about. There’s as much fun to be derived from a low-tech siege on The
Mandarin’s hideout as there is in the explosive decimation of Stark’s abode,
Black mixing the money-shots with humor and a tangible human touch. The standout
is a sequence in which the title character rescues an assortment of folks from
the airborne wreckage of Air Force One, a hugely entertaining sequence that
fully illustrates the creative potential of Black’s vibrant vision.
Iron Man 3 is filled knowing touches. The script, which Black co-wrote with Drew
Pearce, features references to Scott Baio and Downton Abbey and Westworld, along
with barbs evidently aimed at U.S. defense policy: Stark's buddy, James Rhodes
(Don Cheadle) stumbles around Pakistan in red-white-and-blue armor, and the
government is all too eager to fall for fictive threats. On a more
self-referential level, there are a few light jokes at the expense of
The Avengers
("Ever since the guy with the hammer fell out of the sky, subtlety kind of went
out of the window") and at least one line that I took as a not terribly veiled
shot at the frustrations, reportedly internal as well as external, of Iron Man
2, when Stark explains,"You start with something pure, something exciting. Then
come the mistakes, the compromises."
As they say, third time’s the charm. Not only is “Iron Man 3” the best of the
trilogy, it’s one of the best Marvel film yet. Yes, even better than last
summer’s uber-blockbuster “The
Avengers.”
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