‘Iron Man 3’, the best movie of the trilogy
In these times in which the entertainment cinema is so diluted by the need to generate exploitable franchises at all levels –videogames, comics, series, toys, amusement parks … – and you do not have to wait for the premiere of a movie to announce the sequel, some uncertainty about the future of Iron Man is appreciated . In the absence of a few days to reach US theaters, ‘Iron Man 3’ ( Shane Black , 2013) is sweeping the international box office and given the success of the brand Marvel (and Disney) I most likely the saga will continue, but right now there is nothing safe. And that feels good to the last installment.
Although it has not been sold as the end of a story, as it happened last summer with Batman, the advertising campaign of ‘Iron Man 3’ has clearly played with the idea of the culmination of a stage, with the promise of seeing Tony Stark facing the biggest challenge of his life as a superhero , which would bring as a logical consequence a deserved withdrawal, something that seems reinforced by recent statements of the protagonists – although I’m sure Joss Whedon reserves a hole in the next installment of ‘The Avengers ‘(‘ The Avengers’, 2012) -. Time will tell if Robert Downey Jr. continues or cedes the job. The important thing is that we have the best Iron Man adventure to date .
Robert Downey Jr. is Tony Stark / Iron Man
I was not enthusiastic about ‘Iron Man’ ( Jon Favreau , 2008) and if I ended up more satisfied with ‘Iron Man 2’ (J. Favreau, 2010) it was for the duo of villains, better obstacles for Stark than those he had in the first. So in the beginning it was good news that Favreau did not repeat the command of the third installment – he continues as producer and actor -; Of course, as long as someone with talent and margin of freedom takes over to print his stamp, and not just repeat formula, as is usual with products of this caliber – see the disappointing work of Kenneth Branagh in ‘Thor’ ( 2011) -. It seems that the friendship with Downey Jr.- which he directed in the very funny ‘Kiss Kiss, Bang Bang’ (2005) – was key in the signing of Shane Black , who in addition to dealing with the staging wrote the script with Drew Pearce .
The fall of the hero
In its film version, the iron man has been characterized from the beginning by a humorous approach, when the tendency was to dramatize the superheroes . It was a lucky bet of Favreau, exploited with greater skill first by Whedon and now by Black , who uses the events of ‘The Avengers’ to complicate from the beginning the life of the charismatic character. ” Nothing has been the same from New York, ” confesses the hero to his beloved “Pepper” Potts ( Gwyneth Paltrow ). Following the example of the trilogy of the dark knight Christopher Nolan, the tottering world of Tony Stark is destroyed by a fearsome terrorist with theatrical airs: Mandarin ( Ben Kinsgley ).
Ben Kingsley is Mandarin
In spite of everything, no matter how serious the situation, there is always room for a funny scene or a witty retort – Stark’s chemistry with the child is wonderful -. ‘Iron Man 3’ respects the comedy of previous deliveries and increases the show , completing the proposal with thriller and science fiction ingredients. Where did this new version of Bin-Laden come from? What is the relationship between Aldrich Killian ( Guy Pearce ), Maya Hansen ( Rebecca Hall ) and Mandarin? What do they all look like in … terminators ( James Badge Dale , Stephanie Szostak)? And how will Stark survive without armor (s)? The questions keep the story standing for a good part of the footage … until the answers arrive.
The genius and his powerful friends
Leaving aside a risky surprise – it will cause division among those who think it is a genius or a scam; It seems to me to be truncating but it generates a problem: the threat loses interest – the resolutions of the conflicts are easy and conventional; we resort too much to exaggerating the endurance of the human body, the blows of fortune, the rescues at the last second, the clumsiness of the bad and the capricious energy of the armors. As mandated by the canons, the climax is a spectacular battle in which ingenuity and coherence give way to the shine of visual effects in a chain of increasingly unlikely situations. Shane Blackhe is not fortunate in orchestrating the action – perhaps because of the digital retouching – and the excessively long sequence bores rather than astonishes.
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