THE WOMAN IN CABIN 10 (2025)

October 9, 2025

Greetings again from the darkness. We all love a thrilling whodunit murder mystery. The best ones offer a magical blend of creative story, interesting setting, and fascinating characters. Writer-director Simon Stone (THE DIG, 2021) has delivered a film adapted from the best-selling 2016 novel by Ruth Ware. Frequent writing partners (SEBERG,2019) Joe Schrapnel and Anna Waterhouse collaborated with Stone to adapt the novel into a movie that looks great, and for the most part, fulfills the above listed requirements.

Keira Knightley stars as Laura Blacklock, an award-winning journalist who has been through a recent traumatic experience while on the job. Her editor (an underutilized Gugu Mbatha-Raw, BELLE, 2013) tries to convince Laura to take some time off. Instead, she accepts an invitation from billionaire Richard Bullmer (Guy Pearce) to join his gaggle of rich friends aboard a 3-day cruise on his ultra-luxury yacht. The purpose is to fundraise for cancer treatments as a tribute to his wife Ann, recently stricken with the dreaded disease.

The guest list includes the very rich and famous, and Laura’s job is to cover the ‘charitable’ event. You’ll likely notice pretty quickly that, just like in real life, movie billionaires are difficult to relate to and easy to dislike. Some are outright obnoxious like Adam (Daniel Ings, “The Gentlemen”) and Heidi (Hannah Waddingham, “Ted Lasso”), while others are just a bit too creepy, such as Dr. Mehta (Art Malik) and the host, Bullmer. There’s also rock star Danny Tyler (Paul Kay, “After Life”), a former party animal who has cleaned up his life and is intent on avoiding trouble and bad publicity.

 Coincidentally (or not), Bullmer has hired Laura’s ex-boyfriend Ben (David Ajala, “Star Trek: Discovery”) as the official photographer for the cruise. Things are going awkwardly fine until the middle of the first night when Laura is awakened by a scuffle next door that results in someone going overboard. The conspiracy is in full mode once all passengers are accounted for and Laura is positioned as a bit unstable, given her insistence that she heard and saw someone go in the water. A couple of other interesting supporting roles are covered by Gitte Witt and Kaya Scodelario (“The Gentlemen”), neither of which belong to the rich group.

The rest of the movie comes down to Laura trying to solve this mystery, while certain forces are preventing her from doing so. It’s a tale as old as time, and a common cliché – follow the money until you have your answer, and don’t trust the filthy rich folks. There’s another theme here that I found even more interesting, and that’s the frustration and panic that Laura feels when no one believes her story. It’s such a tough challenge. Her struggle and tenacity is what makes the film work. It’s highly likely that the novel plays even better than the screen version, as some of what happens here seems unlikely in a real-world event. Still, there is entertainment value in trying to stay ahead of the curve.

Releasing globally on Netflix on October 10, 2025

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Posted by David Ferguson

THE SHROUDS (2025)

April 24, 2025

Greetings again from the darkness. Director David Cronenberg is renowned for his brand of ‘body horror’, although his canon has certainly not been limited to the genre. Some of his films across the past fifty years include CRIMES OF THE FUTURE (2022), COSMOPOLIS (2012), A HISTORY OF VIOLENCE (2005), CRASH (1996), DEAD RINGERS (1988), THE FLY (1986), VIDEODROME (1983), THE DEAD ZONE (a personal favorite,1983), and SCANNERS (1981). With his latest, Cronenberg offers a taste of what he’s known for, but mostly focuses on the extreme repercussions of grief.

Grief is an emotion that hits us all hard at some point. Karsh (the always great Vincent Cassel) lost his wife four years ago, and his vision since has been to create a specialized, internet-based cemetery named GraveTech where grieving folks can observe the decay of lost loved ones … all from the convenience of their iPhone app. Cronenberg regulars should prepare themselves for a film and story that has the feel of a stage production – meaning it’s the dialogue and conversation that is crucial here, more so than the visual presentation (although there are a few stellar moments in that area as well).

Diane Kruger plays two roles here. One is Karsh’s deceased ex-wife Becca, who we (and Karsh) see in hallucinations or visions. Her other role is as Becca’s surviving sister Terry, a dog groomer who is dealing with her own grief. Lastly, a significant role is played by Guy Pearce as Terry’s ex-husband, Maury … a frumpy, paranoid, techno geek. Maury’s skills have created Hunny, an AI avatar meant to provide companionship and advice to Karsh. Oh, and Diane Kruger also voices Hunny.

The thrust of the story revolves around the fallout of the targeted vandalism of a few of the gravesites, creating suspicion as to whether it’s an international conspiracy or something less provocative. Of course, this is Cronenberg, so a traditional arc is not in the cards. Instead, he provides some stunning visuals (not violence, but definitely a shocking shift from what movies traditionally show) meant to convey the drastic changes that occur with the bodies we too often take for granted, especially when cancer is involved. Politics are touched on, and it’s probably the first time you’ve ever heard a dentist speak the line, “Grief is rotting your teeth.” Eroticism and obsession are key motivators here, so if you are willing, the psychological aspects of Cronenberg’s film could fill many post-viewing debates. Whether this film strikes a chord with you or not, I remain thrilled and humbled that this octogenarian continues to do things his way.

Opens in theaters on April 25, 2025

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Posted by David Ferguson

THE BRUTALIST (2024)

December 20, 2024

Greetings again from the darkness. Too many view WWII as just another page in history books, when in fact, so much changed around the globe because of that war. Almost 80 years later, the war continues to provide stories for filmmakers, and when it comes to storytelling, few do it better than this latest from writer-director (actor-turned-filmmaker) Brady Corbet and his co-writer (and romantic partner) Mona Fastvold. The two had previously collaborated on THE CHILDHOOD OF A LEADER (2015) and VOX LUX (2018).

This is an old-fashioned epic on a grand scale with a few specific features that deserve to be highlighted. At 3 hours and 35 minutes in run time, Corbet included a throwback intermission (with a 15 minute countdown on screen). The opening credits run right-to-left horizontally, while the closing credits run diagonally. For true film geeks, the film is shot in VistaVision to capture the period feel. Part 1 covers 1947 through 1952, while Part 2 covers 1952 through 1960, and the Epilogue takes us to Venice in 1980.

Oscar winner Adrien Brody stars as Laszlo Toth, a Hungarian architect who arrives in post-WWII America after using heroin “for the pain” on the boat ride over. Due to administrative and governmental red tape, Laszlo had to go ahead of his wife and niece, to whom he writes regularly. A familiar face from home greets him upon his arrival. Attila (Alessandro Nivola, FACE/OFF, 1997) has already been Americanized to the point where he’s married and running a custom furniture business. He offers Laszlo a room to sleep and a chance to help design furniture. When Harry Lee Van Buren (Joe Alwyn, THE FAVOURITE, 2018), the son of a wealthy Pennsylvanian tycoon, contracts for a re-design of dad’s library, Laszlo gets a chance to show his brilliance. It turns out, Harrison Lee Van Buren Sr (Guy Pearce) does not like surprises and tosses the workers out.

Soon, a cooler head prevails for the tycoon, and he tracks down Laszlo for a project of much larger scale – a massive memorial on a hill overlooking the city. The project builds an odd connection between rich Harrison and brilliant Laszlo – although the rich guy remains anything but stable, and his son flaunts his own arrogant annoying tendencies (an Alwyn specialty). Laszlo maintains one true friendship. He bonds with Gordon (Isaach de Bankole) after meeting him in the food shelter line. Despite the new World, Laszlo continues to struggle with poverty; however, one of Van Buren’s lawyers is amenable to assisting with the paperwork for bringing Laszlo’s family to the states.

Part two brings wife Erzsebet (Felicity Jones, THE THEORY OF EVERYTHING, 2014) and mute niece Zsofia (Raffey Cassidy, THE KILLING OF A SACRED DEER, 2018) to America. Erzsebet is wheelchair bound after nearly starving to death due to the war. She’s a smart woman married to a creative genius, and yet the land of opportunity continues to toss hurdles in their path (not the least being Laszlo’s continued use of drugs). The moments of hope include a trip to the stunning Carrara quarry to locate the perfect piece for Van Buren’s project.

It should be noted that, despite the lead character’s name, this is a fictional account of the period, and the journey is both physically and emotionally draining. That’s also true for viewers, as I was exhausted by the end. Corbet uses the Epilogue to take us to Venice in 1980 for the first Architectural Biennal. It’s a fitting end after watching the battles of Jews versus Christians, and Immigrants versus American born, all while the United States is booming. I wasn’t ever able to understand the message Corbet was sending by exaggerating footsteps throughout, but I do recognize that Cinematographer Lol Crawley and Production Designer Judy Becker worked some magic along with Corbet and Fastvold … and yes, Adrien Brody, who along with Guy Pearce, deliver some of the finest acting we’ve seen all year. This is not a film so much about the brutalist style of architecture, but rather a film about character and personality during brutal times – and finding a way to utilize one’s true talent, while also remaining true to one’s roots. This is a complex story and one that fully captured me right from the unconventional opening credits.

Opens in limited theaters on December 20, 2024 and wide in January 2025

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Posted by David Ferguson

THE CONVERT (2024)

July 12, 2024

Greetings again from the darkness. Ten years ago, no one would have thought twice about a preacher traveling to a remote island with the given mission of converting souls – both indigenous and British – to Christianity. But much has changed in those 10 years, and writer-director Lee Tamahori (hit and miss with NEXT, 2007; DIE ANOTHER DAY, 2002; ALONG CAME A SPIDER, 2001; THE EDGE, 1997) and co-writers Michael Bennett and Shane Danielson take head-on on the “white savior” backlash that’s surely coming their way (not from me).

It’s 1830 and Thomas Munro (Guy Pearce) is catching a ride across the rough waves of the Tasman Sea. His beautiful white steed doesn’t much care for the boat’s ups and downs, and both man and beast are happy to go for a run on the sandy shore once they reach their destination. And that’s pretty much the end of the good times. Munro has been hired by the colonists to be their preacher and bring Christianity to the locals … tribes of Maori. Munro stumbles into the brutal inter-tribe battles and he quickly negotiates to save the life of Rangimai (a stunning Tioreore Ngatai-Melbourne), the daughter of the other tribe’s chief.

Early on, we also learn that Munro is no ordinary preacher. He has a past that haunts him – and skills that come in handy in this new environment. Mostly though, he does a great deal of talking – regularly negotiating one thing or another with one side or another. His sketch book offers proof that he’s a good man with good intentions, and one who seeks the good in others. What he also learns is that muskets are often more powerful than Christian words.

Munro’s mission is aided by Charlotte (a terrific Jacqueline McKenzie) who acts as a translator, while carrying her own personal history of tragedy. Racism is of course on full display, despite Munro’s efforts to negotiate peace between the tribes and the always-hovering British colonists. Throughout the film, there are some sloppily staged fight scenes, yet the cinematography from Gin Loane is exceptional. We do get the crescendo of a final showdown, as well as a somewhat surprising ending on display in a “Four years later” epilogue. Director Tamahori hits us very early with a smaller bird being attacked midair by a larger bird, with the survival of the fittest on display – whether here in New Zealand, or most any other place throughout history.

Opening July 12, 2024

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Posted by David Ferguson

BACK TO THE OUTBACK (2021, animation)

December 7, 2021

Greetings again from the darkness. Capturing a kid’s attention is difficult enough, but these days, it’s a real challenge to hold that attention for 90 minutes. You best offer something extremely entertaining, which is exactly what first time (co-) directors Harry Cripps and Clare Knight have done. Ms. Knight previously worked as the Editor on the MADIGASCAR and KUNG FU PANDA movies, and is married to actor Wayne Knight (Newman from “Seinfeld”). Mr. Cripps previously wrote the screenplay to THE DRY (2020) and here he co-wrote the script with producer Gregory Lessans. Of course making animals the center of a kids’ story is nothing new, and neither are the central topics of respect and family, yet this is quite an entertaining way to do so.

While watching the film with a four and five year old, I was able to witness first-hand the reactions and whether or not attention lapsed (theirs, not mine). The film opens at Australian Wildlife Park where Chaz Hunt (voiced by Eric Bana) is a Steve Irwin-type trainer who entertains the crowds and his son Jessie (Diesel La Torraca) with personal adventure stories that may or may not have a sprinkle of truth. But it’s the animals who are the main attractions here. The park features the world-famous cutest animal, Pretty Boy (Tim Minchin), a Koala who excels at posing for pictures. In contrast, the “ugly” ones, or the deadliest ones, include Nigel the neurotic scorpion (Angus Imrie), Zoe the wise-cracking thorny devil lizard (Miranda Tapsell), Frank the funnel web spider who breaks out in dance when attraction strikes (Guy Pearce), and the newest addition, Maddie a taipan snake (Isla Fisher). Acting as a mother-figure to these creatures is Jackie the crocodile (Jackie Weaver).

After a dangerous event caused panic and misunderstanding, Jackie is shipped off away from the park. The other “ugly” animals decide to escape and head home (check the title). Pretty Boy accidentally gets caught up in the escape, and he ends up being quite obnoxious – in constant need of catering and compliments. This stands in stark contrast to the other animals who are quite likable and charming. That’s the gag here, as well as our lesson in ‘beauty is on the inside’.  The road trip through the city and into the desert and mountains is quite an adventure and filled with things that don’t go quite right for this band of misfits. Along the way, they learn of the U.S.S. – the Ugly Secret Society, which is a rescue operation run by animals for other animals that aren’t lovable pets. They even have a funny catchphrase/password! Two of the most fun sequences involve Tasmanian Devils and a couple of toads named Doug and Dorene, who sing “When a Man Loves a Woman”.

The film is obviously aimed at kids who are fascinated with animals, and it’s charming and funny and entertaining for both kids and adults – exactly what you hope for with animated movies. The morals of the story about not judging a book by its cover, and the importance of family, are always good lessons to reinforce for kids. We should all be this ugly.

Available December 10, 2021 on Netflix

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Posted by David Ferguson

THE LAST VERMEER (2020)

November 19, 2020

 Greetings again from the darkness. Knowing the film is based on Jonathan Lopez’s 2008 book, “The Man Who Made Vermeers” removes some of the mystique from the story; however Dan Friedkin’s (stunt pilot on DUNKIRK) directorial debut is an enticing look at a blending of art history and world history. The screenplay was co-written by John Orloff, Mark Fergus, and Hawk Ostby.

It’s May 29, 1945, three weeks after the fall of Hitler’s Reich, and the Dutch military is on a mission to reclaim valuable art and collectibles confiscated by the Nazis during the war. Some of these were hidden in Austrian salt mines by order of Hermann Goring, actions also depicted in the 2014 film, THE MONUMENTS MEN. After serving in the war, Captain Joseph Piller (Claes Bang, “Dracula” 2020) is tasked with tracking down those who stole the art, and those who sold the art to Germans. It’s a task meant to preserve his country’s culture. One particular piece, “Christ with the Adulteress” held special significance, as it was billed as ‘the last Vermeer’, a long lost painting by Dutch master Johannes Vermeer (“The Girl with the Pearl Earring”), for which Goring had paid a record price.

Investigation on this painting led Piller and his assistant Minna (Vicky Krieps, PHANTOM THREAD 2017) to Han Van Meegeren (played with panache by Guy Pearce and his stylish eyebrows). Piller is also helped by his friend Esper Vesser (Roland Moller, ATOMIC BLONDE 2017) who supplies a bit of muscle and brawn. Van Meegeren has a fancy manner of speech, and Piller determines he’s the key to the case, and to unlocking what occurred and how. At the same time, the Ministry of Justice (August Diehl, INGLORIOUS BASTERDS 2009) is after Van Meegeren for conspiracy, and the parties end up in court.

Piller and Van Meegeren existed in real life, and though some dramatic license is taken, much of what we see actually happened. Art experts and politics collided. And it’s not surprising that egos ruled the day (not unlike today). The twist may or may not be a shocker to those who know the story, but it’s still fascinating that folks would risk their lives in such a manner during the darkest of times. It seems opportunists exist regardless of the era. Mr. Bang and Mr. Pearce are both excellent here, and it’s quite fun to watch their verbal wranglings. Director Friedkin adds an Epilogue that will surely bring a smile to most viewers.

Opening in theaters November 20, 2020

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Posted by David Ferguson

MARY QUEEN OF SCOTS (2018)

December 6, 2018

 Greetings again from the darkness. The history of monarchs goes back more than a thousand years. These days we view British royalty as little more than telegenic subjects for gossip sites, though for hundreds of years, the crown carried real power. Of course, the system never made any logical sense. Why should a baby born to the “right” family be pre-ordained to rule the country? These birthrights even caused much confusion and debate … and wars … when there was uncertainty about which kid was the most important. And yes, kids is the proper term. Mary Stuart (Mary Queen of Scots), was six days old when her father King James V died, and she ascended to the throne (though the actual ruling was done by regents until she was older).

Saoirse Ronan stars as Mary and Margot Robbie is Queen Elizabeth I (daughter of King Henry VIII and Anne Boleyn). The two were cousins (not sisters), and the film examines many aspects of this era: the struggle for the throne between the two, the unusual circumstances that found two women in power, the behind-the-scenes maneuvering by men in an effort to wrestle power from the women, the importance of marriage and heirs, the conflicts between Catholics and Protestants, and the bizarre arrangement that caused Mary to spend nearly half her life in custody.

Director Josie Rourke is best known for her stage productions, some of which have been broadcast live in cinemas. This is her debut feature film, and her talent is quite obvious. She gets “big” with stunning sweeping vistas, and intimate with dark chamber meetings. The castles look and feel like castles, and not the sound stage sets we often see in costume productions. The film is a thing of beauty and the two lead actresses are sublime … and with much more screen time, Ms. Ronan delivers a ferocious performance.

The screenplay from Beau Willimon (creator, producer and head writer of “House of Cards”) is based on the John Guy book “Queen of Scots: The True Life of Mary Stuart”. This matters because Mr. Guy theorizes that the two sovereigns actually met in real life, something very much doubted by historians. Either way, it makes for an interesting (if not a bit hokey) segment in the film, as Elizabeth and Mary wander through billowing curtains in a clandestine spot. The costumes from Oscar winner Alexandra Byrne are so beautiful, they are nearly a character altogether.

Beginning at the end, we get an early look at Mary’s “martyrdom” march to her execution on 1587 at age 44. If you’ve ever read about the actual execution, you’ll be relieved to know it’s not shown on screen. Supporting work comes courtesy of Jack Lowden, Guy Pearce, Joe Alwyn, Gemma Chan, and an explosive David Tennant as a fire-breathing priest. This version plays up the inner-turmoil and challenges in power faced by the women – more so than the 1974 version starring Vanessa Redgrave and Glenda Jackson (the film received 5 Oscar nominations). Ms. Ronan and Ms. Robbie really help us understand the challenges these women faced – challenges that men on the throne wouldn’t have faced.

watch the trailer:

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Posted by David Ferguson

GENIUS (2016)

June 17, 2016

genius Greetings again from the darkness. Most biopics provide a look into the life of someone who had an impact. If after watching this film, you are confused about just who the main subject is, that’s understandable. It’s rare to find a biopic about two people … a duo biopic … but that’s what the film directorial debut of noted British theatre director Michael Grandage presents. Novelist Thomas Wolfe and editor Max Perkins are forever linked in history, and the screenplay by John Logan (Oscar nominated for Gladiator, The Aviator, Hugo) shows us just how intertwined these two lives became. It’s based on A Scott Berg’s 1978 book “Max Perkins: Editor of Genius”.

It’s 1929 and writer Thomas Wolfe (Jude Law) is tapping his foot as he smokes a cigarette while standing on the sidewalk staring at Scribner’s Sons Publishing building in New York City. A moment later he is bursting into an office whilst unleashing a rapid-fire blast of words to which our ears can barely keep pace. Taking in the verbal fireworks is an elegantly quiet and eternally hatted man behind the desk. With only the phrase “Mr. Wolfe, we intend to publish your book”, editor Max Perkins (Colin Firth) manages to silence the bombastic writer for a few stunned seconds … mostly the only time we witness this.

And so begins not so much a friendship as a professional dependency and surrogate father/son relationship. Thomas Wolfe was other-worldly prolific in his ability to craft words into stories. He was also an exceedingly creative workaholic and alcoholic who found his way to Perkins via North Carolina and Harvard. Yes, it’s the same Max Perkins who was editor to such literary luminaries as Ernest Hemingway and F Scott Fitzgerald.

Seen as personality polar opposites, we also get to witness the differences within the personal lives of the two gentlemen. Both have strong women at home. Mr. Perkins’ wife Louise is played by Laura Linney, and their 5 daughters are smitten with the outlandish behavior and stories of Mr. Wolfe as he visits for dinner. In an unusual twist for the times, an older married woman Aline Bernstein (Nicole Kidman), was Wolfe’s lover and supporter … even through his carousing and endless nights of work with Perkins.

The red pencil of Perkins is as ever-present as the hat on his head, as he slashes and burns through paragraph after paragraph and page after page of Wolfe’s writing in order to fashion an end product that is “marketable”. The result was Wolfe’s first novel “Look Homeward, Angel” … even the title was changed by Perkins. The editing sequences and Perkins’ directive for “Big story, fewer words” have us (and Perkins himself) questioning the role of an editor. Do they make the story better or just different? Is marketable more important than the original words of the author? It’s a legitimate point of discussion, as it’s doubtful anyone told da Vinci that his Mona Lisa should have a bigger smile, or Mozart that The Magic Flute should have fewer notes. Are book editors underappreciated or overly critical?  In the case of the second Wolfe novel “Of Time and the River”, Perkins reduced the work by not hundreds, but rather thousands of pages … all for the goal of marketability. And it turned out to be Wolfe’s best-selling book.

The best scene in the film is also the most insightful. Wolfe drags the always dignified Perkins to a late night jazz club, and with the help of the band, displays in song how Wolfe’s brain kicks into writing mode. It’s a moment of enlightenment for Perkins, as well as us viewers. Law’s Wolfe is a whirlwind of words and prose and those in his path are simply overwhelmed by the enormity of his way. In what feels like a touch of name-dropping, the film tacks on a couple of scenes with Hemingway (Dominic West) and Fitzgerald ( ). Though the scenes are a bit heavy-handed, they do serve as a reminder of what terrific writing came from this era, as well as the impact of editor Perkins.

It’s a little disconcerting to see the leads in an America tale played by Brits and Aussies, but there is no denying the effectiveness of Firth, Law, et al. It’s truly a tale of two geniuses, and Aline was correct … after Wolfe, there was “a great hush”.

watch the trailer:

 

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Posted by David Ferguson

THE ROVER (2014, Australia)

June 29, 2014

rover Greetings again from the darkness. This is Australian writer/director David Michod’s follow-up to his excellent 2010 film Animal Kingdom – one of my favorite films that year. While that film took us inside an Australian gangster family, this one is set in a dystopian Outback ten years after what the film terms “the collapse”.

Michod’s script from a Joel Edgerton story goes pretty light on the details and depends heavily on the shared scenes with Guy Pearce and Robert Pattinson. Both deliver the goods, and Pattinson in particular is quite something to behold … his gun shot wound plays second fiddle to the most bizarre speech pattern and accent we have heard in awhile. Initially appearing somewhat flawed in his mental aptitude, Pattinson brings his character through a full cycle of emotions; which is the polar opposite of Pearce’s character who though quite stoic, leaves no doubt that he is angry at 3 goons for stealing his last possession – his car.

The mood of the film and the tone of the character keep us in suspense on why this blasted car is so important to Pearce, and it’s not until the final sequence that the mystery is solved. The more interesting scenes occur when Pearce and Pattinson are facing off – their relationship evolves from adversarial to something kind of oddly touching.

The usually dependable Scoot McNairy plays Pattinson’s brother, but really isn’t given much to do except for his final scene with Pattinson. The most interesting supporting role comes courtesy of screen veteran Gillian Jones as the inquisitive Grandma. She leaves the impression that a film about her would be much wilder than the minimalistic landscape and dialogue of our feature.

Michod’s latest is not at the level of Animal Kingdom but it does offer a couple of intriguing characters and vastly toned down Mad Max flavor. It’s beautifully photographed and the sparse soundtrack is the perfect compliment.

watch the trailer:

 

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Posted by David Ferguson

IRON MAN 3 (2013)

May 5, 2013

iron man1 Greetings again from the darkness. My initial reaction upon seeing this opening day was that some fanboys are not going to be happy. Of course, this happens every time Hollywood makes changes to the original comic book material in hopes of attracting massive box office numbers. While I recognize many of the “flaws”, I found this to be an interesting and entertaining turn on the Tony Stark/Iron Man series.

Shane Black was brought in to direct and help write the script. Mr. Black is best known for his crackling buddy dialogue in movies like Lethal Weapon and Kiss Kiss Bang Bang (also with Robert Downey Jr), but doesn’t have significant directorial experience (his most recent effort was KKBB 5 years ago). My belief has always been that what sets this franchise apart is Robert Downey Jr’s take on Tony Stark. A wiseiron man4-cracking billionaire playboy technology and mechanical genius searching for his true identity. Mr. Black re-focuses the story on Stark. In fact, he basically takes everything away and has him start over.

Regardless of the story, many line up for these movies to see the special effects and the bad guys. The special effects are everywhere … and loud … and massive. The trailer shows a clip of Stark’s Malibu mansion being destroyed, but the entire segment is quite impressive. The number of Iron Man suits seems unlimited at times and the big finale gave me the same feeling of a 4th of July fireworks display when it ends with so many clumps of fireworks being fired at once, that the impact is dulled. As for the bad guys, The Mandarin is one of the most fierce opponents faced by Iron Man in the comics. His portrayal here by Ben Kingsley is a blast to iron man2watch, but will undoubtedly upset the true fanboys. Guy Pearce plays Aldrich Killian, a demented mastermind, once snubbed by Stark – in a scene we witness in flashback.

My preference here is to focus on the fun elements since that’s clearly what Marvel and Black are shooting for. Jon Favreau directed the first two entries in the franchise and here takes on a slightly bigger acting role as head of security for the Stark corporation … and he provides some comic relief. Pepper Potts (Gwyneth Paltrow) finally gets to do more than roll her eyes, but she still has her damsel in distress moments. Don Cheadle returns as Col. Rhodes … or War Machine … now re-branded as Iron Patriot, but mostly he is just waiting for his own movie. Rebecca Hall has some screen time as a smart woman who is not so wise in her choosing of partners. No comment. Ty Simpkins plays Harley, a country boy who helps Stark in his time of need. James Badge Dale, Miguel Ferrer, William Sadler, and Dale Dickey all have strong moments, but therein lies what may be the film’s biggest weakness.

iron man3 It’s an incredibly impressive film to watch … giant visuals, really good actors and quick, witty dialogue. But there seems to be an overload of each of these things. Guy Pearce’s character is woefully underdeveloped. I so wanted more of his backstory and motivation. Same with Harley, the boy. Much could have been done with that. Miguel Ferrer, always a worthy opponent, must have had his best scenes left in editing. The scene with Ben Kingsley, Don Cheadle and Robert Downey Jr, may have been the best in the movie simply because we got a real peak at each of these character’s personality. That’s way more fun that another explosion!

The film pummels us with action, probably has too much Tony Stark and too little Iron Man for the fanboys, throws in a hard-to-swallow sub-plot regarding Anxiety issues for Stark (thanks to his Avengers escapades), and underutilizes Guy Pearce in what could have been a world class evil doer. Still, despite all of that, it’s fun to watch and Robert Downey Jr will always be Iron Man!

*NOTE: the expected Stan Lee cameo occurs during the Beauty Contest scene (he plays a judge)

SEE THIS MOVIE IF: you are fan of the Iron Man franchise … it delivers what we want and what we expect

SKIP THIS MOVIE IF: you are expecting something wildly different from the first two Iron Man movies – the tweaks are minor and mostly effective

watch the trailer:

http://www.youtube.com/watch?v=aV8H7kszXqo

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Posted by David Ferguson

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