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Review – Iron Man III (12a) [2013]

Iron Man 3 - title banner

Star Rating 2.5/5

Director:

  • Shane Black – Lethal Weapon I-IV, Kiss Kiss Bang Bang, Doc Savage

Cast:

Music Composer:

  • Brian Tyler – Battle: Los Angeles, The Expendables I & II, Now You See Me

In The Avengers Assemble, Tony Stark (Robert Downey Jr.) showed his true colours by stating that he is a “genius, billionaire, playboy, philanthropist.” Indeed, one who has read the Marvel comic-books, or seen Iron Man I & II and The Avengers Assemble, or all of them, knows that Stark thinks highly of himself. But from the trailer of Iron Man III, it appeared that one would see the vulnerable side of Tony Stark for a change. Is this the case?

Tony Stark (Robert Downey Jr.) up at night, working on his numerous projects which he occupies himself with, since he cannot sleep.

Tony Stark (Robert Downey Jr.) up at night, working on his numerous projects which he occupies himself with, since he cannot sleep.

Iron Man III begins with a flashback to New Year’s Eve 1999/2000 when Tony Stark, with scientists Maya (Rebecca Hall) and Aldrich Killian (Guy Pearce), rejects an offer to invest in Extremis, an organisation that deals with experimental treatment to regenerate human limbs that have been severed.

Thirteen/fourteen years later, Stark is having nightmares about the alien invasion that occurred the previous year in The Avengers Assemble. He is suffering from insomnia and anxiety, whilst trying to love Pepper Potts (Gwyneth Paltrow). Yet, the Mandarin (Ben Kingsley) is wreaking havoc upon America with a string of terrorist attacks, using advanced weapons. Soon, he destroys Stark’s house, many of his Iron Man suits, and effectively sends Stark into the wilderness. Stark must find a way back and stop the Mandarin from unleashing more chaos, or else America will fall.

Iron Man III revolves round Tony Stark, and his quick, funny/brash responses. On the periphery, there is a plot (of some sort), some Transformers-style action scenes, plenty of explosions and fire-power, as well as sophisticated special effects in abundance. The problem is that audiences have seen all of these already, and it is starting to get very tedious.

At 133-minutes, Iron Man III is a long film that disappointingly doesn’t add anything new to the series. Worse, after 30 minutes the plausibility of the storyline ceases to exist, and it lazily goes from one plot contrivance to the next. If that doesn’t illustrate Shane Black’s contempt for the audience, the last scene renders all but the first 30 minutes of the movie as a waste of time. Couldn’t Black have just cut out all of the excess baggage and got straight to the chase? (Or, alternatively, forged a plot that actually works?)

The Mandarin (Ben Kingsley), looking and preaching much like Osama Bin Laden, in a broadcast threatening to destory America if the country does not change its ways.

The Mandarin (Ben Kingsley), looking and preaching much like Osama Bin Laden, in a broadcast threatening to destory America if the country does not change its ways.

Iron Man III also suggests that the franchise is starting to suffer from the issues that are synonymous with other series, like Pirates of the Caribbean, Die Hard, and Fast and the Furious: notably, going on too long, laziness, repetitiveness, and going back in time to make (semi-)viable storylines. The very fact that Iron Man III starts by going back in time should set alarm bells ringing in one’s mind. If the franchise has not bothered until now to mention important things that the key character has done, why should viewers believe that they are significant?

With the exceptions of young Ty Simpkins, who is cute and amusing, and Ben Kingsley, who is brilliant as the terrifying (Osama Bin Laden-like) Mandarin, the rest of the cast could not be more two-dimensional if they tried. Robert Downey Jr. plays the same energetic, narcissistic character (himself) as he did in Iron Man I & II (not to mention in The Avengers Assemble, Sherlock Holmes I & II, and Due Date). Yes, Stark is smart, sharp and impertinent, and Downey Jr. does this well (as we know he can). But, in Iron Man III, Downey Jr. was meant to display his character suffering from insomnia and panic attacks. One is hard-pressed to find an instance of Stark genuinely looking like he was suffering from such problems, which is poor on Downey Jr.’s behalf. It is a shame, too, because one might have seen Downey Jr. actually challenging himself for a change.

Gwyneth Paltrow, playing as Stark’s secretary, is little more than a one-dimensional, pointless blonde doll. Despite loving a man who loves himself more than he loves her (or anyone else for that matter), it is difficult to empathise with Pepper as she is so bland.

Stark in a broken Iron Man suit and in the winter wilderness of Tennessee. How will he ever get back if he is to save the country he has sworn to protect?

Stark in a broken Iron Man suit and in the winter wilderness of Tennessee. How will he ever get back if he is to save the country he has sworn to protect?

Rebecca Hall’s performance suffers from similar problems as Maya’s character is not especially interesting, nor well defined, and her importance to the plot is dubious at best. Don Cheadle plays decently enough in his simple role as Stark’s (patient) understudy. Guy Pearce once again plays another egotistical, two-dimensional individual (he’s making a habit of this following his roles in The Count of Monte Cristo, The King’s Speech and Justice). At least, though, the cosmetic department did a fantastic job on him. In the first scene, Pearce is unrecognisable, which is a great contrast to Stark failing to even have bags under his eyes when (supposedly) suffering from major sleep deprivation. Would it have been so hard to have put eye shadow under Downey Jr.’s eyes?

Over-all, Iron Man III is much the same as the previous two Iron Man films. It follows Tony Stark being Tony Stark; Stark flies and fights in his Iron Man costume; and there are special effects galore that one’s seen before. The movie tries to show us some of Stark’s weaknesses, but fails miserably at this and the attempts at doing so are feeble. Moreover, the laziness of the entire production suggests that the franchise is drained of ideas and lost for care.

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Review – Prometheus 3D (15) [2012]

Star Rating: 2.5/5

With the exception of American Gangster, the last decade has been a poor one in terms of quality films for Ridley Scott, the three-time academy award nominated director/producer. Kingdom of Heaven, Body of Lies and Robin Hood are just three of many terrible movies that he’s created, even if he has made lots of money from them. Prometheus continues this downward trend, even though it is a return to the theme of his highly successful revolutionary 1979 movie Alien.

Meredith Vickers (Charlize Theron) with the captain of the Prometheus vessel, Janek (Idris Elba).

Prometheus is the prequel to Alien. In 2089, archaeologist love-birds Elizabeth Shaw (Noomi Rapace – The Girl With The Dragon Tattoo, Sherlock Holmes II: A Game of Shadows, The Drop) and Charlie Holloway (Logan Marshall-Green – Brooklyn’s Finest, Devil, Black Dog, Red Dog) discover a star map among several unconnected ancient civilisations. Believing that they can discover the origins of humanity, they join a crew on the space-vessel Prometheus bound for the moon where they hope to unearth the answers.

Piloted by David (Michael Fassbender – X-Men: First Class, Shame, 12 Years A Slave), a haughty human-looking android with supreme amounts of knowledge, the spaceship arrives at their destination. After being given a telegrammed video by the elderly Peter Weyland (Guy Pearce – The Hurt Locker, The King’s Speech, Iron Man III), the patron of the trillion-dollar expedition, and a speech by Meredith Vickers (Charlize Theron – Monster, The Road, Snow White and the Huntsman), a Weyland Corporation employee sent to monitor the mission, the crew set off to investigate the nearby mysterious site.

They are told to avoid contact with any unknown substances. But with some people falling behind, and other members of the crew deceiving others, the humans do come into with the unknown substances. And to dire consequences.

Charlie, Elizabeth and David exploring the cave to find the origins of humanity. Will the statue in the background give them their answers?

The premise on which Prometheus is based is not a bad one and there are some good, refreshingly 1980s-style sci-fi horror moments to keep one in suspense. In 1979, these were innovative, but now the Alien vs. Predator genre has become so abysmally cliché that all of the horror in Prometheus looks samey and unoriginal.

And as is typical of the above-mentioned genres, little of Prometheus’ dialogue or plot makes any sense. (Even Ridley Scott has admitted that the movie leaves some questions unanswered, which suggests that tying up loose ends was not half as relevant to him as making a fortune.) The very beginning of the film (which I have not mentioned) bears no relevance to the rest of the film; with the exceptions of Elizabeth and Charlie, the reasons and motives of the various crew members aboard the Prometheus expedition are unclear or not mentioned at all; and the very end of the movie is as biologically possible as mating a bear with a piranha and producing a wolf.

Worse, Prometheus gives us virtually no insight into the origins of Alien. For a movie that is a prequel to the series, it is inexcusable. Imagine if Christopher Nolan’s Batman Begins had not explained the origins of Batman? What would have been the point in it? The same questions must be asked here.

As Prometheus’ storyline nosedives, the cast do the same. All of the actors have poorly-explained, two-dimensional characters and none of them have any chemistry between them on set. They create such little empathy that viewers are unlikely to care when they start to drop off. Even Noomi Rapace, who was brilliant as Lisbeth Salander in the Swedish versions of The Girl With The Dragon series (aka The Millennium saga), struggles in Prometheus to keep audiences interested (despite spending a percentage of the movie running around wearing not much more than a tankini). Only Michael Fassbender, as the emotionless and enigmatic robot, has the ability to maintain viewer’s concentration. But Fassbender’s character has too many holes to be plausible.

Wounded, Elizabeth is limping round the Prometheus vessel in little clothing to find some help.

Actors and characters aside, at least Prometheus has some decent sci-fi-style special effects. They are not spell-binding, though, because one has seen similar CGIs in God knows how many other movies in the genre before. What is a pity though is that the 3D is so pathetic. For a movie like Prometheus, there should have been more effort put into the 3D aspect of the film to make it worthwhile.

All-in-all, Prometheus is another appalling film to add to Ridley Scott’s recent movie-making collection. Almost nothing works in the film, from the storyline to the cast to the 3D. For a director/producer of Scott’s capacity, whose diverse range of films over the years have been of high quality, it is simply not good enough.

(PS. Read my review of 2014’s Exodus: Gods And King for more on Ridley Scott.)

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