The third time is kiss of death for robust "Iron Man" series of Marvel Studios, Paramount has changed (from Disney) and directors (Shane Black subbing for Jon Favreau) but otherwise toyed around with the formula that has so far generated more than $ 1.2 billion in international ticket sales. The franchise strain - a much more ugly unmemorable - can explain the feeling that "Iron Man 3" is more basic and neat than its two predecessors, but this strong generation offers more than enough of what fans expect to win his weight metal box office.
Part of the rich appeal of the first "Iron Man" (2008) came from the inspired casting of Robert Downey Jr., who brought tons of playful charisma and carelessness on the part of the defense contractor turned superhero plated iron Tony Stark. It was especially fun to watch Downey become Iron Man, bobbing and weaving on his space age rocket costume as a newbie trying to stand up on a wave. You can not do an origin story once, alas, and part of the magic was already gone from "Iron Man 2" in 2010, which pitted our hero on a Russian heavy stock (Mickey Rourke) in a reference on account of revenge, but still found enough time to Stark and Pepper Potts romantic sheet (Gwyneth Paltrow) to do their very passable routine Tracy-Hepburn. There was also a sly commentary on the celebrification of American culture - and in an effort to get rid of Stark sparkle slowly poisoning his body, like a clever for his own well-publicized battle with various forms of Downey dependence. Most of that is missing at the beginning of "Iron Man 3", which is well Stark fitness - if a little mentally unbalanced by the events of "The Avengers" - and live in domestic bliss compared to match Ms. Potts. All this leaves little black (and co-writer Drew Pearce) to do anything other than gather the latest Marvel villain canoe: A bearded, bin Laden-esque villain who is the Mandarin (Ben Kingsley) and claiming credit calls for a series of terrorist attacks, one of which, a fantastic pass to the historic Chinese Theatre Hollywood, landed security honcho Stark Happy (Favreau) in a coma. (Obviously involuntary recurrent Film severed limbs and burn body images can not help but strike a note uncomfortable in the light of recent events in Boston.) Vomiting his anti-American rhetoric mat in a series of videos that mysteriously made roughly scramble the television airwaves, Mandarin promises that "the big one is coming," just in time for Christmas, no less.
If we have learned anything from imaginary evil Darth Vader of Ra's al Ghul's "Dark Knight" trilogy, first appearances can be deceiving. Suffice to say that Mandarin is a kind of connivance with some explosions Tony Stark past: an experimental botanist (Rebecca Hall) and his wealthy benefactor, Aldrich Killian (Guy Pearce), whose project price, Extremis, involves "piracy" in the chain of human DNA to heal the sick, heal the lame and do just about everything you could want. Having heard the height of Killian pepper notes that the technology seems like it could easily be militarized. It does not know the half thereof. As an A-list writer in the 80s and 90s, Black virtually defined a certain brand of sardonic Hollywood spectacle of action (it must include "Lethal Weapon," "The Last Boy Scout" and "The Long Kiss Goodnight") then disappeared for most of the 2000s, surfacing briefly in 2005 with his first feature film, the neo-noir "Kiss Kiss Bang Bang" self-referential (which included a crucial role in Downey back). "Iron Man 3" reps a big step in terms of scale, and black is doing well largely keeping pace, displaying a couple of small surprises and some scene setting undeniably impressive setpieces, super-sized . Among them: a raid at the end of the first act, which reduces the swank Malibu pad Stark crumbs, and mid-air rescue movie that relies on acrobatics parachute truly spectacular.
The whole package is never less than professional, reinforced by ACE tech contributions of cinematographer John Toll, production designer Bill Brzeski (replacing the late J. Michael Riva) and Peter Ford and Jeffrey S. editors Elliot. However, the film suffers from separation Downey three of its best verbal sparring partners - Favreau, Gwyneth Paltrow and Paul Bettany (as the voice of the uber-computer Jarvis) - for much of the duration of the peak. And from top to bottom, craft key Favreau is conspicuously absent, especially his affection for retro, Ray Harryhausen-esque visual effects. (This is by far the most beautiful digital serial input.) Perhaps fittingly for a film that introduced a new generation of TV-guided Iron Man costumes, "Iron Man 3" too often feels as if it were assembled by a machine.
Although advertised as "Iron Man 3" in all promotional materials, the full screen image title reads as "Iron Man 3"
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