Lee Daniel's The Butler

Lee Daniel’s The Butler

A review

August 20, 2013

Viewed August 20 2013

***.5 out of *****

“I, too, sing America.

I am the darker brother.
They send me to eat in the kitchen
When company comes,
But I laugh,
And eat well,
And grow strong.

Langston Hughes

            The canvas of US history is laden with events that resonate with a certain age citizen.   These generations that stretched from the end of World War II to the era of the internet and technology survived and grew in a turbulent passage of painful challenges, and for many that long ago world exists in memory, or in the filtered images that television covered, and for today’s youth it is only history.    History asks questions of both the ones who survived it and can relay their role within its foundations, but it asks a larger question of those who follow in its footsteps.   What have we learned, and how can we take that knowledge into our own uncertain future?

            The Butler writer/director Lee Daniels fourth film.     The acclaimed director who garnered huge praise four years ago for Precious, is back with a film that seeks to cover sixty years of American history filtered through the eyes of a White House butler, Cecil Gaines.    The film, sharply performed is both touching and honest in its portrayal using the life of Gaines to reflect the decades fight for civil rights.  

            The story which uses a magazine article, “A Butler well served by This Election” by Will Hagood to form the story of Gaines which follows his early life on a cotton farm in a tense opening scene to his career in the White House where he encounters President after President while his family life takes a back seat, and a lifelong rift develops with his son. 

            The screenplay by Danny Strong works best when we are allowed to see behind the man that Gaines is in the scenes with his family, and especially the people he encounters behind the world of working at the White House.   It is only in the scenes with the men who play the Presidents that the film falters, as the audience is asked to spot the star casting.   The film peaks in its middle section that covers the turbulent Civil Right Movement that Gaines son, Louis is on the front lines fighting his personal battle to not be his father. 

            Like most films that deal with this length of time in history certain eras get passed over, for better or for worse and the film chunks out large gaps in time.  I imagine that a longer film may exist, even though the film runs well over two hours it seems to fly by.   

            The film offers three excellent performances of note.   First off Oprah Winfrey, who for an iconic personality she has become does a wonderful job vanishing into the role of Gloria, Gaines’ wife through the times.   Ms.  Winfrey brings a tenderness to the role that is needed.     As Gaines, the multi-faceted actor, Forest Whitaker is at the top of his game.    As an actor there is something complex, strong, and sensitive in Whitaker’s portrayal that recalls why he has flourished in nearly every role he has taken in his career.    Young English actor, David Oyelowo is mesmerizing as Louis, Gaines oldest son.   It is his career best work to date.

            Terrence Howard shows up at the midpoint in the film to provide a counterbalance to the steady Cecil.  Other actors like Cuba Gooding Jr, and music stars, Mariah Carey, and Lenny Kravitz play characters who needed more fleshing out.    Robin Williams, John Cusack, James Marsden, Live Schreiber, and Alan Rickman briefly play Eisenhower, Nikon, Kennedy, Johnson, and Reagan.

            One of the strengths of The Butler is that it could be told using multiple perspectives.   There have been many good films made about these eras in history.   Very few have tackled all of these times with the ambitious scope that this film wants to encompass.   Despite losing steam in its last third, The Butler represents a vivid glance into our recent history.    

Tommy Key

Rated PG-13( violence, disturbing images,  language, sexual material, thematic elements

The Way Way Back

The Way Way Back

A review

July 29, 2013

Viewed July 28, 2013

**** out of *****

There is something deep within us that sobs at endings. Why, God, does everything have to end? Why does all nature grow old? Why do spring and summer have to go?” 
                                                                                                            Wheeler

Of all the seasons it is summer that offers in promise the most growth, and the most healing.   The days seem longer.   The heat lends itself to reflection after all, and as children we often wish summer would last forever.   Trapped as it were in time, searching for that one magic moment as adults when we are jolted back into memories that we have placed on a back space in our hearts.   It is summer after all when we often make that turn toward adulthood.    It is there we find ourselves changed.

          Even though it is set in a modern setting,  a great deal of the charm of this tender and funny coming of age story, The Way Way Back lies in its ability to not be about any particular time and its broad themes and characters seem to belong to every place and time.    This becomes critical in understanding what makes the film work.    It really does not work as a true classic of the genre, but it has enough heart to glide over its bumpier spots.

          The movie concerns Duncan, a quiet, introverted young man on summer vacation with his mother, and her new jerk boyfriend and his older daughter.   For most young men a summer at the beach would be ideal, but for Duncan he is miserably treated by his mother’s boyfriend and feels lost.   His escape comes in the most unlikely of places, a local water park where he finds friends and a job, and himself. 

          A great deal of the humor of The Way Way Back comes from the funny exchanges of dialogue, and the way Duncan views this strange new environment.   Beneath the humor is a great deal of emotional pathos.   After all a great deal of the film deals head on with the pain of absent parents, and a world that is rocked by divorce.   Like most coming of age films the adults are the clueless ones, lost in a maze of booze and infidelity, and the youth are the ones who are self-aware and capable of growth.   The only adults who seem really mature are the fun loving employees of the water park, notably a great turn by Sam Rockwell who plays Duncan’s mentor and friend, Owen. 

          The film, the brainchild of writer/directors Nat Faxon and Jim Rush, who have small but funny roles in it, is both an ode to growing up and I think a not so subtle heavy handed attempt to draw attention to the pain of modern families and their fractured nature. 

          The film is superbly cast.   The aforementioned Rockwell is a standout.   I wish the writers had fleshed the character out a little deeper.   It would have been interesting to see the shading behind the wisecracks.    Keep an eye on young Liam James who plays Duncan.    The rest of the cast is filled by veteran performers, Amanda Peet, Maya Rudolph, a hilarious Allison Janney, and a grown up Anna Sophia Robb who Duncan encounters.    Toni Collette is excellent as Duncan’s mother.    She gives the character great shading, and it is easy to fill in her back story.    Steve Carell’s Trent is an interesting turn for the well-liked actor.  It is a change of pace seeing this actor playing a character that is meant to draw audience disdain.

          Like most coming of age stories this one is not dependent of its big moments, but there are a few moments that may make one want to cheer.   Summers all come to a close, and maybe those small moments are what we all remember, the one true friend, the first kiss, the far off glance into an uncertain future that we dream about when the days turn cool.  

                                                              Tommy Key

Rated PG-13( thematic elements, language,  drug references, sexual content)

World War Z

World War Z

A review

June 22, 2013

Viewed June 22, 2013

**** out of *****

I pulled into Nazareth, was feeling 'bout half past dead 
I just need some place where I can lay my head 
Hey, mister, can you tell me, where a man might find a bed? 
He just grinned and shook my hand, "No" was all he said. 

                                                     The Band

          There is nowhere to hide that is safe.    The world you woke up to this morning is gone.  What is left in its place is a nightmare.    The end of civilization has come, not with bombs, or guns, or disasters, just people destroying each other in a mindless frenzy.   This is the end, unless you can stop it. 

          The advance word six months ago nearly pronounced this thrill ride of a movie dead on arrival if you will pardon the pun.   World War Z, based on the very popular novel by Max Brooks of the same name, survived its bad press and rumored outrageous budget and reshot ending to survive and arrive in theatres with a loud triumph.    This is certainly a film that merits attention whether the current zombie obsession is one’s cup of tea or not.  It certainly is not mine, however I was riveted for nearly all of the much too short running time for this shocker.  

          In fact, its too hasty conclusion and rushed characterizations are really all that is wrong with the film, and even those can be forgiven partly.    What is on screen is a non-stop and sometimes out of breath race against time to save the world.   We find out pretty early on that most of the world is spinning mildly to the brink of extinction or at least of the extinction of the human kind that is not obsessed and running wildly after any life. 

          All that stands between this destruction may be a former UN investigator, who along with his family is saved in one of the many narrow escapes from the zombie hoards, only to be ordered to investigate and try to locate the source of the epidemic.  

          The screenplay by Matthew Carnahan, Drew Goodard, and Damon Lindelof condenses the novel events into a short and direct film with little room to ponder the darker questions the book probes.    The director, Marc Forster continues to build upon an impressive body of work with tense and absorbing sequences.    The result is a film that is likely to have one looking over their shoulder or shielding their eyes during its two most impressive set pieces. 

          Brad Pitt in a role that is a change of pace for the actor underplays in the role of Gerry Lane.   This decision serves the film well as an overly bravado laden performer would have made the movie silly.    Unfortunately Pitt has to carry the film on his shoulders as the large cast barely registers save a noteworthy turn by Daniella Kertesz as an Israeli soldier that gives the story a lift midway through.   

          A longer film may have existed prior to the reshoots, and it would have been interesting to see what a more character driven piece would have looked like, but this is a worthy addition to the world- ending films.    Surprisingly and maybe thankfully the film is mostly free of using gore and blood to add to the terror and relies mostly on suspense.  It is the fear of what is behind the corner that is most effective, and makes World War Z worth a night at the movies.   It may just leave you wanting to leave the lights on just a little longer, and be very quiet and still.     

                                                              Tommy Key

Rated PG-13(intense frightening zombie sequences, violence, disturbing images, language)                                                 

Man of Steel

Man of Steel

A review

June 15, 2013

Viewed June 15, 2013

“It is not in the stars to hold our destiny but in ourselves.” 
― William Shakespeare

          The young boy cowers away from his peers.   He is afraid of the noises in his head.  He cannot shut them out.   He is different, so different in fact that he cannot make sense of how or why.  His mother arrives to comfort and plead with him, and he says simply to her “the world’s too big”, and she says “then make it small.”    Society does two things with loners and misfits, they become outcasts, or they become icons.   Identity after all is about the essence of the central duality we all share, and the beliefs we ascribe to as we accept our destiny.

          Superman first appeared during the Golden Age of comics in the late 1930’s and the enduring figure of the muscular, powerful and benevolent protector of mankind has endured and changed with the times.    Each generation seems destined to get the Superman we most desperately need. Even though we had a reboot of sorts just eight years ago, 2005’s Superman Returns,  the timing seems right for this latest version which is engaging throughout and is spectacular often enough to rate it a smashing success.  

          Man of Steel is a surprising entry in the comic book canon because as conceived and executed it seeks to humanize a character that is most often viewed in the most fantastic light.  Here in this film we get a glimpse of a Superman most in the form of a Clark Kent who seeks to hide from the world instead of help it.    This change in tone and mythology of the character open the door for the strong screenplay by David Goyer to explore the character in depth, and also and decisively challenge the audience’s perceptions about what to expect.    Taking a cue from the successful Dark Knight series, its creator Christopher Nolan serves has producer and story credit, Man of Steel is not just a cerebral experience but an attack on the senses with blistering action set pieces delivered with panache by young director, Zach Snyder.

          Mr. Snyder may have been a surprising choice to guide the film, but it zips along despite a long running time, and contains enough strong moments that it offsets most of its flaws, most notably a major plot development critical to the film which needs more explanation.

          The film rehashes the origin story of Kal-El, who is sent to Earth from his dying planet of Krypton in the film’s powerful opening scenes.   Here on Krypton we are given longer and more detailed explanation and introduction to the planet, including meeting the renegade warrior General Zod, who in the film’s second half will make it to Earth chasing Kal-El to help rebuild the destroyed planet using and wiping out Earth’s population to achieve his goal. 

          The filmmakers have made so wise and very brave decisions in regards to the film’s narrative t with the use of flashbacks to the past, which in this rare instance do not detract but enhance the film’s structure.    Only a few times in the film is the narrative flowed rushed in favor of getting to the next sequence.    Thankfully the payoff is that one is likely to stay glued to their seat once the second half of the film starts.   

          The film is reverent to a degree and unlike many of the recent comic book blockbusters does not seek easy laughs.   In fact this is wide departure in tone that the few laughs that come are much more effective.   Even the General Zod character, wonderfully played by Michael Shannon is given character shading and a powerful motive in his actions.     The name Superman is only uttered once in the film, and even that comes as a bit of a surprise that it seems to fit the moment perfectly. 

          The most common denominator with previous incarnations of the films is rah-rah stance with gung ho celebrations of what are commonly noted American values, hard work, sacrifice, individuality, the Military, and a not too subtle religious reverence for the character.    These do not detract in any way from the film’s power to entertain, but they add an air of depth and seriousness.   Only very briefly toward the end is the audience given sustained reasons to smile, and by the end it has been well earned. 

          Impeccably cast this film features a number of excellent performances.    In the title role, British actor Henry Cavill looks the part and gives a quiet performance.   Whether as Clark or Superman this is a different take than previously seen and fits the new version of the character.   Russell Crowe plays Jor-El, his father and sticks around long enough to make a lasting impression.   As Clark’s earthly parents Diane Lane makes a worthwhile Martha Kent, while Kevin Costner is superb as Jonathan Kent.   German actress Antje Traue makes a formidable second villain and companion to Shannon’s General Zod.   In a role that seems like it was cut drastically, Laurence Fishburne portrays Daily Planet editor, Perry White.    The always excellent Amy Adams take Lois Lane in new directions and her character this time around is so central to the action that the film misses her when she is sidelined.  

          The new score by Hans Zimmer is both bombastic and moody and heightens the energy of the film.   The film for better or worse has more of a foundation with sci-fi than the most recent comic blockbusters, however do we dare estimate the death toll that film’s destruction might suggest.

          This latest version, a mix of the new and old takes Superman out of the air to ground him as a human, and reflect the need for a hero that audiences can invest in again and again.  This latest film delivers the real deal, even if the suit and the man has changed through the years.   Man of Steel is not to be missed.

                                                              Tommy Key

Rated PG-13 (sci-fi violence, action and destruction, language,

          

Now You See Me A review

Now You See Me

A review

June 3, 2013

Viewed June 2, 2013

*** out of *****

“ Nothing is more sad than the death of an illusion”

                                                                        Koestler

              The old phrase goes simply “seeing is believing.”    Are we born skeptics or are we born believers?   We go to the magic shows hoping to suspend belief for just a moment in time.   Houdini escaped time and time again cheating death.  We know that, but he was just a man.  We know the elephant cannot really disappear, don’t we?   There is a trick, some mechanism that is hidden from the audience that makes the magic.    Yet we go to be fooled, to be amazed to see with our own eyes what we want to see.

              The new film, Now You See Me covers very little ground in the realm of unveiling any hidden magic about the world of magic.   Uneven, frenetic but watchable and entertaining for most of its running time the film is likely to leave you guessing to its final reveal(Hint, I did not guess it)   Most of the charms of the film and there are several occur during its middle section, but the film is maligned largely by one too many subplots that the screenwriters leave juggling for the audience to fill in the gaps.   

              The film concerns the hunt for four elusive magicians who after pulling off an elaborate trick in a Las Vegas act appear to steal a ton of money from a bank in Paris and give the money to the assembled audience.   This runs them afoul of the FBI who are pursuit of the group as they begin to plan and execute something bigger while being pursued.

              The less said about the rest of the labyrinth plot is wise, not that I could explain the twists along the way, some of which under analysis make no sense.    This is modern moviemaking after all, with its unusual shot camera angles and its frenetic editing that suggests other stronger films including a late hour car chase better suited to a Bond film than this thriller. 

              This hodgepodge of both a good and bad film is the work of screenwriters Ed Solomon and Boaz Yakin who seek to confuse the viewer with its rapid fire dialogue where all the characters speak as if they were Doctoral candidates in one-liners from a university producing comedians.    Its director, Louis Letterier who has good work in his future as an action director is best when the film slows down and works on character development, which is very little.     I would have loved to see some back story for the characters.    The deepest confusion a viewer may have is wondering who as the audience are we supposed to be following.    Are we meant to be engaged by the leader of the greatly named, Four Horseman group of magicians led by Jesse Eisenberg’s Daniel Atlas, who is still channeling his Mark Zuckerberg in this performance, or are does our allegiance lie with the FBI agent, Dylan Rhodes, played by Mark Ruffalo, who seems to be in a different movie at time from everyone else, so serious does he play his role?

              The rest of the strong cast, Isla Fisher, Woody Harrelson, and Dave Franco as the fellow magicians have nice moments.  Harrelson has played this role before in some form or fashion so it is no great stretch for him.      Morgan Freeman and Michael Caine try to infuse their characters with a little life, but both are miscast in their roles.    However they are fantastic all compared to poor Melanie Laurent, miscast as a French Interpol agent who sole purpose in the script seems to be to give more exposition.

              Despite my reservations I found myself enjoying the film.    The magic sequences are a great deal of fun to watch, and more scenes hit the mark than miss.    In magic terms the whole film is more apt to appeal to those who are apt not to question where the film is taking you, just sit back and believe.    If you peak behind the façade backstage, you might spot the holes in the act.   

                                                                                      Tommy Key

Rated PG-13( language, action, sexual content)

Star Trek: Into Darkness Review

Star Trek:   Into Darkness

A review

May 17, 2013

Viewed May 16, 2013

****.5 out of *****

“What's past is prologue.” 
― William Shakespeare,

              Rhetoric, the kind that moves mountains and people is made up of many factors, but it is most often effective when it is backed up in the words with solid actions often emotion based.   Emotions that based on more than random if not rational thoughts that make up the land of ideas and ideals, but something of deeper substance.   To trust one another in a time of crisis to make the intelligent decisions is the goal of the family and the family unit.    It is in in these times of crisis when one becomes aware of the vulnerable balance between the intellect and the heart.  

          Early on in the marvelous new film, Star Trek: Into Darkness the statement is made to a young, brash officer named James Kirk, by his mentor and commander that he believes in him.   He believes in the young man even though he by his own admission does not play by the rules that govern their federation.   He flaunts them recklessly, and uses emotion based thought to guide his courage. His courage is one of blustery confidence on the outside with the fears well hidden.  His first officer, a man of another race, half human, half Vulcan believes in the rules.   His world is one of logic based ideas, but nevertheless as courageous as his captain.   He hides his emotions behind a veil of reason, but they exist.

          As a television series, Star Trek only lasted three years, but those three years of television launched a new futuristic world of man’s journey into the reaches of the galaxy.    It promoted among other things a half Utopian, half nightmare version of the future with galaxies and alien races that could be explored and learned from, and also beings who would have to be confronted and defeated to maintain the balance of peace.   Standing at the center of this universe are these two opposing forces of reason and emotion, united in the same timeless struggle. 

          The popularity of the multiple television series, the feature films and the endless variations and stories have used a narrative that alters between these factors to make science fiction a story of people and characters and less a story of coming fantastic future. 

          This newest version, directed with style and verve to the max is instantly one of the best in the series.  It is a stunning visual treat, an exciting thrill ride that delivers a new take on the familiar, and yet rings true for all that has come before.  

          In the capable and talented hands of its director, J.J Abrams the film returns us to the origins of the original Star Trek crew, now in charge of their own starship, Enterprise.   The familiar characters return, Kirk, Spock, Dr. McCoy, Scotty, Uhura, Sulu, and Chekov.     Rather than simply pay homage to the previous characterizations the seven actors filling these roles have managed to make the parts their own.     This is a Star Trek for a new generation(without pun), and this film is likely to create thousands of new fans with a spectacle so rich that it demands to be seen at the highest possible format. 

          It must be noted that the Star Trek reboot could have been a failure.   It could have failed either financially or artistically and it has not been either, but with Abram’s shepherding it is likely to survive for many more generations.     

          Although hugely popular Abrams’ first stab at this sacred property in 2009 suffered as many films do from a classic reset to the story and an introduction to the characters that have been so beloved for so long.   Reverential and heartfelt, although epic in scope, the film was new and exciting.   By resetting the universe as it were with the events in Star Trek, it opened a door for the filmmakers to both embrace the mythology of the show and films and run from it with warp speed. 

          This latest epic is more testosterone based entertainment than the series or previous films in the series dared to be.   The Enterprise crew is faced with a threat against as one officer puts it “an all out war against Starfleet.”     The crew sent to eliminate a former Starfleet officer, John Harrison who has brutally attacked Starfleet commanders leaving many of them dead.   As they uncover more information the true nature of the characters and their mission will be illuminated. 

          Star Trek: Into Darkness is largely built around three incredible and powerful sequences that are stunning mini-films.    The sequences including a breathtaking and powerful sequence over a third of the way in that knocks the viewer for a loop.    Finding the surprises hidden in the strong screenplay by Robert Orci, Alex Kurtzman, and Damon Lindelof is only one of the pleasures of the film.   The film’s somber tone is offset by the marvelous touches of humor and warmth that the characters show in their interplay, and in the way the actors seem to be rebuilding the characters anew. 

          Visually this certainly is the top film in the series with its vibrant colors and incredible effects it stands alone.     Only a few minor quibbles here and there prevent the film from masterwork level.   They include perhaps a need to flesh out further some of the relationships in the story, and in my opinion a too-rushed over ending.          

          A unusual name, an accomplished performance is put in by British actor, Benedict Cumberbatch.  Mr. Cumberbatch cut his teeth in television’s Sherlock Holmes and here gives a performance that is honestly one of the strongest recent heavies in film.    His performance is not showy, but sets a convincing and powerful tone for the proceedings.     The returning stars to the series are excellent with a more flushed out performance notable this time for Zachary Quinto who plays Spock, and Zoe Saldana who plays Uhura.    Chris Pine, without apparent effort has overtaken the role of Kirk.   The burden of expectation lies with the audience and Mr. Pine has the chops to make the audience believe he is becoming a leader.  The rest in the cast, Karl Urban as McCoy, Simon Pegg as Scotty, John Cho as Sulu, and Anton Yelchin as Chekov are each given great moments to shine.    Bruce Greenwood and Alice Eve take stabs at former iconic Star Trek characters to nice effect.   The only weak performance is by Peter Weller who plays his critical role with too much bombast.

          Certain to be one of the strongest entries to 2013’s summer movies Star Trek: Into Darkness meet the expectations of the long time Trekkies, as well as those who want to spend two hours with an exciting fast paced tale that leaves you ready to continue further journeys into space.    I imagine there will be more than a few hearts excited as the final credits roll.   

                                                              Tommy Key

Rated PG-13(Intense sequences of sci-fi action and violence, language)

          

Iron Man 3

Iron Man Three

A review

May 4, 2013

Viewed May 3, 2013

***.5 out of *****

“When sorrows come, they come not single spies
But in battalions. “

                                                Hamlet  Act V

                                                Shakespeare

            The outside spectator viewing the life of a brilliant, handsome, charming gentleman known as Tony Stark, who also happens to be Iron Man assumes the mantel of greatness is an easy one to wear.    Victorious over the forces of darkness of this world and the next not once but twice, Tony Stark aka Iron Man, virtually one in the same in the public’s eye, and the man who wears the suit seems to have it all.   After all he has cheated death not once but twice, and capable of expanding his power over his creative mind and his empire.  It is an illusion.  Hidden behind Tony though is a vast amount of fear and angst, who is he really, and will the sins of his past catch him after all? 

            Thus begins the premise to 2013’s first certain blockbuster, Iron Man Three.    The film, a mixture of the fantastic and the familiar, tries and sometimes succeeds on multiple levels, but works well enough for most of its long two hour fifteen minute running time to please fans of the character that anchors Marvel’s film universe.     This Iron Man could have used additional script polishes to flesh out its weaker scenes and narratives, but it is amazing to look at, with by far the best film effects of the trilogy.   The film also is one of the great misdirection marketing campaigns that I can remember, but fortunately for fans of the series features the most twists and turns of the whole series, with one huge one that turns the film upside down, and a few more surprises that represent a definitive shift in tone from the first and second film in the series.

            This third film is a vast improvement over the last outing which did little to expand the character, and was basically an excuse and additional setup to the film universe that exploded with last summer’s The Avengers.   This latest outing takes place after the events of that film and references it often enough that it maintains continuity.  

            This outing is long on plot and action sequences although viewers will be shocked to see so much of the film take place with Stark outside of costume, and the mid film shift in tone and the huge twist is likely to either play well with audiences, or cause some uncomfortable shifting in the seat  The first half hour of the film is pure setup as the audience is introduced in a flashback to two new characters, Aldrich Killian and Maya Hansen, each of whom remember Stark prior to his Iron Man days.     The film also introduces the long standing from the comics Iron Man foe, The Mandarin.    In this version the US is being tested from the threat of the terrorist, Mandarin who is striking at will and murdering civilians, and is targeting the President.    The film also introduces a powerful weapon in Extremis a biological tool which Stark and his allies must face.

            That said the less said about the plot the better.   I will say this much for the marketing of the film, it is nice to go into a film and be surprised.   Part of the credit and blame for both what works and what does not must go to director, Shane Black, who replaces actor/director Jon Favreau who is still in the film as Stark’s loyal friend, Happy.   Black takes the film in a different direction.   The film is much darker, and much more violent in tone from the first two films.   However it contains enough dashes of humor, but unlike the first film I found the humor to be a distraction.    This is a film where Stark and Iron Man are up against greater odds, and the minute by minute wisecracks only work to an extent.  

              Iron Man Three largely works because we are invested in Tony Stark’s success.    This is largely due again to just how much Robert Downey Jr. has adopted and made this role his signature one.    Downey infuses Stark especially in the middle section of the film, with just enough pathos that we believe he can be not only hurt, but that his conscious is taking a beating.    If only the filmmakers and the public could work through the darker stretches of the character arc it might be interesting to see where this area could be taken.   

            The best sequences in the film, the massive attack on Tony’s home, the air rescue out of Air Force one, and the climatic sequence that conclude the film are both enjoyable set pieces that are what audiences crave, but they are only part of the film.     Black, known foremost as a screenwriter utilizes everything at his disposal, but the one element from the screenplay by he and Drew Pierce is any true sense of emotional grounding.      The film simply exists as spectacle with little bits thrown in that indicate a more dramatic arc was needed.

            In addition to Downey the series marks an increased role for actress Gwyneth Paltrow.   Her Pepper Potts has been one of the better highlights of the series, but in this film the actress gets directly in harm’s way, even doing the Iron Man suit in one amusing sequence.    New cast members strike a mixed tone.   As the Mandarin, Ben Kingsley is sadly underused.   The presence of Guy Pearce, as Killian who makes a striking villain in his own right gives a sharp performance.    In what is becoming standard fare Rebecca Hall, an actress who seems initially out of place in a comic book movie gives a solid performance considering how underwritten her role truly is.  

            In the end the virtues of the film, its fine cast, excellent effects, and its visual flair override some of its glaring weaknesses.   Audiences are promised the return of Stark and Iron Man at least by the Avengers sequel due in 2015.    In the meantime, Iron Man Three is a satisfying entry in the series.   My only hope as it continues is that the next film is filled with some genuine sense of growth for its characters.   In a critical moment in the film fearing for his life and not her own, Paltrow’s Pepper screams in agony the name on her lips, the name not belonging to the hero inside the suit, but the man she loves and calls Tony.  

                                                                        Tommy Key

Rated PG-13 ( intense sequences of sci-fi action and violence, language, suggestive content)