There are two kinds of comic books movies - the good and the bad. Within the division of "good" exist two subdivisions - the light-hearted and the heavy. Where
The Dark Knight represents the pinnacle of what the heavy can accomplish in terms of cinematic excellence,
Iron Man (released in the same year) is the finest example of a comic book movie high on thrills and - perhaps more importantly - unabashed fun.
Robert Downey, Jr. stars as weapons innovator Tony Stark, who's just debuted his new missile-within-a-missile project, the Jericho. After demo'ing the Jericho for armed forces contact James Rhodes (Terrence Howard), Stark is kidnapped by terrorists who demand that he build them a Jericho. Stark manages to turn the tables on his captors, creating a suit of forged iron in which he effects his escape. After returning to the States and much to the chagrin of business partner Obadiah Stane (Jeff Bridges), Tony Stark begins to rebuild his legacy by stripping his company of its weapons manufacturing arm and by suiting up to fight the bad guys as Iron Man.
Iron Man is an important entry in the comic book movie genre because it reminds us that comic book movies can be fun without being campy. Bye-bye, market pandering of
Batman and Robin; au revoir, angst of Ang Lee's
Hulk. Here's a movie whose director - and consequently its protagonist - is chiefly interested in high-flying fun and in turning out a high-quality superhero flick grounded in good spirits and verisimilitude. It's difficult not to feel a swell of breathtaking ecstasy while watching Iron Man swoop through the skies, and it's downright impossible to remain coolheaded while watching the scene in which Iron Man destroys a tank while simultaneously validating the "cool guys don't look at explosions" trope; it's a scene whose very purpose seems to be to elicit a "Wow, that's awesome" reaction - which it does.
And if anyone can watch this movie and remain stoic and humorless while watching RDJ's performance as Tony Stark - a role he was, essentially, born to play - is a soulless, lifeless zombie. RDJ wears the character like a second skin, completely comfortable as the character and yet entirely believable as a real person. We're introduced to the character first as a fun-loving wisecracker whose life turns topsy-turvy before the AC/DC guitar solo can end, but quickly we get a sense of the facets beneath the witty exterior - the son in his father's shadow, the inventor with the guilty conscience, the objectivist profiteer with a heart of gold. All of these suits RDJ wears with coolly composed sangfroid, a convincing performance that's among the most compelling in any comic book movie - or, indeed, in any film of 2008, right up there with Heath Ledger's Joker and Brad Pitt's Chad Feldheimer. The other performers are good, too; Bridges is pitch-perfect as Stane, the ostensible villain of the piece, and Howard is such a fantastic foil to RDJ that one very nearly regrets the sequel's decision to replace him with Don Cheadle. But this is unquestionably RDJ's show, and he more than rises to the occasion.
A few disconnected thoughts: The special effects are dazzling, fun in a way that might be surprising for viewers expecting run-of-the-mill men-in-metal-suits-whaling-on-each-other action scenes. The glossy sheen on Stark's Iron Man suit is dazzling, lending a preternatural twinkle to his action scenes, and the combat is punctuated with bits of physical humor that prevents a disconnect from forming between man and mask. Also present are the Randian echoes that critics have noted; a particularly salient moment comes when Stark is told, "You really think that just because you have an idea, it belongs to you?" And while I haven't heretofore read any Iron Man comics (I know, shame; I have an unread Masterworks on my bedroom floor, though), I can't imagine the film being any bit inaccurate as far as the hero's spirit is concerned.
If I could give
Iron Man a more glowing review, I would. Suffice it to say that this is a phenomenal picture, at once an acccomplishment on celluloid and an exhilarating breeze of a picture - in total, the perfect summer blockbuster.
Iron Man is rated PG-13 "for some intense sequences of sci-fi action and violence, and brief suggestive content." A few quick shots of bloody violence occur, but most of the violence is directed at a metal battlesuit, which scuffs and chips but never totally breaks. Mild flirting occurs between RDJ and pretty much every female character in the film, a few of whom wake up in his bed the next morning without showing more than bare shoulders.
Prisoners (2013)
– I could fill this review with 250 adjectives – breathless, intense,
suffocating – but they all add up to one word.
Prisoners is fantastic, much
darker and more intricate than the torture porn promised by the film’s one-note
marketing. Hugh Jackman and Terrence
Howard star as fathers whose daughters disappear one Thanksgiving; displeased
with the methods of Detective Loki (Jake Gyllenhaal), Jackman takes hostage a
mentally challenged man (Paul Dano) who he believes abducted the girls. Prisoners,
though, is much more elaborate than that initial synopsis posits, weaving a
number of plot threads together in unexpected ways that are best experienced as
the film unfolds – especially because some of the most insignificant details
acquire astonishing relevance in the third act.
I’d never heard of director Denis Villeneuve before, but he’s certainly
on my watchlist now. There are moments
in Prisoners that recall the best
scenes in David Fincher’s Zodiac,
moments of intense claustrophobia that have little to do with the actual set
design and much more to do with the sense that the plot is rapidly closing in
on itself, that events are spiraling beyond the control of the
protagonists. (Jackman’s continual
reminders of how long the girls have been missing further add a real-world
tenseness to the proceedings.) Though
all in the cast do fantastic work, including Maria Bello and Viola Davis as the
beleaguered mothers, a special tip of the hat goes to Paul Dano, who really deserved
a Supporting Actor nod. As the disabled
Alex Jones, Dano masters the mental handicap without overplaying it and subtly
convinces us that something is quite wrong about Alex even if we don’t know exactly
what it is (and he keeps us guessing, too).
Disappointingly, Prisoners
seemed to fall off the radar once it debuted in theaters – a real shame, since
it’s one of the most gripping films I’ve seen in recent memory.
