Iron Man 3

12, 2013, Directed by Shane Black
Starring: Robert Downey Jr, Gwyneth Paltrow, Guy Pearce, Ben Kingsley

Robert Downey Jr is Iron Man. Having developed the self-professed billionaire philanthropic ‘mechanic’ over three films before it (Jon Favreau’s original two and Joss Whedon’s assemblage of those Avengers,) this third outing is as intricately layered as those new iron suits Tony Stark has been creating during his sleepless nights following the climactic events of Avengers Assemble. Be sure of this: Iron Man 3 - what many have been touting as the commencement of Marvel's second phase - should immediately be re-touted inexplicably as the single best Marvel flick yet. Step forward, Shane Black.

A writer/director who’s something of a pioneer of action movie scriptwriting (Lethal Weapon, The Long Kiss Goodnight,) it was the scriptwriter’s 2005 directorial debut Kiss Kiss, Bang Bang that led Downey Jr not only back into the clutches of Hollywood, but towards Stark himself. Quick-witted, punchy as hell and often hilarious, the words of Black spoken by RDJ are music to the ears. You can only imagine how funny Iron Man 3 can be.

Top rated dialogue. Check. An on-form Downey Jr. Always. Genuinely thrilling action? You betcha. Whereas Iron Man 2 dabbled with bloated action motivated by underdeveloped motives, this third venture immediately embarks upon establishing actions in an unnerving yet convenient manner: voiceover (this is a Shane Black film after all - and yep, you guessed it; it’s set at Christmas.) As the film opens, we join Stark and cast-addition Rebecca Hall’s Maya Hansen at a 1999 New Year’s Eve party in Switzerland; they are enthusiastically approached by Guy Pearce’s grimy Aldrich Killian, a scientist who expresses interest in working with them both. After Stark's snub, we're teased with the notion that this moment has since come back to haunt him. Cue present day, where a mystery-cloaked terrorist, known only as The Mandarin, continually intercepts the airwaves to spread forewarning of the horror he is about to induce upon America. This leads the way for Black to throw in more breathlessly-paced and edited mammoth sequences than is usually permitted, and ones that will leave you gasping for air.

Stark, battling with post-Avengers anxiety attacks and – for the most part – no Iron Man suit to aid him is stripped-back and as human as can be, pushing his relationship with Gwyneth Paltrow’s Pepper Potts to the limit. A stretch of the narrative sees him partnered with Ty Simpkin’s young kid and under the supervision of most, these moments would have undoubtedly swayed into snore-inducing schmaltz; these scenes light up the film. Structurally, Iron Man 3 nails it - if perhaps in need of a slight trim. Character-wise, Guy Pearce is effective (as ever) as the slime-ball scientist, whilst Ben Kingsley will prove to be the film’s talking point. Although more established here than before, Don Cheadle’s Captain James Rhodes/Iron Patriot is star of the film’s baggier scenes, and the less said about James Badge Dale’s eye-rolling villain‘s accomplice the better; motives may be explored, but they don’t completely convince.

Although Iron Man 3 may not sway the more cynical viewer, it will shoot the fan’s expectations to sunshine in being something nobody anticipated. Fit with zingers galore (one of which includes, against all the odds, Croydon) and one incredibly brave make-or-break twist, audiences should simply sit back and admire a film that is better than it had any right to be. Impressively, Stark’s fellow Avengers are pushed to the back of the memory. The ball's in your court, Thor.

4/5

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Source Code

2011, 12, Directed by Duncan Jones
Starring: Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffery Wright

Duncan Jones deserves recognition. Known at the time as ‘David Bowie’s son’, his 2009 debut Moon sent the science-fiction genre soaring sky-high after something of a lull. Not only that, but it was one of the most genuinely gripping and original offering of that year. Now he’s returned to earth, taking a script written by Ben Ripley and managing to acquire Sam Rockwell-standard from Mr. Jake Gyllenhaal himself. And being handed a bigger budget, cast and room to work with luckily hasn’t made Jones tone down on the confusion levels either. The plot sees Colter Stevens wake up on a train that explodes 8 minutes later. Only, Colter is part of a scheme that enables him to relive those 8 minutes time and time again so he can uncover the culprits behind the explosion. Think Groundhog Day meets Inception.

It goes without saying that Gyllenhaal – on-screen practically for the entire 94 minutes – convinces in what could have been an overtly serious role. Through his characterisation of Colter, he conveys confusion and fear of a man who knows he is about to be blown up (again) with a dash of charm and humour. These moments are most prominent when he shares the screen with Michelle Monaghan’s Christina. In short, the Kiss Kiss, Bang Bang star is a revelation. Repeatedly acting out pretty much the same scene in the same place is no mean feat, yet one that she consistently brings something new to through the charisma she exudes. She is a calming presence amidst the chaos. Knowing her inevitable fate on the doomed train aids Source Code in such a way that when Colter is adamant to discover if he can save her from an explosion that has already occurred, you understand his intentions. Vera Farmiga also delivers on a potential one-note performance as the officer who cannot tell Colter too much when he returns to the present.

With Source Code being a time-bending out-and-out science fiction offering, it is suffice to say that multiple viewings are required and will most probably enhance the experience. The film, like Moon, is gripping and original. However, unlike Jones’ debut, the climax – although hitting all the right notes – seems a tiny bit muddled for the sake of debate. This is only a minor flaw to what is a grand system. The film after all is what you make it; and I make it another boundary-pushing success for Jones. My money’s on David Bowie’s son making it a hat-trick.

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