Vasember 3.

Marvel-féle adaptációk Skyfall-ja. A sötétebb és felnőttebb hangvétel pokolian sokat segített Jon Favreau eredetileg srácoknak szánt szórakoztató filmnek. A realista és cinikus Shane Black imádja a Vasembert, és személyiségét tekintve mint Marvel legérdekesebb hősét, olyan mélységig dolgozza ki a karakterét, amit (Marvel-féle játékosságot megtartva) eddig egyetlen avenger film sem ért el. Stark érzései Pepper iránt és védelmezési hajlamai sokkal kézzelfoghatóbbak, egzisztenciális elmélkedései önkritikusabbak és találóbbak. Hozzá egy zseniálisan elkezdett játszma a jó és a rosszfiúk között, ahol mind Stark másodlagos múltbéli barátnő Rebecca Hall karakterének, mind - főleg! - a két rosszfiúnak (Raimi, tanuljál!) van értelme. Ők az aktuális világpolitikai események érzékelés segítségével tálalnak egy okos és provokatív fordulatot, amely egyben helyet ad Kingsley kedvencem kifejezésének. Mindehhez (különösen a második félidőben) rengeteg remek humor és tiszta, tűzijátékos akció jön, amire azt mondod magadban, hogy a speciális effekteknek nincs már merre fejlődniük (figyeld meg a "Digital Effects Crew" mennyiségét a záró feliratokban). A Vasember 3. a megrögzött rajongók és maximalisták intelligens kasszasikeres szupershow-ja, amibe én is beleestem a sok részlet vagy elem miatt - a törékeny Gwyneth elegáns fehér kosztümben, a vasember kesztyűjével és az önfelöltöző páncéllal kapcsolatos ötletek, a b&w-buddy csapatjáték, ami Halálos fegyver filmek aranykorát idézi, vagy a fenomenális légi jelenet, ahol ügyesen használják a zuhanó emberek 3D-s elhelyezését a térben, amit Tyler szuperhős-motívuma is (számomra a film csúcsjelenete) hatásosan beindítja. Marvel társaságnak példát kellene vennie a Universal Studios "vidámparkjáról", és megnyitni a saját Marvel Stúdióját, és egy önálló részt a harmadik Vasembernek szentelni. (2013.04.26)

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 (2013.05.04)

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?) (2013.05.03)

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. (2014.01.24)

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% (2013.05.13)