Tag Archives: Iron Man 2

Iron Man 3 – Suit yourself

Casual wear: Iron Man at home

Casual wear: Iron Man at home

The crushing weight of expectation rests on Iron Man 3, but like the target of a rampaging Hulkbuster suit, that weight is lifted, thrillingly and amusingly, for its 130 minute running time.

The first Marvel Cinematic Universe adventure since the face-explodingly successful The Avengers, Iron Man 3 reunites Robert Downey Jr., as Tony Stark/Iron Man, with the man most responsible for his getting the role in the first place; Shane Black. Black, who rose to fame as the writer of the first (ostensibly only) two Lethal Weapon movies, had very much come to Downey Jr.’s rescue in the mid-noughties when the actor was finally recovering from a harsh decade-plus of substance abuse and finding guest roles on Ally McBeal insufficient in revitalising his career.

The film they made together, Kiss Kiss Bang Bang (2005), a satisfying meta-noir, showed what the actor could do with his own persona when put on the right kind of leash. Jon Favreau, director of Iron Man 1 and 2, held the leash loosely on his first go around, before letting the barking dog loose for the sequel, with disastrous, rambling consequences. It wasn’t until The Avengers that we saw what good Downey Jr. could truly do with Tony Stark when a writer like Joss Whedon fed him material that was more fun than the shtick he could make up in his head. Shane Black, who Marvel have pitched this gamble on, is a similarly talented, smart and cool writer, and the result is the most satisfying Iron Man film to date.

Sometime after the Battle of New York in The Avengers, Tony Stark is struggling. He can’t sleep. He can’t stop building suit upgrades. He suffers panic attacks. He fears for the end of his relationship with Pepper Potts (Gwyneth Paltrow), the only thing he really cares about now. Suffering from PTSD and having taken a serious ego-bruising at realising that there are beings outside his world far smarter and more powerful than he, Stark shuts himself off to his tinkering, leaving the superhero duties to James Rhodes (Don Cheadle), formerly War Machine, now jingo’d up in red, white and blue as the ‘Iron Patriot’.

But when warmongering machiavelli the Mandarin (Ben Kingsley on a healthy dose of fun pills), the (un)acceptable face of terrorism, comes to challenge Stark, revenge becomes the name of the game. A crippling first strike by the Bin Laden lookalike leaves Stark stranded, friendless and temporarily suit-less, at a time when he is needed most, to take on twisted biological weapons expert Aldrich Killian (Guy Pearce, finally back on form) and his band of suped-up military vets.

All you need is glove: Robert Downey Jr as Tony Stark

All you need is glove: Robert Downey Jr as Tony Stark

Bookmarked by a witty narration by Downey Jr. that plants us firmly in Kiss Kiss Bang Bang territory, Iron Man 3 kicks along at a solid pace, focusing far more on character development and interaction than exploding robots. Enough references are made to the events of Avengers to make it clear we remain in that universe, but the personal vendetta aspect (set up from the opening flashback scenes) makes it clear that this is a Stark only venture, and for good reason.

There’s a moment in Iron Man 2 where Iron Man takes out almost every villain with one laser attack, making the character all too powerful and much of the action redundant. What Iron Man 3 focuses on is how the more sophisticated Stark’s designs become, the more risks he takes, and thus the more vulnerable a character he is – Stark’s kryptonite is hubris. One of the film’s finest action sequences sees Stark suit-less, and forced to MacGyver himself a small arsenal. An aerial escape battle culminates in a finer gag than any the series (including The Avengers) has delivered thus far. The final showdown, which starts off sloppy with far too much happening on screen at once, boils down to a face-off between hero and villain that features the finest weapon-switching duel since the catfight in Crouching Tiger.

The character-building is truly commendable, although the script is not without fault. The Christmas setting, a Black staple, forces the morals home a little too heavily. The story’s link to White House intrigue feels utterly redundant and unfortunately echoes the recent G.I. Joe 2. The second act, with Stark stranded in wintry Tennessee, is too much of a diversion with too little of a payoff, although child actor Ty Simpkins deserves applause for holding his own against Downey Jr., and for not being irritating.

Back on the leash, Downey Jr. is as much fun as he’s ever been, with Paltrow and Cheadle remaining strong support. Favreau, relegated to cameo appearance, seems almost delighted to have the pressure of directing taken off his now much larger shoulders. James Badge Dale is impressively intense as a fire-powered henchman – the first such role in the MCU thus far. Rebecca Hall, as a morally concerned scientist and former Stark fling, gets the short end of the stick in a frankly underwritten and largely unnecessary role.

Aftershock: Gwyneth Paltrow as Pepper Potts

Brian Tyler’s decent but repetitive score begins to grate after a while, but the film looks sharp throughout, and Black’s script, co-written with rising talent Drew Pearce, makes this one of the most original blockbusters in recent memory. The Mandarin’s speech about American bastardisation of Eastern culture, using as his example the fortune cookie, is one of the finest villainous rants ever. He similarly targets Hollywood’s famous Grauman’s Chinese Theatre as an Americanised evil, taking a nice little pot-shot at the studio system while also blowing up one of the few landmarks Roland Emmerich had not gotten around to yet.

The film’s ending is far more concerned with concluding an Iron Man Trilogy than with perpetuating the MCU, but there is still a lot of places these characters can go, and if audiences can adjust to this film’s more sardonic tone, a future beyond Avengers sequel appearances should be assured.

As an MCU film, sticking around until the end of the credits is a must for fans, although those excited for previews of coming attractions may be disappointed to hear the witty scene is more “shawarma” than “Thanos”, if you take my meaning.

4/5

(originally published at http://www.nextprojection.com)

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G.I. Joe: Retaliation – Caught between The Rock and a hard place

“Ugh, ninjas”: Elodie Yung as Jinx, about to kill all the ninjas

A sequel that surely not too many people asked for, G.I. Joe: Retaliation belatedly follows 2009’s summer blip G.I. Joe: The Rise of Cobra, arriving in cinemas almost nine months after it was originally due. The party line is that this delay was entirely to convert the film to 3D, although rumours circled on the internet of rewrites and reshoots. But there’s no evidence of any post-shoot tightening in this sluggish, unambitious schlockbuster. And the 3D’s not even that great either.

Following the events of Rise of Cobra, the evil Cobra Commander remains imprisoned in an impenetrable high-tech facility and the Joes are still the world’s No.1 defence force. Channing Tatum’s Duke now runs the show, backed up by Dwayne Johnson’s human sandbag Roadblock. But, as none of you will remember from the first film, the President of the United States (Jonathan Pryce) remains a hostage of Cobra, and their evil stand-in Zartan has his finger on all the triggers. Soon Cobra Commander is unleashed and the Joes are being wiped out in an impossibly well-planned attack that kills off (off-screen) all the characters whose actors refused to return to the franchise. Only a handful of the elite soldiers remain to try and defeat the plans of Cobra Commander and his evil POTUS. You can imagine how it goes.

G.I. Joe 2 corrects many of the mistakes of the first film, reducing the degree of sci-fi chicanery in favour of fists-and-bullets action. However, where the first film had some very basically sketched characters (backstories, flashbacks and everything!) and an infantile but to-the-point narrative momentum, Retaliation has almost no character development and its second act is a disaster of storytelling. As Roadblock and his team try to build a guerrilla unit in the US with retired general Bruce Willis and his band of G.I. Joeriatrics, martial arts expert Snake Eyes (the boundlessly athletic Ray Park, still silent and fully masked) must journey to somewhere in Asia to fight all the ninjas that ever were. Remember that bit in Iron Man 2 where Agent Coulson leaves to go to New Mexico and deal with the events of Thor? Now imagine if those two films were intercut with one another. That’s how jarring the mismatch of quests in this film is.

G.I. Bros: Channing Tatum and Dwayne 'The Rock' Johnson

G.I. Bros: Channing Tatum and Dwayne ‘The Rock’ Johnson

Character-wise this film is bankrupt. A bit of bromantic banter between Tatum and The Rock in the first act adds up to nothing. Willis manages to be just slightly less spaced out than he was in A Good Day to Die Hard. The female Joe (Adrianne Palicki) has daddy issues and looks good in tight clothes. The white male Joe (D.J. Cotrona) may actually not have any lines for all you can tell. Snake Eyes can’t even speak, let alone demonstrate facial expressions, yet he still out-acts his sidekick girl ninja (Elodie Yung). In some bizarre casting, RZA shows up as blind martial arts master Blind Master (the G.I. Joe series was never very subtle with its character names), bringing the rapper’s charisma-less movie career to a new low by drudgingly rattling off exposition like a screen between video game levels.

The villains have far more fun. While Joseph Gordon-Levitt has been replaced as Cobra Commander by It Doesn’t Matter You Can’t See His Face, Lee Byung-hun and Ray Stevenson have plenty of fun as evil ninja Storm Shadow and Southern-fried pyromaniac Firefly, respectively. But when it comes to delivering Cobra’s (actually inspired) end game, it is Jonathan Pryce who delivers, hamming it up beautifully as President Zartan in an epic game of nuclear chicken. Twice as over-the-top as he was in Tomorrow Never Dies, Pryce is undoubtedly the film’s highlight.

But with the exception of the big bad plan, the story is a mess, and much of the dialogue is cringe-worthy to the point of spasm-inducing. The Joes have gone from an international fighting team to a deadly serious Team America, while no one seems to bat an eyelid when the President hires Cobra as his elite bodyguard unit, despite the world’s most dangerous terrorist being called “Cobra Commander”.

The Pryce is right: President Zartan reveals his evil scheme to steal the whole movie right from under Cobra Commander's nose

The Pryce is right: President Zartan reveals his evil scheme to steal the whole movie right from under Cobra Commander’s nose

Not even The Rock, who is finally being taken seriously as a charismatic action lead thanks to Fast Five, cannot save this film from floundering. Somehow, in spite of its near-$200m budget, director Jon M. Chu (most known for some of the Step Up dance movies and a Justin Bieber concert film) has managed to make a cheap-looking action movie. The effects look flimsy. The rapid cutting and dim lighting seem to be hiding uncompleted sets, while also causing the 3D to blur frantically. The final skirmish is not on a scale anywhere near as huge as the first film’s climax, while the images of Roland Emmerich-scale city destruction are so brief there’s hardly a frame of it in the film not featured in the trailer. Compare to the ridiculous but amusing Eiffel Tower sequence from Rise of Cobra and you realise big money clearly does not go as far as it used to.

A brainless popcorn movie for a cold night in with a DVD if ever there was one, G.I. Joe: Retaliation cannot live up to its promise of mayhem and The Rock and ninjas. And surely that was an easy one to get right.

2/5

(originally published at http://www.filmireland.net)

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The Avengers, by Marvel, who Assemble – Review

Thor and Captain America watching the box office returns

It is now four years since Iron Man was released, a decent superhero movie that still felt a bit like any other. The big difference came once the credits had rolled, and Samuel L. Jackson appeared as comics spymaster Nick Fury to foreshadow The Avengers. This was an unprecedented move on behalf of Marvel, the comics powerhouse behind this almighty band of heroes. Actors crossed over between the ensuing films, and unlike the contradicting X-Men films, continuity was maintained – when one character is called away from the events of Iron Man 2, he shows up in the events of Thor.

And now the superheroes are brought together; Iron Man, Thor, Captain America, the Hulk, Iron Man 2 support Black Widow and Thor cameo star Hawkeye, all under the watchful eye (singular) of  Nick Fury; to battle Thor’s nemesis, and brother, Loki. And while that sentence is a mouthful, and the idea seems over-ambitious, it works. It really works.

You see this? This works.

Because this isn’t just sandwiching some characters together like Freddy Vs Jason or the proposed Batman and Superman movie of the 1990s. Despite their enormous differences these characters have, they have already been set up to exist within the same universe, so the film can cut to the chase without the slightest hint of being patronising.

The film opens with Loki, now an intergalactic outlaw, being given a chance for revenge by a shadowy otherworldly figure, provided he can summon an alien army to Earth. To do this he needs the Cosmic Cube (the macguffin from Captain America: The First Avenger, a further link), which is in the hands of Nick Fury’s agency SHIELD. Once he has achieved that, Fury has no choice but to call in the big guns, summoning superheroes from around the world to take down the impending threat. Thor, the god of lightning, returns to Earth to help take down his brother.

“Kneel before Zodki.”

And that’s pretty much all there is to it. The characters gel, the dialogue snaps back and forth for the most part, and when things explode they explode in style. Writer/director Joss Whedon, best known for creating Buffy the Vampire Slayer and countless prematurely cancelled TV shows, brings his comic book fascination and expertise to the table, creating a superhero movie that is as silly as can be while also remaining utterly confident in itself.

The incredible star cast are solid across the board. Robert Downey Jr. does what he does best as Tony ‘Iron Man’ Stark; it’s a role he has down to a T. Mark Ruffalo takes over the maligned role of Bruce Banner, the rage-riddled man behind the Hulk, and makes a strong effort with it. Chrises Hemsworth and Evans show the same committed passion for the roles of Thor and Captain America that they did in their solo adventures. Scarlett Johansson makes a case for a solo adventure of her own as the super-lithe assassin Black Widow, and Jeremy Renner has some fun as bow-and-explosive-arrow expert Hawkeye, even if he does get Cyclops’d off for half the film (X-Men 2 fans will get that one). Tom Hiddleston continues to charm as the Machiavellian Loki, although his character lacks the Shakespearean drama here that he had in Thor. The side are let down, ever so slightly, by Samuel L. Jackson, who invests every line with the same shouty drama that he did the infamous punchline in Snakes on a Plane. His scenes, by and large, steal energy from the film.

“Quick, this is our only dramatic scene in the whole movie, say something powerful and memorable.”

Fortunately this film has plenty of energy to spare, and much of that is down to Whedon’s witty script. While the drama drags in the first and second acts, there are enough one-liners and moments of superb comic timing that make up for these pitfalls. One gag about the getting of and not getting of pop culture references, involving Captain America and Thor, deconstructs the very idea of pop culture references in the same way that Whedon’s other current release, The Cabin in the Woods, deconstructs the entire horror genre.

Whedon is also careful not to let any two heroes hog the spotlight, à la that regrettable other “superhero” team-up, The League of Extraordinary Gentlemen. In the central action sequence that closes the second act, two of the heroes with the potential to steal the film, Iron Man and Captain America, are given the least exciting task, while Thor and Hulk spar, Black Widow and Hawkeye get their martial arts on and even fan-favourite Agent Coulson (Clark Gregg) gets to blow stuff up!

The final act, in which the Avengers fend off an invasion of New York City, visually calls to mind the endless finale of Transformers: Dark of the Moon, but it is so less cluttered and more focused, giving each character a set objective and a limited space and time to achieve them in. Surprisingly, it is the Hulk who makes this sequence his own, rampaging across the screen in gleeful bounds of carnage. You’d be hard-pressed to hold in a raucous cheer as the Hulk smashes everything in sight!

HULK AWESOME!!!

The Avengers is far from perfect, but it is so much greater than what it might have been. Setting itself up nicely for both a sequel and a return to the solo films, this will be one of the most fondly remembered and rewatched blockbusters of the decade.

Avoid the 3D if you can, and please, stay for the bonus scene in the credits. Because why wouldn’t you?

4/5

(originally published at http://www.filmireland.net)

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