If you should be selected from superheroes, I'll have Robert Downey Jr. in the wisecracking Tony Stark on Christian Bale growling Batman any day of the week. While the films show the respect for tradition Iron Man comic book, it also keeps the tone appropriately goofy, fondly mocking their hero - the billionaire inventor who flies around in a robot suit at a high level - God, vanity, arrogance and generally tampering.
Last year, the much-hyped Joss Whedon's superhero team-up The Avengers saw Tony gods battling an extra-dimensional monsters along with the Hulk (Mark Ruffalo), Thor (Chris Hemsworth) and Captain America (Chris Evans). This probably represents the best that can be done at the present time in the range of form - basically, a talkative band comedy interspersed with bangs.
One might expect a similar level of disregard of Iron Man 3, directed and co-authored a talented vulgar postmodern Shane Black, who has been out of action since his inspired action comedy Kiss Kiss Bang Bang (also starring Downey Jr.) in 2005. He also found there and in other places, and one of the black sensitivities most recognizable in popular cinema - Part old-fashioned romantic, part Hollywood from the inside, part snickering 12-year-old boy.
Robert Downey Jr. in Iron Man 3.
These qualities are present in Iron Man 3 to some extent, along with other black tics can be recognized (Christmas tunes, scenes of torture, and the unjustified use of the word "Ficus"). But the film is still a manufactured product rather than anything more personal. The Black rein love of the outrageous and profane for young viewers, and the action sequences are mostly routine, with little gained by 3D, the plot traces arc redemptive Overwamilliar of, where Tony must regain his humanity with the help of his friends.
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We learn early on, does not have a mind-blowing events of Avengers Tony deeply shocked and prone to panic attacks (a logical progression from Downey Jr. in wired'' schtick). At the same time, a new enemy appears in the form of jihad ethnically ambiguous, and Mandarin (Ben Kingsley), who puts the long-suffering Tony pal James Rhodes (Don Cheadle) in a hospital in the latest bomb.
For revenge, Tony calls unwise latest opponent to go one on one at the top of the cliff palace-cum-laboratory which is shared with the long-term sweetheart Pepper Potts (Gwyneth Paltrow). For their part, are fed up with Tony Pepper depression and she's ready to be intrigued rival inventor Aldrich Killian (Guy Pearce), a former technology geek who restored himself as a corruption of companies along the lines of the 1980s with the treated hair back.
To solve the mystery that connects Aldrich with Mandarin, Tony has to go out on his own, at least as far away as Tennessee. However, the design of the script so he has always publicly God wounded narcissism, whether it's Jim, pepper, bodyguard Happy Hogan (Jon Favreau), a child hero worship (Ty Simpkins) or simply computer Jarvis live (voiced by Paul Bettany ), which controls the high-tech weapons.
Even more than most films superhero, are constructed film Iron Man on the paradox of star charisma, which disappears almost whenever kicks working on computer-generated where once they are secure Tony in the suit, and he could be anyone (although an occasional close-ups of his face straining ). This explains why the verbal ironist Hyper like Downey Jr. is so perfect for the role: the sense that he is able to stand back from the story, the narrator works as an observer like Johnny Depp in Pirates of the Caribbean saga.
To put it another way, Tony in his lawsuit gets to feel strong and secure at the same time, an infantile imagination We welcome winkingly for the post. Black knows exactly what to do and are willing to tell us this: In the final monologue, Tony explicitly refers to shield as a "cocoon". Of course, if he intends to really get rid of Technology him for self-protection, the series has to end - and if Downey Jr. wants to get out of the rut his lucrative private, he should try his kind where you are given artists a little more freedom.
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