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ACCION: reviews

Iron Man 3 ****

Iron Man 3 is better film than the previous two and a worthy character continuity exercise for The Avengers.

Mission accomplished. After the very good proposal superhero film was The Avengers and having two films with the character ahead, Iron Man 3 will be played at the height of the circumstances and complete the trilogy with no disappoint the expectations created in the public by all of this earlier, but not get caught in the shadow of the same, that is finding its own personality as a third part of what is clearly an end by first cycle of the adventures of Iron Man, which is highlighted by the closing credits. And it's a luxury brooch for that first cycle, both in his script, capable of providing new and interesting things about the character and his world rather than just being a continuation or copy of Iron Man and Iron Man 2, as in his how to establish a turn necessary for the central character itself.

That twist is that Iron Man 3 makes me seem the most mature and robust of the three films made so far on the Marvel Comics superhero. It is most interesting in its proposal and less willing to be mere pretext for explosion visual effects supported by the undoubted qualities of self-parody of Tony Stark, in which Robert Downey Jr. incidentally found a territory perfect for exercise testing a mirror of his own stardom. Since its first release this saga has been drinking heavily on the capacity for self-parody. That's what made Downey Jr., through the character of Tony Stark, was the soul of The Avengers exerting its, in my opinion not sufficiently valued and outstanding ability to combine that function simultaneously as humorous engine of the group with the construction of the figure of the epic hero. Downey Jr. and Stark reached its highest dramatic performance in The Avengers, and that was not easy exercise pursue his solo adventures in Iron Man 3. But the film passes the test with a remarkable high and becomes this writer's opinion the most complete in the trilogy, cinematically speaking.

It should be noted that greater maturity as a film involves a more rested in his boot, as it happened to The Dark Knight Rises the film with which this Iron Man 3 share the same nature closing trilogy and more decision when to turn the humanization of the hero at the center of its plot, and a stronger principle that takes its time to hand out the game pieces on the board. Saving all distances between both productions and both characters are completely different, Nolan film and this third adventure Iron Man film addresses the same issues: the wounded and fallen hero, his descent into hell and his redemption and rebirth once achieved its goal, which is nothing, in both cases, to get to know themselves. The best thing is that Iron Man 3 is completely true to the character of its protagonist and the key bullish and optimistic tone of the rest of the series and consequently where most tragic reign and dark tones of the always very tragic and dark Batman story, finding himself more than Tony Stark's mask odyssey translates into exciting but essentially cheerful, riddled with humor, parody and verbal and visual jokes that make a lucid satire able to go beyond their own superhero genre, reaching through the character parody of Mandarin delivery xenophobia and ethnocentric passionate topics inspired by fear and social unrest presided action movies and American evasion of the 80s and 90s. It's a parody but at the same time is also something of a nostalgic homage director and screenwriter of Iron Man 3, Shane Black, at that harvest and avoidance action adventures who knows for contributing to it as a writer some of its most prominent examples such as Lethal Weapon series, The Last Boy Scout, the unjustly underrated bust interesting Last Action Hero, or the failed The Long Kiss Goodnight, who nonetheless anticipated the warrior girls frames later popularized by the series Alias ​​and movies like Resident Evil, Tomb Raider or Underworld. The film is adorned with different visual and verbal hints such productions including, for example, the protagonist's dialogue when trapped by the villains but does not hesitate to threaten, an echo of a similar situation played by Bruce Willis in The Last Boy Scout and other played by Mel Gibson in the Lethal Weapon series. The image of Tony Stark dragging his armor in the snow is the best summary of the real subject of this third approach to film Iron Man character that has abundant moments even able to make us forget that we are watching a superhero movie, which seems a success for its intention to separate the character of Stark in his armor and treat it as an individual who is leaving behind her infant temperament to pursue maturity, a process in which coherence fully exercise buddy joins a very young and adventurous brilliant jokes with the possibility that even members of Heroes More powerful nations on Earth to suffer PTSD.

That leads me to also mention as a positive element fluency with which incorporate elements of continuity, which is one of the keys to the Marvel Universe in the comics, related to the events in The Avengers, mainly through dialogue, but fully integrated into the plot of the movie. It is an exercise that adds continuity and complete the plot rather than just being a wink, but take the opportunity to warn that there is a final touch as a joke after the long end credits.

I suspect some purist fans of the original comics Iron Man will not welcome the development applied to character played by Ben Kingsley Mandarin to meet the needs of the plot twist after presenting it as a kind of new BinLaden, but even these purists I challenge you to deny the necessary capacity for surprise and flight of more traditional topics of action films and that such rotation brings evasion and the corollary of this approach determined to balance the hero's journey to know himself with surprise which is the final development of the character of Pepper Potts, the girlfriend of the hero played by Gwyneth Paltrow.

Add up all the above to Guy Pearce as the villain with the most personality of the three films, ahead of the arguably more predictable and schematic antagonists of the two previous films, and will complete the scheme that leads me to say that the third is the strongest and best of the three films made until now on Iron Man

Miguel Juan Payán

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