In the five years since making the leap from comic book panels to cinema screens, Tony Stark has been many things: a genius billionaire playboy philanthropist (Iron Man), a pioneer trapped by the legacy of his father and his own increasing infamy (Iron Man 2), and a quick-witted, wise-cracking superstar of superheroes (The Avengers). In his fifth film outing (including an uncredited appearance in The Incredible Hulk), the now 50-year-old creation of Marvel mastermind Stan Lee takes on yet another new guise as a victim of his own prolonged success, with the fragility of the charming man inside the formidable iron suit at the fore of the latest effort.
Iron Man 3 sees Stark (Robert Downey Jr, Sherlock Holmes: A Game of Shadows) seemingly at his peak, but nonetheless troubled by his favourable fortunes. The fame of his similarly mechanically-adorned friend James Rhodes (Don Cheadle, Flight) and the business nous of his assistant-turned-CEO girlfriend Pepper Potts (Gwyneth Paltrow, Contagion) can’t penetrate his work-centric, faux calm exterior. Instead, recurring memories of past stresses are heightened by the emergence of tech-savvy, explosion-happy terrorist The Mandarin (Ben Kingsley, The Dictator) – with two of Stark’s former acquaintances (The Town’s Rebecca Hall and Lawless’ Guy Pearce) in tow.
Taking the reins from original series helmer Jon Favreau (Cowboys & Aliens), writer/director Shane Black possesses the ideal pedigree for the content and cast, not only boasting comedic action credentials as the scribe of Lethal Weapon, but having taken his leading man on a similar journey in Kiss Kiss Bang Bang. The swift banter and wry humour of that unexpected hit is evident, along with a story of soul-searching and redemption set in the unlikeliest of scenarios; however instead of aspiring actresses and private detectives, the stripped-down world of superheroes provides the context for Black’s new narrative.
In a script co-written with Drew Pearce (the forthcoming Pacific Rim), the titular character is given flesh and bones inside his now segmented, free-flying costume of metal, yet the core of Iron Man’s irreverent, eccentric appeal remains. Heading in the tonal and thematic direction of Christopher Nolan’s Batman trilogy, darkness lurks within the punchy dialogue, just as grittiness tempers the shine and sheen. Although not always effective, the delicate balancing act between seriousness and levity, angst and amusement, and action and introspection adds weight and intrigue amidst the self-assured entertainment, subverting expectations.
While energetic and occasionally overblown CGI set pieces are far from absent (and are ably handled by Black and Cloud Atlas cinematographer John Toll), for much of its length Iron Man 3 values character over visual chaos – as the time Stark spends sans suit, and the moral complexity of those on either side of the good versus bad divide shows. The irrepressible Downey Jr. and his skilled supporting players benefit from the focus – particularly the scene-stealing, simply unforgettable Kingsley – as the entire cast relishes the meat of their roles.
Of course, the film remains a comic book creation filled with comedic riffs, clever twists, and conflict building towards a climax, all competently – if messily – constructed. As the now seven-strong Avengers series has demonstrated, cartoonish no longer proves an apt descriptor for such adaptations; though uneven, the stylish, substantial Iron Man 3 may be the most mature effort yet in the franchise.
Rating: 3 ½ stars out of 5
Iron Man 3
Director: Shane Black
US, 2013, 130 minas
Release date: April 24
Distributor: Disney
Rated: M
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