Review: Iron Man 3

Is it possible to be a superhero movie, but then not really be a superhero movie, but really be a superhero movie all at the same time?  Confused?  Don’t be.  After watching Iron Man 3, this will all be crystal clear and so will the direction of Marvel Phase 2.   It’s easy (and lazy) to label movies like Iron Man 3 as “superhero flicks” because their protagonists are born from the funny pages, but Kevin Feige and his Marvel cohorts are about to challenge you on such preconceived notions.  Iron Man 3 is not a movie about Iron Man per se but more a whodunit tale driven by a really smart protagonist that happens to have a really expensive suit.  With Game of Throne’s Alan Taylor directing Thor 2 and the political intrigue storyline framing the plot of the next Captain America, what you’re going to see is Marvel immerse their characters in very specific subgenres.  It’s a clever move designed to give these characters a longer shelf life.

As for Iron Man 3, the plot finds our quit witted protagonist dealing with the aftermath of the events that unfolded in The Avengers. Struggling with some form of post traumatic syndrome, Stark is forced to deal with a mistake from his past that may or may not have some connection to the Mandarin, a ruthless terrorist who is hell bent on unleashing attacks against the United States.  With the lives of those he cares about hanging in the balance, Stark (Robert Downey Jr.) must find a way to discover the mystery behind the Mandarin and put an end to his reign of terror.

It’s seems like a pretty straight forward action premise, but what is most striking about Iron Man 3 is that it feels strikingly different than its predecessors.  Writer/Director Shane Black brings his brand of storytelling to the franchise and gives it a feel reminiscent of his work with Kiss Kiss Bang Bang and the Lethal Weapon movies (think whodunit with some elements of buddy cop flicks mixed in for good measure).  That Downey Jr. spends more time out of the suit weaving his way through the plot is a surprise – one that pays off nicely.

Any discussion of this film cannot go long without talking specifically about the work of Robert Downey Jr.  It has gotten to the point where one must ask the question of whether Downey Jr. is portraying Tony Stark or if Tony Stark is just an extension of Downey Jr.  He is quick witted, quirky, and able to oscillate between humor and gravitas seamlessly on the turn of the dime and these qualities may have been the biggest drivers of success for not only the Iron Man franchise but also he entire Marvel cinematic universe.  That he is no longer under contractual obligation to the company no doubt has a few Disney executives losing sleep.

Once again joining RDJ onscreen are Gwyneth Paltrow, Jon Favreau, and Don Cheadle as Pepper Potts, Happy Hogan, and James Rhodes (Iron Patriot) respectively and each is given heavier lifting this time around.  I am not sure if it’s the business casual suits or the snappy chemistry she shares with Downey Jr., but I have never found Paltrow more likeable than I do in these Iron Man films.  She tends to embody the heart and sentimentality in each of the movies, but in this outing Paltrow does a decent job of flexing a bit of muscle. 

What Jon Favreau brings to the film is a decent measure of the campy but endearing humor that we have come to expect from the actor/director.  Sometimes bumbling but always good-natured, Favreau’s portrayal of Hogan won’t make any highlight reels but he capably keeps the tone light while advancing the plot.  As for Cheadle, he plays Colonel James Rhodes to satisfactory results and nothing more.  While I like Cheadle as an actor, I have always found his work in this franchise less than stellar.  It may be the result of acting choices or his chemistry with Downey Jr. but I don’t think he has really hit the right pitch with the character. 

As for the newcomers to the franchise, Guy Pearce is fair but unremarkable as Aldrich Killian – a man with questionable intentions.  He doesn’t hurt the movie by any means, but I could also have envisioned any number of people stepping into the role of an eccentric unbalanced scientist to produce the same if not better results.  Ben Kingsley as The Mandarin is solid and makes some very interesting choices, but his actual screen time is not hugely robust as it is more his characters “presence” than his actually being present that impacts the plot.  Bringing up the rear for this trio is Rebecca Hall as genetic botanist Maya Hansen.  I found her performance weak and unconvincing and at times she felt painfully out of place in this movie – most glaringly in the second act.  There are many other ways the creative team could have gone with this character (and plot thread) and I can’t help but think one of the other choices would have been better.

So what you have then is an Iron Man film that is more about the man than the armor – one that wisely lets RDJ occupy the driver’s seat.  It’s not a perfect film as at times the pacing loses its way and there are some logic leaps and character decisions that have and will infuriate the overly zealous comic book purist.  But at the end of the day, you have to ask yourself what you expect from a summer action movie.  If you are looking for a decent plot with big visuals that is fun to watch, then this is a movie you should definitely run out to the cinema to watch.  If you are looking for something more than that, then Iron Man 3 may be a roll of the dice for you.  Regardless, this is easily the best movie thus far in what has been a somewhat weak year at the cinema.  Up next on the Marvel slate is Thor: The Dark World (November 8, 2013).

Standout Performance: Robert Downey Jr. - plain and simple.  

Read More

Review: Hugo

If you take Academy Award nominations as an absolute barometer of whether a movie is good or not (which I do not), then clearly without seeing the movie Hugo, you would have to believe that there is something of merit in it – especially since it garnered 11 nominations.  I don’t know why I passed this film over during this past Oscar season, but I think that the marketing drove that decision.  To me it skewed young and had an almost animated feel to it.  Now having watched the movie on the heels of a series of terrible rentals, I can’t believe I waited so long to see it and have been reminded how refreshing it is to watch a cinematic master direct a film.

The plot of the Hugo follows the life of an orphan who lives in a Paris train station set in the 1930’s.  As Hugo works to completely restore an automaton, his life is forever altered by a set of individuals whose own lives revolve around the comings and goings at that station.

What’s best about the movie is the story and how well it is told through the vision and direction of Martin Scorsese.  The look and feel of the film is stunning and the city framed and brought to life with an artistic flair.  As the movie unfolds, one cannot help but be wrapped up in the motion and the sound that punctuate the action.  It takes very little effort to become engaged and for your attention to be held.  This was most surprising for me as I went into the film questioning whether I would be entertained.

The cast of course is top notch.  Names such as Ben Kingsley, Emily Mortimer, and Christopher Lee have a certain cache in acting circles and each lives up to their respective reputations.  Kingsley especially stands out of this foursome as he expertly delivers each line and punctuates it with just the right brand of emotion.  Jude Law – in limited screen time – is surprisingly good in this film as is Sacha Baron Cohen in a rare dramatic turn.  As for our protagonist Hugo, Asa Butterfield is good in the lead role but at times his relative inexperience shows.  However the experience of the cast surrounding him manages to cover up those minor flaws. 

Scorsese uses this cast, the sets, and the visual detail to create a perpetual sense of motion to the film – the motion of time, of intertwining mechanical pieces, of individuals traveling from place to place, and born from this orchestrated chaos he delivers a sub plot revolving around the concept of capturing motion pictures on film and its newfound place as a form of timeless art.  This part of the story is most elegantly told by Scorsese through Kingsley’s acting and as one who loves movies, I found this arc to be the most compelling in the film.

As you may have guessed by now, I believe this is a movie worth seeing.  It will not take but five minutes to realize that you are watching an expertly crafted product that is warrants both the time and effort it will take to rent/buy and watch it.  The one drawback to the film is that as fantastic a story as it is, I don’t feel overly compelled to watch it a second time.  However, one of the strength’s of the movie is that it is a smooth straight-line narrative sans any plot twists or gimmicks and this type of film lends itself to one good viewing.  Regardless, I recommend you watch it - with a loved one, a friend, or member of the family.  It matters not as it is suitable for all.  As for those who are fans of Ben Kingsley fans, be sure to keep an eye out for him starring opposite Robert Downey Jr. next year in the much-anticipated Marvel film, Iron Man 3.

Standout Performance: Chloe Grace Moretz gets the nod here not only for Hugo but also for her work in Kick-Ass, Diary of a Wimpy Kid, and (500) Days of Summer.  At the age of 15, she has already turned in a number of stellar performances.

Read More

Review: The Dictator

I have to preface this review by saying that I have not been a fan of Sacha Baron Cohen. In fact, the only movie that I have seen him in is Talladega Nights: The Ballad of Ricky Bobby.  I enjoy raunchy humor just as much as the next guy, but there are limits to the depths of lowbrow comedy that I can appreciate before it becomes a series of tasteless stunts.  For this reason, I had chosen to steer clear of Baron Cohen’s work.  However, the trailers for The Dictator were edited very well – almost too well as it made me wary that the funniest parts of the movie had been already revealed.  Still, I decided to roll the dice and give this movie a look.

As a movie, an exercise in filmmaking, a coherent and compelling narrative, this is an exercise in total mediocrity.  It is paint by the numbers cinematic story telling at its worst.  But that’s okay, because that is not what the movie is about.  As a vehicle to entertain, it is very good.  It pains me to say this.  I almost feel embarrassed.  If there were an equivalent to writing this sentiment as a whisper (like maybe typing it in a smaller font), I would do it, because the humor is mean, degrading, racist, sexist, and a bunch of other “ists” that I cannot think of, but it works because everyone is fair game – and there is an odd sense of equality in that.

The fool is a fantastic vehicle to poke fun at the foibles of society and to ridicule social norms and Baron Cohen’s Aladeen is a total fool up to the task.  As a man in a vacuum, he is a walking bag of discrimination and insensitivity that plays like a destructive force against all that we consider right and proper.  But before you get the impression that this is some intelligent commentary on society, let me reassure you that it’s all mostly about generating raucous laughter.  In fact there is only one  moment when Cohen tries to stand on the proverbial soapbox, and that is precisely the same moment when the film comes to a screeching halt.

As for the rest of the cast:

Anna Faris is not at her dynamic best.  She sheds her usual spunky and vacuous persona for an overly zealous activist who is eerily similar to a girl I met many years ago from Wellesley College who was angered because I referred to myself as a freshman instead of a first year. 

Ben Kingsley is present in this film, which is the best that I can say.  Seeing him in this movie, I feel the same way I did when I saw him in The Love Guru (Mike Myers at his worst) – which is to wonder “why.” 

John C. Reilly and Ed Norton make small appearances in the film, but special kudos goes out to Megan Fox for finally finding a role that suits her perfectly.

But really the cast beyond Baron Cohen is just window dressing, because The Dictator is a one-man show.  I would recommend this movie even though there is going to be a segment of the population that will be turned off by the humor.  If you can appreciate a free-for-all mosh pit approach to comedy where no joke is off limits and everyone is fair game, then you will definitely enjoy this movie.  It is not as good as 21 Jump Street, but it is one of the better comedies that I have seen thus far in 2012.

Standout Performance: Jason Mantzoukas as Nadal – Baron Cohen’s partner in crime – is a great straight man to walking punch line that is Aladeen.

Read More