I'm going to take a leaf out of The Raid's book while writing this review of the movie, and keep things tight, focused, and to-the-point. Because that's exactly how this fantastic action movie feels. No flab. No filler. Just a great, action-packed story.
The setup is simple. A block of flats is taken over by criminals. A crack police team gets trapped inside it and has to fight its way to the top, where the gang boss is hiding. And along the way, there's plenty of violence, a solid helping of character-based drama, and some great visual storytelling.
For me, the biggest selling point of the film is the fantastic fight scenes. Unlike some American action directors I could name (*cough* Michael Bay *cough*), director Gareth Evans always shows things incredibly clearly, mixing the close-ups of the action with wider establishing shots that mean you're never confused about where the characters are in relation to one another, or what's happening to them.
Along with some shockingly violent (yet impeccably filmed) scenes of gun and knife combat, there are some hand-to-hand fight sequences that simply have to be seen to be believed. In particular, Yayan Ruhian as the villain "Mad Dog" does some amazing things with his body that simply turn fight scenes into an artform.
Ruhian just as impressive as the finest athlete or ballet dancer, and his choreography with his fellow fighters (including our hero, Rama, played by Iko Uwais) is so perfect that you never even question that fact that you're watching a genuine, life-or-death battle between highly-skilled martial artists. And it's all done for real, without the crutch of CGI that so many action movies rely on these days.
It's not all high-octane fights, though. There are a couple of highly suspenseful scenes that stick in the mind: one involving a decision over whether or not to shoot a character through a closed door, and another involving Rama hiding in a secret compartment and coming close to being discovered by his enemies. I won't spoil them here, but I will say that you'll be on the edge of your seat throughout the movie - even when the bullets and fists aren't flying.
Even the possible detraction of the language barrier (this is an Indonesian movie with English subtitles) doesn't really matter. The film tells its story so effectively through its visuals that you could get almost as much out of it without the subtitles at all. Although I guess you'd miss out on some of the interesting twists or turns in the story that get revealed in the second half of the movie - when it becomes clear that The Raid has a certain amount of brains to match its brawn.
If you want a perfect Friday-night movie, then The Raid is the film for you. If you want to see a film that recaptures the kind of adrenaline-filled ballsiness of the 1980s Hollywood action era (that has somehow been lost by today's blockbusters), then The Raid is the film for you. And if you want to see an exercise in cinematic efficiency, and a masterclass in how to tell a powerful, arresting story in just a brisk hour-and-a-half or so, then - you've guessed it - The Raid is the film for you. See it now before the bound-to-be-inferior American remake comes along.
With one of the most interesting and unique back stories in recent Hollywood history, World War Z took the summer box office by storm, bringing a thoroughly entertaining new take on the zombie genre to the big screen.
Brad Pitt stars as Gerry Lane, a former employee at the UN who is tasked with helping the organisation discover the source of the zombie virus that has quickly begun spreading across the world, decimating the human population.
It doesn't take long for the action to start, and the adrenaline-fuelled pacing makes sure that the tension is held high throughout, with some superbly-shot action sequences from director Marc Forster.
Until now, the zombie movie has never been seen quite like this. For many reasons, the zombie genre has typically been relegated to the realms of low-budget horror movies, often with average-at-best special effects and/or make-up. In World War Z, though, the budget is substantially higher - enough to truly call it a blockbuster, and one of the biggest of the year - the effects are incredible, and the make-up is astoundingly impressive. When we see a zombie, it really looks like a zombie. And when we see hordes of zombies, they are truly terrifying.
What lets the film down slightly is that it never really feels like it's going anywhere, and the final act doesn't really make you feel like you've arrived anywhere by the end. For the most part, it largely feels like development, without the satisfaction of a conclusion at the end. To a certain extent, it seems this is because Paramount changed tack half-way through its development, on a number of fronts.
After filming was initially completed, the studio wasn't quite happy with the final cut, and so writers were brought on board to rewrite the script, which was soon followed by seven weeks' worth of re-shoots. Not only that, but the studio also decided that the film could serve as a potential franchise-starter for them, leaving the end open to the possibility of at least one more film further down the line, if not two or more. This, in particular, seems to be at the heart of the film's lack of development.
Rather than going for gold and coming up with a very strong final act, they hedge their bets somewhat. And without giving away any details, it doesn't feel like the end once the two-hour run-time is up.
Had they decided in advance that they wanted a trilogy, they could well have scripted the film better from the very beginning, and not come into such problems after shooting what was going to be the first-cut, and having to go back to do more work. But in spite of all this, it doesn't change the simple fact that the movie is a lot of fun, and it gives audiences a chance to see Brad Pitt in a role quite unlike any he's played before. Franchises are not usually his style, and he dominates the blockbuster brilliantly.
The action is spectacular, the zombies are highly believable (an integral aspect of the genre, I feel), and whilst the overall pay-off falls short of a full five-star recommendation, there's plenty of goodness to be found in World War Z, and I'm so glad that the box office results tallied up higher than they were predicted, because it does deserve your attention. And with Christmas right around the corner, it would certainly make for a solid choice to give over the holiday season.
Magical Carpenter. - Film Review of Big Trouble In Little China Town
John Carpenter is at it again in one of his more fun nature films where the imagination is left wonder, The film has never gone down as one of his better projects, but without that in mind gives a enjoyable viewing for the viewer. 'Jack Burton' another one of Carpenters explosive characters brought to the big screen doesn't allow to keep a obvious plot like many films. The film starts with Jack (Kurt Russell) playing a successful game of cards with a few old friends from his trucking days, leads him in to a airport hoping to receive a payment, then produces a Kidd knapping takes place and as the character Carpenter envisioned then goes in search of his friends soon to be wife. Confusion takes place for Burton and the audience as the plot then takes a sudden change as they go in search of the soon to be wed. They then stumble on a battle between two old rivals in the shape of little china, which ends in spells and magic being presented to the audience and then the real fireworks begin.
Kurt Russell on his own could sell this film alone. But the partnership of John and Kurt unite again as in 'The Thing', 'Escape From New York', 'Escape From LA, ' Carpenter kept with his main man as lead role which yet again brings out a different role for Russell to act and does so in such a great manor, leading the film with 'Jack Burton' who is a childish and stupid man who produces the good throughout the film eventually ' and gives Russell more credit to his acting. Kim Cattrall puts in a solid professional performance as a secretive women (Gracie Law) who gives the impression she knows more than she lets on. Cattarell keeps the good work up whilst her other supporting actors such as Dennis Dun (Wang chi) and James Hong (David Lo Pan) give her and the film real accolades. Carpenter uses her as his own 'James Bond' girl where at short snappy scenes shows romance between her and Jack. Screen written by new boys Gary Goldman and David Weinstein did them only applauds.
A very obvious and straightforward comedy fun themed film, but what Carpenter does well with this is, because of the fun nature of the film it could easily get out of hand and have silly things happening all the time and then the film would not of worked and of been as much of a success, but how Carpenter goes about not allowing this is spot on, he leaves them to a more action period of the film and when other films would bring in a real cheesy quote where there aim is to leave impact, John decides to go with a cheesy quote but not to leave a impact of purpose but more so of a joke for example when Jack opens the door to see a large number of enemies he then obviously says "we may be trapped". He also uses well timed scenes of fun for Jack where like a Arny would shoot the roof to show off his strength, Jack fires above him to then have the ceiling fall to his head. Little things like this make the film stand out more. Carpenter still allows a small amount of romance throughout the film between the two main characters only to end with Jack being a 'man' and leaving her for his truck, yet again does not allow Carpenter to be seen as going soft on the audience.
As said above Carpenter keeps with his main man Kurt but this isn't the only theme Carpenter continues to produce in his films, but of the creative creatures he likes to bring to the screen like in 'Halloween' he likes a well detailed evil character which is produced in this film, John likes to keep detail and with a ghostly looking tall individual has some common attributes of that a certain 'Mike Myres'. John obviously enjoys a good explosion of a person or of a alien like seen in 'The thing' and yet again does not disappoint with nearer the end one of the film a 'baddie' through irritation and anger then sucks in to enlarge like a balloon continuously in till no more then explodes, his body and flesh in a green blood/gas form scatters the floor.
Overall the film wont go down as a great or be remembered as one of his best pieces of work, regardless of this the film entertains throughout, a film with no room for boredom or similarity to any other films. But should not be forgotten for its fun antics and good use of music where necessary. Time will see if it has what it takes to be still talked about in years to come, but 27 years have been and gone but still had me as well as others entertained throughout. Easily forgotten, but easily enjoyed.
JJ Abrams' first Star Trek movie was a pleasant surprise back in 2009 - a reboot of the classic sci-fi series that managed to stay true to the essence of the original characters, while also recasting them and changing certain details of their story. It had a pretty conventional heroes-vs-villain plot, but that wasn't really the point: its greatest success was in taking those old 1960s characters, dusting them off, giving them a coat of fresh paint and making them attractive and accessible again for 21st-century viewers.
So where does Abrams go from there? The answer is bigger, bolder, and better. Because Star Trek Into Darkness manages to overcome its one major weakness (that terrible title!) to provide a story that's more emotionally engaging, more unpredictable, and more complex than its predecessor - even if it still can't quite bring itself to sever its ties to the "old" Star Trek completely.
Opening with a breathtakingly energetic and exciting action sequence (that reminded me of the first scene in Raiders of the Lost Ark with its sheer sense of fun and adventure - yes, it's that good), the film immediately sets out its stall as a big, colourful, imaginative and action-packed sci-fi actioner. While that might be quite a different tone to the more sedate Star Trek series of old, it makes for a hugely enjoyable movie that always seems to have the desire to entertain its audience as its first and foremost concern.
However, that's not to say that Star Trek Into Darkness hasn't got room for occasional more serious moments too. The plot revolves around a simmering "Cold War" style conflict between Starfleet and the Klingon empire, and features plenty of political intrigue and double-crossing. And at the same time, the major villain of the piece, played by Benedict Cumberbatch (and whose name I won't reveal here in case it spoils it for anyone who hasn't heard it yet - as it refers to something significant from the "old" Star Trek), has a legitimate grudge against Starfleet that poses some difficult moral questions, and ones that are surprisingly relevant to certain real-world conflicts in recent years, helping to give the film a relevance that goes beyond its fantastical, fictional universe.
That said, around 90% of this film is about delivering thrills, action and spectacle, and JJ Abrams pulls this all off in spades. With an ensemble cast that feels noticeably more confident after finding their feet with the characters in the first movie (especially Zachary Quinto, who was simply born to play Spock, and really grows into the role here), Abrams can concentrate all his energies on some truly dazzling setpieces.
These include an amazing underwater Enterprise lift-off; a thrilling and spooky clandestine descent into Klingon territory; a warp-speed chase between the Enterprise and an even bigger starship; and a heart-in-mouth scene in which Kirk and Cumberbatch's villain get fired a long distance through the vacuum of space from one ship to another wearing little more than spacesuits (with echoes of a similarly tense and gripping scene from James Cameron's The Abyss). It's all incredibly entertaining, and it moves so fast that it's impossible to take your eyes off it for a moment. And even the comic relief of Simon Pegg's Scotty - which I found a little grating in the first film - feels more natural here, and the character actually gets some decent dramatic moments to go with the laughs.
All in all, it's a tremendously fun sci-fi adventure movie, with cutting-edge special effects that look amazing on Blu-Ray, and which manages to weave some slightly more intelligent ideas among its crowd-pleasing, popcorn-blockbuster moments. If JJ Abrams can do half as good a job reinvigorating the Star Wars franchise as he has with Star Trek, sci-fi fans could be in for quite a treat indeed over the next few years.
This film shows how nature can extract revenge on the public, even the innocent public.
The story centres around a whale in captivity called Tilikum at SeaWorld, The film goes back to Tilikum's capture in Iceland to the deaths of 3 people at the SeaWorld centre. These 'whistleblowing' films if you like are becoming more and more popular ( see the cove ) but its surely becoming increasingly hard for even the biggest of non carers to turn away from actions like these from some of the worlds most renown companies like SeaWorld. We see interview with dozens of employees and former employees who shed light on the shocking actions of the centre and the treatment these poor animals are kept in. Some of the footage is not for the faint hearted but my hope is surely the hope of the film makers is to draw attention to this so that maybe more people care and are drawn into some sort of action and that parents no longer see SeaWorld as some sort of paradise for the children.
An eye-opener for everybody
A brilliant film.
First the technical achievements. The make-up's fantastic, so detailed. Actors change gender and deep scars are etched onto their faces seemingly. The visual effects are without doubt the biggest and best thing in the film. So complete and elaborate, the effects give the film a sheer scale that seems impossible to achieve anywhere else, but yet here, it's done successfully. Cinematography is vast and wide, with beautiful scenery emerging out of computer-rendered images and real-world landscapes.
The acting is also brilliant. Everyone gives a fine and in-depth performance. All except one actor - Jim Broadbent. His performance seems out-of-place in the film, far too comic and unrealistic.
This is the reason why i have given the film 4 stars. The Jim Broadbent section of the film. Perhaps his performance isn't out-of-place but the whole section is. Too comic and unreal for the tone and feel of the film.
But still, a brilliant film nonetheless. I would definitely recommend buying it.
A telling of stories in the past, present and future, where murderers and villains in past lives become saviors and heroes in the future, all of them in someway connected to strangers and odd events which seem insignificant but prove that bravery, love and courage happen in the most unlikely of places.
Never has a match been made in heaven closer than that of Joss Whedon and William Shakespeare.
Having spent years in the realms of fantasy and science fiction, Whedon finally turned his craft to the work of Shakespeare, bringing to the big screen one of the finest of the bard's plays in the most memorable adaptation seen since Baz Luhrmann's Romeo + Juliet.
During his down-time after helming The Avengers, which went on to become the third-highest-grossing film of all time, Whedon picked up a copy of the play and realised that this was a play he could turn into a film. And he did exactly that, in just twelve days, shooting in his own home and its beautiful grounds.
Shot in beautiful black and white, the film opens with a scene not included in Shakespeare's original play, setting the tone for the rest of the film perfectly. What every adaptation of Much Ado About Nothing has to decide for itself is whether Benedick and Beatrice have had a past relationship, and it's wonderful to finally see it enacted on screen.
Amy Acker and Alexis Denisof are perfect for each other in this story of star-crossed lovers, whose battling wits lead to much entertainment. It's a lot of fun to see their banter extending back and forth, continuing even as they start to embrace their real desires for each other.
Fans of Whedon's work will recognise the vast majority of the cast, and it's to his credit that he turns to his frequent collaborators again and again - not only do his fans get the pleasure of seeing such an esteemed cast working together again, but they also get to see them take on new roles previously unimaginable. Take, for example, Sean Maher. In Firefly and then Serenity, he had a heart of gold. In Whedon's Much Ado About Nothing, he takes on the part of Don John, the villainous character who sets in motion what almost turns the film from a comedy into a tragedy. And then comes Nathan Fillion, seen now as the foolish Dogberry, who brings huge laughs to the film at his own expense.
Truly, it's a real treat to watch Whedon work his magic on such a classic text. From words of gold, he weaves further wonders, and leaves his mark on Shakespeare like no other writer-director has, or likely will to come. Whedon's Much Ado About Nothing is as unique as they come, and it is a hilarious, beautiful, and joyful film that warrants your indulgence. You won't regret it.
Why do you watch movies? If it's just for pure mindless entertainment, then feel free to skip along to the next review: there's nothing for you here. But if you're looking for a little more depth, sophistication and emotional attachment from your viewing - and if you're prepared to be genuinely challenged and unsettled by what you watch - then I recommend checking out Martha Marcy May Marlene.
Martha Marcy May Marlene is a drama about a young woman - Martha - who is taken in by her sister and brother-in-law after escaping from the confines of an abusive cult. Not only does the film deserve a lot of credit for resisting the temptation to artificially sensationalise or glamorise such a story, but it also should be lauded for using this fairly simple plot as a jumping-off point to raise some very challenging questions about human behaviour, family relationships and morality. And, thanks to some superb performances from the film's fairly small group of lead actors, you'll be absolutely gripped every step of the way.
Elizabeth Olsen, in her very first major film role, turns in an astoundingly accomplished performance as the titular Martha. When we first meet her, she's mentally exhausted and dehumanised after escaping from the cult. But as she begins to open up to her sister Lucy (Sarah Paulson) and Lucy's husband, Ted (Hugh Dancy), Olsen begins to add subtle layers to her characterisation that gradually build into something that's amazingly multi-faceted and complex. Paulson and Dancy do a fine job portraying a relatively happy couple whose day-to-day lives are disturbed by the sudden entry of such a troubled soul. But if the film belongs to one actor in particular, it's Olsen.
The bizarre sleeping and social habits that Martha exhibits at Lucy's house could have seemed over-the-top or unbelievable in the hands of a lesser actress, but Olsen sells them with such a naturalistic, understated performance that you absolutely buy into the idea that this is a normal person whose mind has been corrupted by her disturbing experiences at the hands of the cult. And when Martha inadvertently walks in on her sister and brother-in-law having sex (and is completely unfazed by it) there's a completely believable innocence about Olsen's performance that makes it a disturbing, rather than funny, moment - and also starts to hint at some of the dark areas that will be explored in later scenes relating to her abuse at the hands of the cult members.
Olsen's hesitant, uncertain performance also helps to add to the impression that Martha may be a partly unreliable witness to her own experiences - or that at the very least, those traumatic events have scarred her so deeply that she's having trouble maintaining her grip on reality. This is reinforced by the scene-shifting choices of director Sean Durkin, who frequently moves the story between past and present events without clearly signposting the temporal change (often using dialogue that disorientingly overlaps from one scene in the present to another set in the past), helping us to sympathise with the sense of displacement that Martha feels.
I've talked about Martha a lot so far, but those other names in the title become important too, once the film begins to show us the way in which Martha's sense of personal identity is eroded when she joins the cult. Its leader, Patrick (played with wonderfully sinister restraint by John Hawkes, in a performance that bravely avoids turning Patrick into a two-dimensional "evil" character), quickly renames her "Marcy May" - and later we see that she's encouraged to adopt the name Marlene when answering the phone at the cult's remote farmhouse. It all helps to reinforce the impression that the traumatic events Martha suffers are affecting her far more deeply than simple physical abuse, removing her sense of identity and humanity in a way that isn't easily remedied once she's escaped.
By the time the film gets to its most difficult flashback scenes - one in which Martha is subjected to a ritualistic rape by Patrick shortly after joining the cult, and another even more disturbing sequence in which Martha participates in drugging and preparing another newly-recruited cult member to undergo the same experience - the film has built up enough trust with the viewer that you're able to appreciate exactly why you're being shown these traumatic moments in Martha's journey in such detail. By showing the psychological effect of the abuse in the present-day scenes before going back and showing the abuse itself, director Durkin makes it clear that his primary concern always lays with the character and her journey - and he's always careful to make absolutely sure that the scenes dealing with Martha's sexual abuse are completely free of any kind of titillation or sensationalism, instead being presented as the cold, dehumanising experiences that they are.
Finally, the film shows supreme confidence by offering up an ending that isn't clean or conclusive, and in fact leaves us at an incredibly tense and unresolved moment in Martha's journey: refusing to offer its audience the unrealistic comfort of a simple happy ending, and leaving us with a lot of questions to mull over. Without spoiling things too much, the "bad guys" don't get their comeuppance and the "good guys" don't come out of it unscathed. The film instead presents a far murkier moral landscape, and encourages us to make our own judgements about what we've seen. It's also brave enough to offer up some genuinely challenging questions about modern lifestyle conventions, and again is daring enough to not provide any easy answers, leaving the viewer with some thought-provoking ideas to consider long after the credits have rolled.
Why do we watch movies? For some, it's merely for disposable, forgettable entertainment. For others like me, however, movies encourage us to think, enable us to feel, and help us to be exposed to new experiences and ideas - and Martha Marcy May Marlene is one of the most challenging, original and thought-provoking films I've seen in many years. Mesmerising, haunting and impossible to turn away from: I highly recommend it.
Here we are treated to all 32 classic episodes (excluding 'Snow Business' the Xmas special) of the classic series 1-4 of Fireman Sam. The REAL Fireman Sam. Before it went CGI. The picture quality of the episodes is great and they have Dolby digital sound but the extras are extremely minimal. Since it's release in April 2007, it seems the set is out of print. Still, they've released the first 3 volumes individually and you may find one on Ebay or on here. WELL worth it.
Great DVD.
Time Lord a.k.a. Flashback is a super creative ride through a possible Hollywood future that pokes fun at the movie-making industry of today while introducing us to amusing characters and tons of hilarious film references. If you like Star Wars, you'll especially enjoy character Rufus Lucas (George's great-great- grandson, or something like that) who speaks in nothing but Star Wars quotes! There's even an exciting light saber battle amid the flying cars. It's quite awesome. The effects are especially amazing when you realize this film was made by three creative guys with no budget using green screens and computers in their garage. Incredible! (You can check out flashbackmovie's "A Look Inside FLASHBACK" online if you want to check out the behind-the-scenes story!) No, the graphics don't all stand up to the huge budget Hollywood blockbusters ... but when you realize this is a truly independent film, you can really appreciate the accomplishment and enjoy the creative fun! This film really does have a little something for everyone, from theme-park fun to a budding romance to a dinosaur chase. Some parts will probably be a bit scary for the youngest kids (and a lot of the humor will fly right over their heads), but overall it's safe for the family. There is a drunk character and a subplot about a sleazy rich guy hoping to seduce the studio starlet, but it's handled with humor and without anything remotely graphic. And I especially enjoy the acting of the corporate executive character Lamar as he's pushed further and further to the edge of sanity. The film is a visual delight, and a wild ride. There's even a full-blown, large-scale, and well-done musical number thrown in for extra Hollywood style. If you get the DVD, you'll probably want to watch the film more than once and pause it frequently to check out all the hilarious film parody posters sprinkled throughout the futuristic movie studio. Creative and clever, Flashback a.k.a. Time Lord is a film you'll definitely want to see and share! :)
Creative and Fun Independent Film
This is a beautifully photographed tour of the oft-forgotten Hebrides, on the western outer boundary of Scotland and Europe. It's a pity that the script, and its delivery, don't match the quality of the images.
If you've read the book that this film is based on, I would tell you to try and forget it as there are many points in the movie where it strays from the book, makes it's own story and, for me at least, certainly didn't improve it. If you haven't read the book, then you're in luck because it is a great film without knowing the original.
Talk about funny. A real shallow view and use of map of the universe. But who wouldn't be tempted just a little bit to go back in time and use it to your advantage? I think that's why this film works so much. You can laugh at how simple and base these greedy little dwarves instincts are. There one scene where they transport onto a luxury liner at the turn of the 20th Century spending some of their loot, smoking cigars and drinking champagne. Then you see that it's actually the Titanic their lapping it up on. Bungling but funny. "Here's to stinking rich"
Gang of hilarious dwarves robbing their way through space time
This film is really, really good
Maybe I had an advantage in watching this film in that I hadn't yet seen the Sopranos so wasn't overly aware of James Gandolfini, he really is superb in this film though, a millions miles from Tony Soprano.
Here he plays a businessman on a trip to new Orleans to get away from his troubled home life and his wife played by Melissa Leo. He meets Kristen Stewarts character a stipper and tries to become somewhat of a father figure and help who through her troubled life, perhaps trying to account for what he has so far been unable to fix back home. Fortunately for him, Leo's character is quite ready to give up on the marriage yet and after more turns and twists its left to the films final 30 or so to see if the films 3 leads can find some sort of fresh start again.
What I really enjoyed about this film is it doesn't go down the same route a lot of Hollywood films do, specifically what you might think when you first meet Gandolfini's character.
Reading interviews with Mr Gandolfini since his death, its clear how highly he rates Kristen Stewart and she really is miles away from the twilight saga here, such a great performance from her, more like this and she surely wont be pigeon holed or type cast.
This film comes highly recommended
God I loved this film
How many third movies in a franchise turn out to be any good?
Yes, you have the odd trilogy that delivers a satisfying climax - like Lord of the Rings or the Bourne saga - but for every Return of the King or Bourne Ultimatum there are handfuls of lesser "threequels" that turn out to be pale shadows of the original. I guess it's not surprising that by the time most franchises roll around to their third instalment, they're lacking the same freshness and originality that the earlier movies offered.
But Iron Man 3 confronts that tradition of mediocrity, lifts up an armoured gauntlet and blows it away with a glowing repulsor-blast of pure energy: because it not only manages to vastly improve on the second Iron Man movie, it arguably surpasses even the brilliant first film in terms of sheer fun.
A big part of this resurgence is undoubtedly due to the change of director. Taking over from Jon Favreau who helmed the first two movies, Shane Black (best known for action-comedy fare like Lethal Weapon and The Long Kiss Goodnight) takes the franchise and makes it his own, whilst also keeping it line with everything that's come before - including Tony Stark's appearance in the recent Avengers crossover movie.
In fact, it's Stark's experiences with his fellow Avengers that form the backbone to his character arc in this film, as he struggles to cope with the panic attacks and nightmares that have plagued him ever since the New York battle that concluded that movie. Beset with worries about his near-death experience - when he dragged a nuclear weapon through a trans-dimensional wormhole (well, that'd give anyone the willies, right?) - the Stark of Iron Man 3 is a markedly less sure-footed and assured character than the one we saw in the first two movies.
Whilst this could be considered a dangerous move for a character who's normally so confident and collected, it turns out to be an inspired choice, undermining the cocky swagger of the Stark of Iron Man 1 and 2 by refining his personality into something far more complex and layered. Tony is still the smartest guy in the room, and he's still quick with the smart-alec remarks and one-liners, but Black's story hints at greater depths to Stark than we've seen before. And, surprisingly for this kind of movie, the storyline actually allows the character to grow and change in a very significant way by the end of it, giving Robert Downey Jr. some real substance to accompany the slick, charismatic playboy act that he's by now perfected as an artform.
The character development we see in this movie is partly due to Stark coming to terms with another nightmare from his past: his mistreatment of a would-be business partner, many years ago, as a side-effect of the casual recklessness that he regularly displayed before he grew up and became Iron Man. The wronged party in this case was Aldrich Killian, a biotechnology developer (played by Guy Pearce), who has gone on to invent "Extremis": a weaponised virus that can regrow limbs, but which also turns people into human bombs. And it's Extremis that becomes the major threat (both to Stark and to America) that drives the plot of the movie forwards.
Pearce puts in a compelling performance, but he's just one member of an equally accomplished supporting cast. Gwyneth Paltrow returns as Stark's girlfriend/CEO Pepper Potts, always ready with a withering put-down to keep Tony in his place; Don Cheadle gets a beefed-up role as Stark's brother-in-armour, War Machine (renamed here "Iron Patriot" as part of a deliciously cynical subplot); and Paul Bettany returns to voice the perpetually-exasperated J.A.R.V.I.S. computer programme, who co-pilots Stark's suits.
But by far and away the standout turn is Sir Ben Kingsley as Iron Man's arch-villain from the comics, "The Mandarin". It's difficult in this age of superhero popularity to come up with an original spin on such a traditional and old-fashioned moustache-twirling baddie, but Black's script and Kingsley's performance combine to create something truly unique and unexpected. It would ruin the movie to give away any more than that, but suffice it to say that not only is Kingsley suitably menacing in the super-terrorist guise of the Mandarin, but his character later goes on to become one of the most interesting - and, surprisingly, hilarious - in the entire movie.
Enough about the characters, though. A big part of the appeal of superhero movies is the big fights and rescue scenes, and happily, Black doesn't compromise on the action front either. Despite a fairly quiet middle-section of the film (that sends Stark back to basics and pairs him with a kid-sidekick of sorts), there's plenty of large-scale destruction and heroics to enjoy here.
Whether it's the blistering helicopter attack on Tony's beachfront Malibu pad, the tense suicide-bombings that Stark investigates, or an amazing rescue of passengers falling out of an aeroplane (that simply has to be seen to be believed), Black handles these "big" moments effortlessly throughout. And then he manages to surpass all of them with a stunning finale that features more robotic-superhero action than you could ever believe could be crammed into a single film. It's rare that even the best action-comedies can truly match their humourous moments with a similar level of action spectacle, but Black pulls it off here.
Having already seen and enjoyed the movie when it came out at the cinema earlier this year, I was excited to revisit it on Blu-Ray, because the Marvel movies always have home releases that come crammed with special features. And Iron Man 3 is no different. As well as the usual making-ofs and director commentary, there are some interesting deleted scenes that offer extended or alternate versions of material that's already in the movie, as well as completely new sequences that were cut from the finished product. There's also a "gag reel" of outtakes that's loads of fun - especially if you're a fan of Downey Jr. and his wisecracking ways.
But by far the most standout feature on this Blu-Ray is an entirely original short film, "Agent Carter" about a secondary character from the world of Captain America who gets to have a new adventure in her own mini-movie. It's a charming little vignette that doesn't outstay its welcome, and which adds a little more texture and depth to the Marvel movie universe. Like a lot of other viewers, I'm a big fan of the way Marvel uses these little short films and post-credits sequences to tie its movies together, and this is another fine addition to their existing roster of short films (found on the Blu-Ray releases of earlier Marvel movies).
Oh, and talking of this kind of crossover material: once Iron Man 3 is over, be sure to fast-forward all the way to the end for another of Marvel's trademark post-credits scenes. It might be a slightly more low-key affair this time around, but it's worth it - especially for fans of one of Downey Jr's Avengers co-stars.
In summary, then, this is one of the year's best blockbuster movies that couples its action and spectacle with a strong focus on characterisation and a lot of genuinely funny moments of comedy. It stands not only as a great continuation of the Stark story we saw in the Avengers movie, but also as a great capstone for the Iron Man trilogy as a whole. And on Blu-Ray, there are enough special features and extras to make it well worth a purchase.
The First Transformers is probably the best one of the Trilogy as it sets the story up how good vs evil came into it. The Special effects are brilliant even from when (Sam WitWicky buys his first car) even though the transformers are the main focus we can help but notice the relationship between Sam and Mikalea, its predictable from the start he is seen as the loser kid and she as the girl that every guy wants however the contrast they have is brilliant, their personality's grow in the feature as they become terrified of the Transformers. Michael Bay as a director I believe has done a brilliant job on this movie with a great team with special effects every fan of the film we enjoy his work and dedication to produce such a huge project. Shia LaBeouf got his big break on here, his previous work in (IRobot ) was a success, most people only associate him with these films however I believe that such the trilogy he has been more versatile actor having done Lawless, Wall Street When Money Never Sleeps and upcoming movie Fury im sure there are more good films to come from this actor. 7/10
Really enjoyed this film. Missed it at the cinema, but so glad I followed up by renting (now buying my own copy). Lots of comedy with action and romance thrown in. Good for both guys and gals. What more could you ask for.
Huge Laurie gives a rare performance in this mild-witty drama, if you expect laugh out loud (this film isn't for you) however after 8 seasons of House, Huge demonstrates that he can clearly manage other roles in this film.
An interesting story which has finally come to screen, this sort of family love is happening all around the world. the film is 90 minutes which I felt was enough time to get to grips with story and characters. 5/10.
2 families who live in each others pockets, on the lead up to Christmas. surely nothing can go wrong?
If you enjoy the British tv show called Hustle then you will love this
One tricky con can be done- the lead actor Sam Worthington (avatar , clash of the titans) delivers a good -less budget film which isn't full of effects. I bought the DVD for £5 and would easily put it in my top 20 films of all time. (However we all have different films that we enjoy)
Leaves you on the end of your seat enjoy the ride.
I'm not a huge fan of horror films, however I was interested in this movie as Naomi Watts chooses her roles carefully.
It wasn't particularly scary or jumpy, however the relationship between the three main characters makes you as the audience think what could happen.
Matthew Goode turns on a brilliant twisted man with a bitter past, I believe after this film there are huge projects in the future for this actor.
The sets and backdrops have been carefully chosen, which adds more chilly effects to the feature. I wasn't disappointed with this movie as it portairted how life can taken sudden turns and how people can connect and end relationships quickly.
I give this movie 7/10 and would happily experience it again. I saw it on DVD and I suspect that given the chance to watch it in the cinema would have given it 8.5/10.
One word that best describes this is - twisted.
Naomi Watts plays a confused woman, who has just lost her husband whilst trying to keep her home together and give the best chance of bringing up her daughter, her brother in law turns up it is not long until the atmosphere turns sinister and twisted.
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