Suit Up

With the release of Iron Man 3 this past Friday, Marvel studios officially kicks off their much-awaited "Phase Two", a series of films that leads up to 2015's anticipated sequel The Avengers 2. Starting the ball rolling with Iron Man and making it work was very important for two big reasons. First, Robert Downey Jr.'s irreverent interpretation of Marvel's "genius billionaire playboy philanthropist" is easily the most popular of its superheroes, widely out-grossing the still-successful films featuring fellow Avengers Captain America, Thor and the Hulk at the box office. Second, while the newest sequel is seen more as a followup to Joss Whedon's excellent The Avengers than it is to the previous Iron Man titles, it still carries the stain of coming after 2010's terrible Iron Man 2, easily one of the worst released that year. And so Iron Man 3's co-writer/director Shane Black (taking over from the departing Jon Favreau) upped the ante by introducing Iron Man's strongest foe (The Mandarin, played by Ben Kingsley) and one of the original comic book's most famous stories, as the movie is loosely based on Warren Ellis' 2005-2006 Extremis storyline. Top it off with more Iron suits than one man could possibly have use for (or so one would think) and you have all the makings of a potentially amazing Iron Man sequel.

This is his indoor attire.

Following the events of The Avengers, Tony Stark (Downey) is trying to get back into his daily routine as a billionaire inventor with a great girlfriend in Pepper Potts (Gwyneth Paltrow) and an amazing gig as famous world-saving superhero Iron Man. But he's having difficulties sleeping, his worldview irrevocably changed by the events in New York City, and exacerbated by the terror attacks of The Mandarin (Kingsley), an international criminal guilty of bombings around the globe. When one of those attacks hits a little close to home, Stark gets it in his head that he will handle the menace, exposing himself and everything he holds dear to urgent danger. But everything is not what it seems, and soon his past comes back to haunt him. Surrounded by enemies, Stark must rely on his wits if he wants to survive what comes next.

However, he cheats at Rock Paper Scissors

Shane black does an excellent job pulling together his own rendition of an Iron Man story while melding it with the existing cinematic mythos. His signature black humor fits in nicely with where Favreau had gone before, and his history with Downey (the pair worked together on the cult favorite Kiss Kiss Bang Bang) makes great use of the tongue-in-cheek storytelling that comes from their pairing. Black has a great feel for directing - as much as Downey does playing - Tony Stark, one of the few superheroes more interesting in his everyday manner than he is in costume, unlike "mild-mannered" Clark Kent or boring entrepeneur Bruce Wayne. In fact, the whole second act of the film features Stark without working armor in the middle of Tennessee (sans southern accents, strangely) and teamed up with a precocious brat (Ty Simpkins), and it's the best part of the whole movie. Black's ability to avoid cliched pitfalls works wonders for his star; Stark is eccentric and confident and yet plagued by demons, as three-dimensional as a character in comics can get these days. And that's even BEFORE he straps himself into a flying tin can and fights evil. To that end, The director also does a great job humanizing Stark's world and pits him against more grounded villains, while still keeping the supernatural and super-powered elements of the Marvel universe.

Might be time for a tune-up.

Black also does an excellent job directing the required action scenes, especially considering his relative lack of experience. Sure, he carries a massive special effects budget behind him, but had he failed he certainly wouldn't have been the first director to balk under the pressure of a major production. Instead the visual effects are flawless, the fight choreography is well-done, and there always seems to be a reason behind every action. The action sequences, from my personal favorite of Iron Man attempting to rescue seventeen people thrown from a plane to a battle royale between dozens of automated armored suits and an equal number of super-powered baddies, are expertly conceived, and while not everything works perfectly it does manage to at least match the intensity of what we've come to expect from this franchise.

You never see a good performance from him coming.

Unfortunately, while Downey is amazing as Stark, his side characters leave a lot to be desired. In most cases, it's an example of incomplete character development rather than lack of acting talent that sabotages these roles, though in the case of Rebecca Hall it manages to be both. Sadly, Paltrow wasn't much better, despite being a perfect down-to-earth foil for Downey's perfectly flamboyant performance. She's simply not given enough to do, and when she is the results are underwhelming. The same can be said for Don Cheadle, whose return as the military equivalent of Stark can be summed-up in two words: "paint job." Favreau also returns in an acting role, and shows that the expansion of his character wasn't remotely necessary. The villains are definitely better, with Guy Pearce once again showing that he should have made it to the big time years ago. But while Pearce is great, moreso is Kingsley, who terrifies despite relatively little screen time. Both make excellent bad guys, although if there is a failure it's that their motivations are never fully made clear. Still, it's better than the plain silly villain we sat through in Iron Man 2. That was just insulting.

And now, the ultimate test of her antiperspirant.

There are also some storytelling gaffes, not the least of which are the murky goals of the bad guys or the pointlessness of the secondary characters. Besides that, Iron Man 3 gets a little... dark in the latter half, with Tony Stark becoming a bit more amoral than most of his superhero bretheren (actually, he's about on par with Christopher Nolan's Batman, and not in a good way). While that might not be the best side-effect of Black's command, at least it can be forgiven by the fact that it matches the mood of the scene. Also, minor plot threads such as Tony's supposed post-traumatic stress disorder and relationship woes with Pepper are introduced in the first act, only to be resolved without explanation by the end of the second. Okay, they might have been a bit out of place (especially the PTSD) in a family-friendly action flick, but in that case why introduce them at all? There's also a nice, probably unexpected twist that might upset a few fanboys, but audiences ought to get a kick out of it. Finally, the ending is a bit TOO clean, to the point where an opening isn't left for potential future sequels. When we were introduced to this new Marvel movie universe, our understanding was that heroes would continue on, with or without their original actors. If this is Downey Jr's last Iron Man flick, Black and company definitely didn't leave it open for anybody else to take up the reigns in the future. And when the future shows at least two more Avengers pictures, that's an odd oversight.

Poker night's going to get a bit rowdy.

In the end, Iron Man 3 is easily the best movie we've seen in 2013, though that was admittedly an easy task. In some ways it's the best of the current Marvel crop, and in others it doesn't quite match up with the fun and intensity of the first Iron Man. Still, while it's still no match for The Avengers, it a great movie and a major step up after the Iron Man 2 debacle. Yes, you'll probably have to go back and rewatch all of those movies to understand what exactly is going on, but is that really such a bad thing? Iron Man is fun, funny, action-packed and simply amazing. Hopefully this won't be the last time we get to see Downey don the red and gold, but if it is at least he goes out on a spectacularly high note. This is as close to "must-see" as summer blockbusters get, despite even its most glaring flaws. If you're even remotely interested in comic books, explosive action and expressive humor, this is your jam.

Yard Retail Therapy

Anyone who has seen 2003's Lost in Translation remembers the sheer power of Bill Murray's performance. Rightfully nominated for an Academy Award for his portrayal of aging actor Bob Harris (and arguably more deserving than Mystic River's Sean Penn, who took home the prize), Murray's work was remarkable not only for its total brilliance but by the audacity of the man who played it for laughs in Ghostbusters and Caddyshack to take on such a serious role. Such seems completely out of place in that regard, but Murray is far from the first comedian to tackle such a part. Robin Williams, for instance, received acclaim for Good Will Hunting and One Hour Photo, while Dan Ackroyd received praise and an Academy Award nom for his role in Driving Miss Daisy. Murray might be the best of the bunch however, and recent years have seen a good number of copycat comedians in fiery dramatic roles, from Adam Sandler (Punch Drunk Love) to Steve Carrell (Little Miss Sunshine) to Ben Stiller (Greenberg) to Maya Rudolph (Away We Go) to Murray again (Broken Flowers), all trying to capture that same level of drama to be taken seriously in the big leagues, and not just dismissed as "comedic" performers. At first glance, that seems to be the impetus behind Everything Must Go, the rated R drama written and directed by newcomer Dan Rush based on the story story Why Don't You Dance by Raymond Carver and starring funny man Will Ferrell as a depressed alcoholic. Let the Oscar talk begin? Let's see.

Don't everybody rush in or anything...

Arizona resident Nick Halsey (Ferrell) is having a bad day. In fact, calling it a "bad day" is selling it short by a few magnitudes. After several months sober, the recovering alcoholic suffered a relapse while on a Denver business trip. This relapse, of which Nick has no significant memory, resulted in not only his job termination but, upon arriving at his home, finding that his wife has left, changed the locks and dumped all of his possessions on the front lawn. Unable to even enter his own house, Nick lives on the lawn among his prized belongings, but when he finally decides for a change, he sells off everything he has for a fresh start, helped by a young boy (Christopher Jordan Wallace) and the new neighbor Samantha (Rebecca Hall), who is waiting for her own spouse to arrive from New York for his new job.

Indie film requirement "cute kid": met

A far cry from the usual Farrell vehicle, Everything Must Go doesn't feature any outlandish hijinks, crazy characters, or stupid jokes that have made modern classics of films Anchorman, The Other Guys and Old School. The recipient of a generous dose of heart and sincerity, this film remains at all time in a state of realism, especially in its portrayal of the modern Scottsdale suburb and the people who live there. There is a bit of dark humor present, but there are no wooden pistols or "Sex Panther" to draw cheap laughs or otherwise marginalize the seriousness of the story. It would be difficult to find too much humor in unemployment, narcotic dependency and divorce, and while I don't doubt Farrell would give it a shot were he offered a chance, the film we have instead is sweet and smart, its emotional struggles the film's most obvious storytelling strength.

Trying to find a polite way to get out of this particular review

It may feel odd to imagine Ferrell in this kind of role; the former Saturday Night Live star an unusual inclusion in so subtly told a film. However, Ferrell outdoes many of his contemporaries and proves that he can actually ACT, as opposed to merely playing convincing caricatures. Farrell's schlubby looks have often been used in the past as a self-deprecating measure, but here they allow him to actually melt into his damaged persona. That's not to say I think that Ferrell looks like a long-time alcoholic, just that he resembles one more than Brad Pitt. That's only half the story, however; Ferrell manages to tell so much of the film's story through his expressions and mannerisms that you have to ask yourself: "Where did THAT come from??" We all love his impressions of former President George Bush or Alex Trebek, but never did we think he had it in him to so convincingly play Nick, a REAL person going through REAL shit. He's simply a treat to watch, and easily the best part of the film. Secondary characters do all right as well, especially Christopher Jordan Wallace as a young boy who looks up to Nick as a pseudo father figure. Rebecca Hall is okay (though not as good as she had been in 2010's The Town) as Nick's new pregnant neighbor who ends up being his biggest ally. Stephen Root, Michael Pena and Laura Dern play relatively big parts, but don't end up doing too much and are mostly forgettable fillers despite their generally higher talent levels.

No, we pretty much just see the suburbs... I KNOW

That's the problem with Everything Must Go as a whole. There's a lot presented to consider, but the film gets a little too inside itself to really let the audience in. This can mostly be heaped on Rush, as the writer/director obviously doesn't have the experience to know when enough is enough. I'll compare it to the 2009 Hollywood darling Precious, which was a tumultuous, emotional and sobering film... until the story just got so ridiculous that it completely jumped the shark and lost my investment as a viewer. Everything Must Go might not be that extreme, but so much of the film is seeing Nick sink deeper and deeper until he finally hits rock bottom, by which point we've been waiting since forever for the film's final act to rear its head. To tell the truth, the story's formula might have worked better as a made-for-TV film or miniseries, as there simply isn't enough to pad into a complete full-length film. The ideas are there; they just couldn't be pulled off by this particular helmsman in Rush.

The first step is to admit that you have a problem...

When all is said and done, Everything Must Go is a mediocre film with a few interesting ideas and an unexpectedly outstanding performance by its leading man. Is Ferrell's performance on par with that of Murray? No, it's not even close, but that's a fairly high bar to reach in any rate. Ferrell does outpace many of his predecessors, and I wouldn't be surprised to see his name bandied about come award season, though he's unlikely to bring anything home (also, watch in disdain as the Golden Globes plug him in the comedy/musical category). I don't recommend that you see this film in the theaters, but you might reward yourself in a few months when the rental comes out. Will Ferrell will keep.

Hometown Team

Ben Affleck might have finally discovered his calling. In recent years, Boston has become a haven for crime movies, from 2003's Mystic River to 2006's The Departed to little-seen 2008's What Doesn't Kill You, Hollywood seems to have become entranced by Boston's criminal history and the kinds of stories that affords. Affleck even got in on the act, making his directorial debut with Gone Baby Gone, overseeing a stellar cast including Amy Ryan, Ed Harris, Morgan Freeman, and little brother Casey Affleck. As director, Affleck drew on his experiences growing up in Boston to tell the story to the best of his ability, using the same instincts that made him such a star in the first place. Just the latest part of his Hollywood reboot after failing for so many years to be taken seriously by movie audiences, it's almost as though retreating to his roots is what finally saved his career.

Don't look don't look don't look, aw crap

When I first saw the trailer for The Town I was spellbound, my mind still processing what it had seen through my eyes. Not only was the film based in my home city, but in areas I was actually familiar with, as filming had taken place mere minutes from my apartment. On top of that, the film looked AMAZING, with another all-star cast and crew stepping up and putting together one of the more anticipated films this year.

Ben's about to put a beat-down on ya

Based on the novel Prince of Thieves by Massachusetts native Chuck Hogan, The Town introduces us to former pro-hockey prospect and lifetime criminal Doug MacRay, played by Ben Affleck, right as he and his crew of ne'erdowells begin their robbery of a bank in the city of Cambridge, Massachusetts (in an area, Harvard Square, that I often frequent). After completely catching everyone by surprise, the gang is methodical in their execution of this endeavor; They almost routinely secure the bank employees, destroy the security footage, and calmly disable the guards while getting the bank's manager (Rebecca Hall) to open the safe so they can loot the contents. Afterwards, in a move not normally carried out by their crew, Jem (Jeremy Renner) decides to take the manager hostage to guarantee their escape, and the crew eventually drops her off when they are sure they've gotten away safely. The crew, despite being upset with Jem for taking such an unnecessary risk, believes they've gotten off scot free. The FBI has no leads, the manager didn't see anything to identify them, and they're already getting ready for the next job. But when the crew discovers that Claire, the manager, lives mere blocks away from their native Charlestown homes, Doug volunteers to get close to her to find out whether she knows enough to finger them for the crime.

Let's talk about Lucky Strikes...

What the film probably does best is in the use of it's rich characters. Doug is a lifetime petty criminal who once had a chance to get out of this town of malcontents when he was drafted to the NHL, but frittered away that opportunity. Now he's pretty much stuck in a perpetual rut, looking for a way out of this criminal career before he ends up like his father (Chris Cooper), a permanent resident of federal prison. After his mother left when Doug was a child, he's really had no choice but to follow the example of the few authority figures in his life: his father, lifelong friend Jem (whose family took him in when Doug's father was pinched), and local mobster Fergie the Florist (Pete Postlethwaite) who's at least partially based on real-life Boston mobster Whitey Bulger. Jem is also a great character, a sociopathic thug with little to no morals outside of his closest friends who will shoot anyone who gives him or his family (blood or otherwise) a hard time. And many of the others are well thought out deep characters, no mere cliches of personalities.

Stop it! Your name is NOT Serena!

As the two friends, Affleck and Renner have amazing chemistry. Though Affleck would probably be run out of town if he couldn't pull off a local accent, but he's also charming and disarming as Doug, who falls head over heels for his target and wants more than ever to get out of this livelihood. Renner is the real prize, however, a local with no ambitions to leave his current situation, a thug of the highest order who seems to get a rush out of a successful heist. What's best about the character is his obvious concern for Doug, who he practically considers a brother. It allows you to connect and feel sympathetic with this character, who otherwise might be a simple bad guy. Speaking of bad guys, the obvious villains in this drama are the FBI investigating the string of bank and armored car heists carried out by this crew. Out in front is Special Agent Adam Frawley (John Hamm), who acts as the main antagonist to Doug's potential freedom. Hamm is quite engaging here, and here manages to maintain a relative sloppiness in comparison to his Mad Men character. There's not so much grace to Frawley, with a perpetual five-o'clock shadow and a hangdog look to his eyes that suggests years of futility and frustration. He's one surprise in the cast based on his limited work elsewhere, the other is Blake Lively as Jem's sister, an oxy-addicted single mother stuck in Charlestown and also with romantic aspirations with Doug. This is no Gossip Girl variation, she plays a character different from any she's played before, and does it WELL, which is probably more than anyone expected of her. Cooper is good, though his role is limited to a couple of small scenes. His character is based on the no-snitch people you read about, the ones who refuse to rat out their buddies to avoid jail time. Hall is good but it's sad to think that her role is almost nonessential come the second act of the film. She does play a part, but the story becomes more a three-way Doug-Jem-Frawley battle for supremacy and while Hall's character is supposed to be in the middle, it doesn't always feel that way. She does do a good job conveying the psychological side of someone who's survived mental trauma, and she's so many light years ahead of her performance in the largely overrated Vicky Christina Barcelona that the London actress finally seems to be making a name for herself as a legitimate actress.

Is another Oscar nomination far in this man's future?

The story is rife with thrills and suspense. There's no real MYSTERY to this tale, only to how Doug will finally escape Charlestown and the same fate as his father. It is very compelling, though, as you find yourself rooting for Doug to not get caught, to be with Claire, to escape Frawley and Jem and Fergie and the whole mess that comes with the territory. On top of that, as a Boston resident I was thrilled with every scene where I recognized the locale from my own strolls down these streets. Any local must feel something different when a film is shot and based in Boston, as sometimes based in Boston means shot in Toronto. But the Boston location means so much more to me, and means I'm even more into what's happening perhaps than people who don't live here, or haven't grown up here. It's simply a thrill and privilege to think my city contributed in some way to this story being told.

"Yeah, I've been knocking over banks for years."

The Town, despite being poorly-named, is an amazing film with great characters holding the story together. Perfectly captured by one of Boston's own, it's one of the best Boston-based films. More down to earth than The Departed and with better characters than Gone Baby Gone, The Town is subtle, nuanced, smart, edgy, and thrilling, and totally deserving to be my new #3 for the 2010. After all these years, Affleck has learned how to do good, and he came home to do it. He makes this town proud.

Yeah, you don't want to be on their bad side