Jon Favreau gives way behind the camera to Shane Black that brings us action, irony and the controversy for have moved away from the comic. In short, the movie stands out for better or for worse but mostly for the good.
The screenplay for this third episode dedicated to Iron Man is simple, a simplicity that can be confused with superficiality but I would remember you that even Iron Man 2 had been accused of superficiality. The movies may not all be equal to the first, the 2 and the 3 are defined sequels for a reason the story is evolving, the hero is evolving and points of view change.
As for the second film, the third focuses mainly on weaknesses of Tony Stark and not on the exploits of Iron Man that are no longer so important, before machine there is man. I understand that a frail human being dejected by his fears is not fantastic is instead the every day life, but this is the character!
The highlight of the movie is just the ever more human side of Stark who although bewildered does not lose his irony, and at the same time a great Robert Downey Jr. does not lose opportunity to show what he’s close and similar to the character he plays.
If in the first movie, the protagonist was Iron Man, in the third film – as in the second – is the man inside the armor that make history and his weaknesses, his fears, his love, In fact, Tony Stark is also a genius but psychologically it is very sensitive, unstable and this is often specified.
I found attractive connection to the almost apocalyptic events that had required Iron Man’s presence in the Avengers, as apocalyptic as to cause trauma to Stark. Aliens, gods, wormholes opening to other dimensions have destabilized the mind of our hero who got difficulty to accept these not terrestrial madnesses, on the contrary he wants to erase them from memory. This gives continuity to the deeds of Iron Man without separating him from the rest of the team and creates for the viewer the image of a large family of superheroes the message is, ‘if you’re watching Iron Man be careful not forget Thor or Hulk and all Avengers, they exist separately and together at the same time.’
The problems of this sequel are mainly two: first, comes to the big screen after the masterpiece “The Avengers”; second, there is a gap with the comic and this has kicked off to endless controversy.
I admit that I understand the disappointment of those who know Iron Man’s comics and delusion that certain changes can lead to the public: writer-director Shane Black would had to consider the effects of these alterations.
I also admit that there are errors, but in this case the viewer must be less pretentious because overall the movie is very funny and spectacular.
At this point I would like to highlight, passing the comparison with the comic and considering only the movie, what I consider really the downsides, the lack of depth villains – no fault of actors Guy Pearce and Ben Kingsley – the script just can not characterize them in incisive way, the events that involve the female protagonist Pepper Potts – Gwyneth Paltrow – go to the ridicolous towards the end. However, the movie appears forceful, fun and so enthralling that passing over shortcomings and the viewer enjoys the best. In this “the best” I include a beautiful soundtrack by Brian Tyler and an implicit humor in the entire film that transmits a constant good mood.
With Iron Man 3 you’ll leave the theater reloaded. The final knock of energy is transmitted by the amazing start of the end credits; the screen split into panels that changing rapidly, fast-paced music, all in 70s style – with artistic incursions in the 90s – just as TV series’ opening credits of those times. What exciting moment!
