Shutter Island [Blu-ray] $9.49
May third is finally here and that means Iron Man 3 is finally out. The timely third installment about a terrorist regime bombing various locations across America and waging war against Tony Stark does not feel like an Iron Man movie. It’s dramatic and dark with a surprising amount of death and violence that clearly eschews a pre-teen demographic, while on the other hand incorporating light comedic moments often with a young boy who helps Tony out of a few scrapes. The film overall is fairly balanced though it loses me a bit at the climax and while it differs substantially from Jon Favreau’s hits, Shane Black has clearly taken ownership of the franchise and made it his own in an admirable way.
This is a straight action flick with Tony doing a lot of the heavy lifting after his suit breaks down leaving him stranded in Tennessee. There is plenty of comic book material to drool over, but it only serves as a framework to support this gritty action drama that Tony surprisingly finds himself involved in, rather than a more likely Wolverine. In fact, many moments on-screen, particularly between him and the kid, reminded me of Hugh Jackman and made me wonder if the makers of Iron Man 3 unwittingly made a better Wolverine movie than the soon to be released sequel to the X Men spin-off.
There are many things to love about Iron Man 3. For starters, every one of the actors takes it so seriously. It’s not pandering, and they have worked hard to get to the emotional core of everything, so that when the play it it’s wholly believable. It goes a long way toward suspending disbelief when fantastic elements, such as remote controlled automated Iron Man suits, or unstable, combustible, bioengineered A.I.M. operatives would otherwise threaten to undermine the credibility of the film.
Another thing I love is the individuality of it. I like how it doesn’t try to fit the mold of the other two and instead, puts Tony way out-of-place, just to see what he does there. It’s really cool to see how he responds to the need for Iron Man, without being able to get into the suit. I think that was the most intriguing Idea at the beginning stages of planning the film, and it holds really strong and makes it a really unique story for the genre.
There’s plenty of danger, plenty of humor and plenty of opportunities for Tony to rely on ordinary people to help him through his Search for the infamous Mandarin. From set up almost all the way through the film it is riveting, flawless, exciting, and fun. For as much thought that I know went into the staging of the film however. I do wish a couple of scenes had been cut from the final piece. I don’t want to ruin it for anyone who’s not yet seen it. But there is one moment near the end that I know everybody thought would be really cool and reinforce Tony’s anxiety and doubt beneath his cocksure approach to being a hero. They probably played this moment in their minds and considered it one of the more definitive scenes in the film and cutting it out would be unthinkable. While it is a surprising turn of events, I found it to weigh down the rest of the climax and it sort of pulled me out of the fantasy when no one on-screen, Tony in particular, seemed to really react. From there, the resolution didn’t really work for me and it somewhat deflated my elation from seeing such a uniquely daring interpretation of Iron Man on-screen. Luckily, the scene at the end of the credits put a big smile back on my face, and I there is much more of the film that I admired than otherwise.
I do have some burning questions, ranging from why the President doesn’t even look like Obama, to how the Iron Man suit runs without the arc reactor in Tony’s chest. There is very little by way of explanation for any of the technology, which I like. On the other hand It felt this time around the suspension of disbelief was taken for granted and stretched a bit beyond its limits without any proper support. The pains originally taken to reinforce the character’s believability are gone, which is slightly alienating when that credibility that inspires belief is one of the things that made the franchise so appealing and such a tremendous success.
The innovative approach to making the film more of a pure action genre and somewhat skirting the science fiction/fantasy elements of the comics resulted in a breathtaking adventure that puts Tony Stark in the type of position more fitting for Ethan Hunt or James Bond. It’s fun to see the result and it’s even greater to realize that there is room in the films of the Marvel universe for great stories to be told through different lenses. I appreciated the tonality of Iron Man 3 over that of The Avengers. Once again the envelope has been pushed and even though Iron Man 2 remains my favorite I happily accept this new installment as a win for team Marvel.
Changing Lanes is one of those films where the two protagonists duke it out under escalating circumstances that threaten to completely ruin their lives. One man (Samuel Jackson) is an is a divorced alcoholic fighting for custody of his kids. The other is a blissfully unaware lawyer (Ben Affleck) who wakes up to some dark truths about his business and how greedy people succeed.
These characters struggle with their conditions in thought provoking ways that raise philosophical questions without overduing it or neglecting the momentum of the story. By not pushing too hard on the philosophy aspect, it becomes a very philosophical movie, one with a real resolution that brings a proper end to the drama of the film.
It all starts with a freeway accident between two strangers with important court dates. Gavin leaves Doyle high and dry and as a result Doyle misses a custody hearing. Gavin’s day gets worse when he realizes a crucial file for his case was left with Doyle at the scene of the accident. The two then irrationally, but understandably, try to bully/get back at each other as Gavin attempts to get his file back.
The rising conflict is a little harder to watch. On the other hand the film does a terrific job of making you care about the characters and still understand that they are bringing all of this trouble onto themselves and that they deserve each other. For this reason their constant unraveling is endurable and the depth of thought beneath the tumult makes it worth watching and investing in.
It’s a delicate sort of film and this movie was handled by a surgeon. The story and screenplay credit goes to Chap Taylor, although Michael Tolkin gets screenplay credit as well and may have been the surgical hands involved. A