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When Tony Stark's world is torn apart by a formidable terrorist called the Mandarin, he starts an odyssey of rebuilding and retribution.

Director:Shane Black
Creator:Drew Pearce (screenplay by), Shane Black (screenplay by), Stan Lee (based on the Marvel comic book by), Don Heck (based on the Marvel comic book by), Larry Lieber (based on the Marvel comic book by), Jack Kirby (based on the Marvel comic book by), Warren Ellis (based on the 'Extremis' mini-series written by), Adi Granov (based on the 'Extremis' mini-series illustrated by)
Actors:Robert Downey Jr., Gwyneth Paltrow, Don Cheadle, Guy Pearce

With Loki’s Chitauri invasion thwarted, billionaire inventor and recent world savior Tony Stark (Robert Downey Jr.) retreats to his Malibu mansion and begins work on a never-ending series of armors culminating in the Mark XLII, a suit capable of assembling itself, piece by piece, around its wearer with the flick of a wrist. Haunted by memories of the attack on New York and plagued by insomnia and panic attacks, Tony isn’t sure what sort of man he is anymore, or if he even has what it takes to be the cocksure hero he once was. Clarity begins to come, though, when The Mandarin (Ben Kingsley), a deadly international terrorist whose past is shrouded in mystery, stages a string of bombings across the U.S., one of which lands Stark friend and bodyguard Happy Hogan (Jon Favreau) in the hospital.

Review Iron Man Man 3

Pop quiz, hot shot. When was the last time you walked out of the third film in a trilogy with a grin on your face? Trilogy cappers are notoriously tough nuts to crack. More often than not, even the best Part IIIs are divisive, and only a select few deliver something truly special. Even rarer is the fabled Trilogy Topper: a film that outclasses its predecessors and stands tall and proud as the unmistakably best of the bunch.

The simply but aptly titled Iron Man 3 falls somewhere between divisive third-parter and undisputed trilogy topper. Would-be filmfans responded with equally impassioned jeers and cheers when the eagerly anticipated, billion-dollar summer blockbuster debuted in theaters; particularly the disenfranchised comicbook readers among you who were none too fond of filmmaker Shane Black and co-writer Drew Pearce’s controversial but fearless take on The Mandarin, the foremost villain in Tony Stark’s corner of the Marvel Universe. Iron Man 3 is a far better film than its detractors give it credit, though, quite a different film than the one most will experience during their first viewing, and one that does indeed best each Iron Man that comes before it. (IM3 handily breezes past the god-awful Iron Man 2 while narrowly inching by Jon Favreau’s original Iron Man.) Is it a flawless fling? A perfectly fantastic hurrah? For that matter, is it a more effective Iron Man 3 than Joss Whedon’s The Avengers? No, no and… no. For all its bravado and arc-wrapping aspirations, Black’s wry action-comedy is more IM4 than IM3, and works better as a solid one-off or a second trilogy opener than a proper close to Marvel’s Phase One Stark saga. That said, you aren’t likely to have this much fun, laugh this hard or applaud this loud while watching any other comicbook spectacle this year.

Impulsively challenging The Mandarin to literally bring the fight to his doorstep, Tony inadvertently invites a world of hurt upon himself, live-in girlfriend Pepper Potts (Gwyneth Paltrow), resident artificial intelligence J.A.R.V.I.S. (voiced by Paul Bettany), botanist and former one-night-stand Dr. Smc networks drivers. Maya Hansen (Rebecca Hall), and on-again, off-again best bud and fellow shellhead, Rhodey Rhodes (Don Cheadle), whose government-owned War Machine has been painted red, white and blue and redubbed The Iron Patriot. Tony is not only forced to go on the run from The Mandarin — without a fully functioning suit of armor, no less — he finds himself at odds with the enigmatic villain’s allies and underlings: Advanced Idea Mechanics founder Aldrich Killian (Guy Pearce), his fire-slinging right-hand henchie Eric Savin (James Badge Dale), hot-headed assassin Ellen Brandt (Stephanie Szostak), and a small army of super-powered soldiers granted their extraordinary abilities by a volatile virus dubbed Extremis.

Iron Man 3 is Marvel’s snarkiest, Starkiest Iron Avenger actioner yet, with more one-liners and pop culture references per square inch than any Marvel movie to date. Upon first viewing, the comedy is almost too pervasive, occasionally distracting from the PTSD drama and Tony’s ongoing evolution. Some will also deem its Extremis-wielding baddies as being rather generic, its kidnap-the-president plot derivative, and its Tony & The Kid subplot unnecessary. (Unnecessary now, that is. Young Ty Simpkins’ Harley Keener might just become future space-faring hero, Nova. Stay tuned, Marvel maniacs.) But IM3 is only a blazingly brash action-comedy the first time around. Further viewings retain the beats and beatdowns quite nicely, yet also reveal how much is going on beneath the surface, how ingenious its villains (and their best-kept secrets) really are, how much more Downey Jr. and his castmates have brought to the table this time around, and how much more complex and nuanced the story and, in some regards, the underlying sociopolitical commentary tend to be. All that with Tony spending (in retrospect) a startling amount of time out of his armor. (Full armor anyway. One of the highlights of the film is Stark’s makeshift home improvement store “suit,” followed by his impromptu boot/gauntlet/uzi combo. Mark XLIII and Mark XLIV anyone?)

Yes, IM3 is more of a bridge between The Avengers and (presumably) The Avengers: Age of Ultron than a true trilogy capper. And yes, its second-act gotcha gag can most definitely be a shock to the system. (You know the one. If not, brace for a big laugh… or a big groan.) But Iron Man 3 is more than the sum of its parts, and far more than its flaws, banter-laden tomfoolery, and sleight of hand will strike the film’s biggest critics. The difference? We, the popcorn-movie horde, have become so used to being inundated with exposition and hand-holding that it’s become much too easy for us to overlook visual clues and cues that aren’t painted red or highlighted by a lingering zoom. When did we start expecting movies to giftwrap and deliver everything they have to offer in one sitting? Why don’t we revisit blockbusters multiple times, attempting to unearth more and more subtleties with each subsequent viewing? Why do I continue to be surprised that Iron Man 3 is such a wildly different film each time I watch it? Even supposed plot holes and bizarre decisions suddenly seal up and make more sense as time passes, at least for those willing to consider the possibility that Black and Pearce know what they’re doing. (Those with nagging doubts to the contrary should give the filmmakers’ audio commentary a listen and then take another stab at the film. It makes for a whole new IM3.)

Above all, Black’s run at Iron Man is a fittingly dazzling, vulnerable and, let’s just say it, daring introduction to the Starkverse 2.0 and the new stakes of the post-alien invasion Marvel Cinematic Universe. Nearly as big, bad, funny and grand in scale as the most thrilling MCU extravaganzas (even without flying Leviathans, dimensional portals, or Green Behemoths smashing puny gods), it’s a fine farewell to the standalone Iron Man movies… if we’re to believe reports that Downey Jr. will part ways with the MCU after Avengers 3, without starring in any further IM one-shots. With the right script — and the return of Downey’s pal Shane in the director’s chair —

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