Iron Man 3

Skyfall de las adaptaciones de Marvel. El tono más oscuro y maduro de Jon Favreau ayudó muchísimo a la fiesta juvenil original. El realista y cínico Shane Black ama a Iron Man, y por ser el héroe de Marvel más interesante gracias a su personalidad, lo desarrolla con más profundidad (manteniendo el estilo juguetón de Marvel) que a ningún otro vengador hasta ahora. Los sentimientos y las necesidades proteccionistas de Stark por Pepper son más tangibles, sus consideraciones existenciales más autocríticas y acertadas. Además, un juego muy bien iniciado entre los buenos y los malos, donde tiene sentido tanto el personaje secundario de Rebecca Hall, la amiga de Stark del pasado, como, ¡en particular! - ambos villanos (Raimi, aprende). Quines sirven un giro inteligente y provocativo en el marco de la percepción de los esqueletos actuales de la política mundial, lo que también le da espacio a la creación delicatessen de Kingsley que es mi favorito. Además (sobre todo en la segunda mitad) cañoneo de gran humor y acción pirotécnica clara, durante la cual parece que los efectos especiales ya no tienen adónde ir (fíjese en el número de «Digital Efects Crew» en los créditos finales). Iron Man 3 es un súper espectáculo de éxito de taquilla inteligente de ávidos entusiastas y perfeccionistas, en el que me enamoré también por la gran cantidad de detalles: la frágil Gwyneth con un elegante traje blanco, las ideas con los guantes de Iron Man y la armadura que se viste sola, el equipo b&w-buddy que recuerda a los tiempos dorados de Arma letal, o la famosa escena aérea con el uso inteligente de la colocación en 3D de personas que caen en el espacio, resaltada efectivamente por el motivo del superhéroe de Tyler (para mí, la escena más destacada de la película). Siguiendo los pasos del parque de atracciones de Universal Studios, Marvel debería abrir sus Marvel Studios y dedicar una sección al tercer Iron Man. (26.04.2013)

I kind of expected it and I'm glad for it anyway. The main star of the third Iron Man is actually Shane Black, who was as comfortable with Iron Man as anyone before him. The trailers beckoned to the darkened paths trodden by The Dark Knight, but the result is ultimately the most refreshing summer mix of a spectacular blockbuster adventure. For over two hours, I admired how Black makes it a personal race to be the better screenwriter or director, without compromising his claims to be the most entertaining character in the Marvel universe. He also does it with a sovereignty that is admirable in a man who is only in his second year behind the camera. Iron Man has ceased to be the pedestal of Downey's ego and instead is firmly gripped in a story that works in all areas without any of them fundamentally excluding each other: From great dialogues, perfect characters, great action, and an emotional whirlwind. For example, the episode with the little boy, where two tech enthusiasts meet, simply reminds the viewer that some of us never grow up. And then there’s the unconventional love story... when it's personal, you just perceive the action a bit differently, and honestly, without the suit. I'm tempted to shower superlatives like I rarely have before, but I'll allow myself at least one single (but for me perhaps quite crucial) criticism: in terms of the ultimacy of the action, the raid on Stark's house is just a slight hair better than the ending, so the action orgasm comes a bit sooner. Anyway, thanks for everything, Shane. And thank you, Marvel, for having the courage to trust your kids with unconventional creators. (How about the Asgardian god in the hands of Alan Taylor?) (03.05.2013)

I enjoyed the first part of Iron Man, but at the same time I realized that he’s not going to become my favorite character. Robert Downey Jr. portrays him really well, I’m not saying he doesn’t, but the mixture of opponents, settings and jokes is not something that I grew fond of. I skipped the second movie and all of a sudden I had the chance to watch the third one. There was nothing else on TV so I decided to watch it to enjoy a pleasant blockbuster. I actually watched the movie twice, I wasn’t sure whether I was in the right mood when I watched it for the first time, but even the second time around the movie didn’t really amaze me. The antagonist was actually quite OK, but I simply couldn’t find anything to hold on to that would attract me to the movie. Simply put, I was pretty bored for the entire two hours. You see I believe it’s two hours of an absolutely mediocre movie with good visual effects, which unfortunately are not everything. (24.01.2014)

The best Iron Man, sure, but nothing to write home about. It’s the same playful Marvel as we know it, it doesn’t get darker or rougher in any significant way. The one really interesting thing is the twist with the Mandarin, its ambition is something not very common for Marvel, with some tangible overlap, that is. But it all ends after a couple of sentences, the whole thing is quickly forgotten and plot moves forward to the mandatory and pathetic rescue of the scumbags and the American presidents of the world, with inconsistently explained rules and a bland villain. But it’s pretty good fun, even if some of the jokes are repeated, Stark’s seizures look from another (better) film and the action could be more clear and dynamic. What I liked the most were the retro end credits. 7/10 (04.05.2013)

After the rampage of The Avengers, which was spectacular but missed the mark emotionally, Iron Man 3 is an enjoyable attempt to add humanity to Marvel comic-book adaptations. This is a film that (intentionally) makes mistakes. With Shane Black, we are accustomed to the refreshing sincerity of the protagonists and transgressions against the genre, but a film that cost 200 million dollars to make provides an unexpected context for his detached view, which leads to greater wonder and admiration (you wouldn’t normally expect certain means of self-parody in a spectacular action climax). At a lower level, the protagonist also makes mistakes. Tony Stark has to get by willy-nilly without amusing technological toys for a third of the film, which forces him to rely on his own ingenuity and the help of others. He purges his identity of the media sludge (while not being the film’s only victim of the media’s reconstruction of reality) and casts off the burden of being a superhero, which is the main cause of his anxiety. The film also returns to the time before the dominance of technology by reviving – and, at the same time, relativising – the western myth (instead of the romantic settlement of the west, the Sand Creek Massacre is recalled; Stark has no problem with wearing first an Indian poncho and then a cowboy hat). The stronger emphasis on the human factor enabled Black to construct the film as a series of buddy-movie collaborations. Stark always has at hand a machine or person on which he can exercise his keen wit (Jarvis, Harley, Rhodes) and demonstrate his superiority. Despite all of the stumbles and the declaration that this time it will be about personal vengeance, he remains a true American hero who can convince you of the necessity of using weapons of mass destruction with a charming smile and a dry one-liner. In the final analysis, however, the unspectacular beginning (for a film of this format), drawn-out action scenes, underused voice-over (akin to that of Woody Allen movies and film noir) and the occasionally violent attempt at humour are only minor flaws in this bit of summer entertainment, which I see primarily as Shane Black’s grand return. I felt in places that I had gone back in time to the 1990s and was watching some of the audiovisual instructions on how to make smart and imaginative action comedies. Jon Favreau can safely stay in bed and enjoy Downton Abbey. 85% (13.05.2013)