This is the End is nonstop madness in the best way possible

Oh goodness, I've been slacking again. This much-delayed review is long overdue, but I wanted to get it out of the way before Pacific Rim rears its glorious, monster-bashing head. Enjoy!!

I'll keep this short and sweet: I will be truly shocked if we see a comedy this year that's more hysterical, outrageous, or insane than This is the End. I'm still keeping my fingers crossed for Edgar Wright, Simon Pegg, and Nick Frost's alien invasion sure-to-be-masterpiece The World's End and I'm sure Anchorman 2 will provide us with some end-of-the-year laughs; but honestly, I don't think anything could measure up to Seth Rogen and Evan Goldberg's take on horror/comedy. Seriously. This movie is so funny that my body hurt from laughing so hard. I'm already a fan of the Apatow crew, but this is above and beyond anything I could have possibly imagined. (And yes, I know Judd Apatow wasn't actually involved, but practically everyone in this cast has been educated in his comedy school for gifted youngsters)

The plot is simple enough. Jay Baruchel is visiting his good buddy Seth Rogen in Los Angeles, hoping for some quality bro-time. (Yes, the actors are playing themselves. I'm sure you knew this already) Much to Jay's dismay, Seth decides the two should attend a raucous house party at James Franco's new pad. Jay isn't a huge fan of Franco, nor the crowd he runs with. Nevertheless, he obliges Seth's request and they head over. The next fifteen minutes or so features one of the most absurd celebrity parties that has ever graced the silver screen. I won't reveal all the cameos or what makes them so funny, but I will mention that the standout is probably Michael Cera who spends most of his time blowing cocaine in people's faces and getting all sorts of inappropriate favors from babes in guest bathrooms.

Before long, strange events start to occur: People get sucked into the sky by bright beams of light; huge sinkholes leading straight into the depths of hell appear all over the city; monsters begin prowling the streets, picking off people left and right. The survivors - Jay & Seth joined by James Franco, Craig Robinson, Jonah Hill, and Danny McBride - hole up in Franco's concrete fortress and non-stop hilarity and madness ensues as they face the coming apocalypse.

I would be doing you a disservice if I were to attempt to lay out all the jokes and surprises that await you in This is the End. Simply know this:

You will laugh your ass off.

The cast lends themselves to all manner of embarrassing acts and self-deprecation. The chemistry everyone has with each other is flawless and the improvisational tirades they frequently go on are consistently gut-busting. There are plenty of cameos from people you'd expect to be in this movie and plenty from those you couldn't possibly imagine. Whatever you do, don't let ANYONE ruin these surprises for you. No matter what!!

Seth Rogen and Evan Goldberg have crafted plenty of screenplays, but as far as I'm aware this is the first time they've actually directed one. I would never have guessed. They have such a natural sense of pace and timing and expertly balance comedy and scares to create a unique and endlessly enjoyable moviegoing experience. I can only hope they continue to challenge themselves with such inspired material. Sure, it may be a vanity project and an excuse to get all their friends together to act like idiots, but if every vanity project was this entertaining, I wouldn't say no to seeing a few more.

CONCLUSION: If you are a fan of comedy in any form, you can't afford to miss this one. Do yourself a favor and rush to the nearest theater with a large group of friends and get ready to laugh forever and ever and ever. Amen.

FINAL RATING: 4.5/5

Man of Steel may not be super, but it's still pretty sexy

When Superman Returns was released in 2006 (Has it really been seven years??), it opened to decent box office numbers and a largely positive critical response. Kind of funny to think of that now, seeing as how it's gotten so derided over the years, you'd think we were talking about one of the Star Wars prequels. I really enjoyed Returns though. Heck, I even saw it in theaters ten times when it was first released (I'm a big Superman fan. So sue me) Despite my outspoken love for the movie, I understand why the general moviegoing public didn't really take to it. It didn't give anyone who wasn't already a fan of the character any good reasons to become one. It didn't help that it follows Richard Donner's template for his classic, genre defining marvel of a movie Superman (1978) almost to a T, mimicking plot points beat for beat without quite developing an identity of its own. Even with these flaws though, Returns is by no means a low point in superhero cinema. Especially when you measure it up against the likes of travesties such as X-Men: The Last Stand, Batman & Robin, Fantastic Four, Daredevil, and even Superman III & IV. Regardless, the lukewarm reaction and underwhelming box office numbers proved too much for even the Man of Tomorrow to handle and Warner Bros., in their infinite wisdom, saw no other option but to hit the handy dandy reboot button and start from scratch.

Enter Christopher Nolan and David S. Goyer who had been developing ideas for their own take on the Superman mythos during a particularly frustrating bout of writer's block while crafting the screenplay for The Dark Knight Rises. Nolan was so taken with Goyer's ideas that he immediately phoned Warner Bros. and told them what was up. Warner Bros. didn't even blink as they handed the franchise reigns over. (One of the perks of making the first superhero movie to gross a billion dollars is that people don't tend to second guess your thought process) Zack Snyder of 300 and Watchmen fame was hired to helm the picture not long after, a choice that initially seemed to be misguided. I've got nothing against Snyder himself; he seems like a pretty hip and happening guy and he has a genuine love of cinema and the skills to deliver high-octane comic book action the likes of which the world has never seen. The problem is, he hadn't quite developed the ability to make me care about what was happening in his movies. Blame the shallow screenplays he was working with, or the mediocre talent he hired (I'm looking at you, Malin Ackerman), but there's a definite lack of humanity to all of his work and if there's one thing a Superman movie needs, it's humanity.

I was a bit discouraged by the choice to hire Snyder, but the trailers for Man of Steel gave me hope. My expecations soared, but I did my best to keep them at bay. After all, I didn't just want a great trailer, I wanted a great Superman movie.

Man of Steel is not that great Superman movie.

It is, however, a good one. A very good one, actually, flaws and all. And maybe the fact that it's not the Second Coming will be disappointing to some, but the overall package works well enough that Man of Steel ends up being quite a solid outing for our hero.

Man of Steel takes it upon itself to retell the origin story. Again. Synder/Goyer take us all the way back to the moment our hero is born on Krypton. Somehow, shockingly, the sequences on Krypton are both fast-paced and drawn out. Not sure how you manage that, but I suppose that's one of this film's great mysteries. Russell Crowe plays Superman's father Jor-El in an admirable performance and, thanks to the magic of visual effects, Krypton itself is a rather breathtaking world. We've never really gotten to see the planet displayed in all its glory before, so it's kind of a nice little treat. But, don't get too attached because it's not long before the planet goes and gets all blowed up and baby Kal-El is rocketed to Earth. The film flashes forward and we see Kal-El, now all grown up, named Clark Kent, and sporting a beard, a grimace, and a remarkable six-pack that'll make men weep and women swoon. We're treated to a number of flashbacks involving Clark's childhood, learning valuable life lessons from Ma and Pa Kent. (Diane Lane and Kevin Costner respectively) But, it's clear that he's out of place in the world. He longs to discover where he comes from and what his true purpose is. This mission is put into overdrive when General Zod (Michael Shannon) arrives to threaten the people of earth, forcing Clark to rise to the challenge and become the Superman we all know and love.

Well, maybe not quite the one we know and love. Not yet, anyway...

Man of Steel takes an intriguing approach to the Superman mythos by jettisoning a lot of the innocence and 'gee-whiz!' charm that makes this character so wonderful in favor of a more somber, grounded tone. It's not nearly as dark as some critics are complaining, but it is a bit disconcerting. The gloomier mood doesn't quite fit Superman, but the movie gets more things right than wrong and, when it works, the final product is an explosively satisyfing blockbuster extravaganza. If the storytelling elements had gelled more cohesively, we might have the quintessential take on the Superman origin story on our hands, but the film as it is still works overall.

Snyder's direction is much more understated than usual. (Thank God) He trades his trademark over-stylized nature for a more grounded, handheld approach that serves the story surprisingly well. He crafts his action sequences with a level of skill that ensures that even as they bludgeon us into submission, we are still thoroughly entertained by Snyder's craft. It's too bad Goyer's script isn't quite up to par. It almost feels like two separate films: The more thoughtful first half that focuses on developing its characters, and the more explosive second half to satisfy summer blockbuster standards. It never quite manages to find the balance between satisfying emotional moments and the gloriously mind-numbing action sequences. Additionally, some controversial story beats probably would have been more effective if the build up to them had been a bit more cohesive.

Honestly, I didn't take too much issue with the *big moments* that have caused so much controversy, as you no doubt have seen on the Internet. No, the issue I have with Man of Steel is that Superman isn't quite as selfless as I would have hoped. He's supposed to be our great protector, but he spends more time punching things than actually protecting/saving people. At a certain point in the movie, I sort of accepted that the movie was going in a less thoughful direction simply because I'd never seen this level of action in a Superman movie before and it was immensely satisfying to finally see him hit someone. Still, I really hope that come sequel time, Snyder and Goyer take a bit more time to develop a more meaningful emotional connection to the chaos. Bring some meaning to the mayhem!!

This film is not without its level of humanity though. A lot of this is due to the excellent performance of Henry Cavill as Clark/Superman. He may not have a lot to work with, but he is very clearly the right man for the job, striking the perfect balance of confidence and charisma. I truly believe that if Cavill is given the right material to work with he could end up being the best Superman since Christopher Reeve and, when it comes to playing Superman, praise doesn't get much higher than that. The other key player that contributes to this film's success is Hans Zimmer who has crafted a superb score that manages to pave its own path without making you long for the days of the iconic John Williams theme. (And that's no easy feat)

The rest of the cast is effective in their roles. Amy Adams makes a great Lois Lane. She's more directly involved in the action and, for the first time, it felt like there was a reason for Superman to be attracted to her besides her good looks and fiesty personality. I've already mentioned that Crowe was great as Superman's real father, but Kevin Costner and Diane Lane give the most touching performances as Jonathan and Martha Kent. (Wish they had more screen time, though) Laurence Fishburne as Daily Planet editor Perry White is an inspired choice as well. The biggest disappointment of the whole bunch is actually Michael Shannon as General Zod. He's one of the finest actors working today, but his performance here is a bit stiff and the screenplay never develops his character quite as much as it should have.

Overall, Man of Steel may not be the triumphant return of the world's most iconic superhero, but it's a solid outing that stands strong amongst the summer competition. Honestly, I think it's better than both Iron Man 3 and Star Trek Into Darkness. (At least it takes itself seriously and doesn't replay scenes from previous movies in its series) I'm a bit baffled by the mediocre critical response it's received. Sure, it's not perfect, but it's satisfying big budget entertainment and fans of Superman should get a kick out of seeing their hero in action. Now that the groundwork is set, I'm keeping my fingers crossed that the filmmakers involved will make an effort to remember that Superman is not only a Man of Steel, but a Man of Heart as well.

CONCLUSION: Man of Steel offers enough high-flying action to make up at least three other movies and Henry Cavill in the title role gives us the emotional connection we need even if Goyer's screenplay doesn't. It's not perfect, but it's definitely the best blockbuster of the summer thus far and one of the better films in the Superman franchise.

FINAL RATING: 4/5

Mud - A Classic Coming-of-Age Story

Mud, the latest film from the mind of the highly talented writer/director Jeff Nichols, is one of 2013's under-the-radar treasures. It tells the tale of a kind-hearted boy named Ellis who lives in a house stationed on a river in Arkansas. His home life is a bit of a mess; his mom and dad don't seem to be getting along very well, but despite this Ellis has deveoted himself to the ideals of true love and the belief that it really exists. At the film's start, he and his best friend Neckbone discover a motorboat suspended in a tree on a small island in the Mississippi River. Before too long, the two of them discover the boat is occupied by a grungy, mysterious character named Mud who promises them the boat in exchange for food. Very quickly, Ellis strikes up a friendship with Mud and continues to assist him in whatever way possible. But Mud's mysterious past threatens to upend no only his own life, but that of Ellis' as well.

As far as the plot goes, I will say no more. The less you know going in the better. I will say that I'm a sucker for a good coming-of-age story and Mud is a great one. It perfectly emulates the spirit and tone of living in a small, rural area with little to entertain you except your friends and the great outdoors. It's also much more than just a simple coming-of-age tale. It's a thriller, a romance, and a drama as well and it works on every one of these levels. Jeff Nichols had already won me over with his excellent 2011 psychological thriller Take Shelter (Featuring Michael Shannon in what was arguably the best performance of that year) and with Mud he has cemented himself as one of my favorite filmmakers. His take on small-town America is lush and believable without slipping into dreaded cliche, as is all too common where southern accents are involved. He directs with immaculate skill, showcasing an eye for small details: The ripples of a lake as a boat rushes through the water; the ephemeral beauty of sunlight passing through the treetops. He appreciates the beauty of being 'in the moment' and with the superb natural lighting of Adam Stone, Mud's cinematography has a definite aura of magic that blankets the proceedings. The production design of Richard A. Wright seamlessly depects country living in all its rustic glory.

Fantastic visuals aside, Mud is just a delightful story. Its screenplay is excellent - Funny at all the right moments, occasionally heartbreaking, and deeply affecting. Nichols has a knack for crafting fairy tales totally grounded in the real world. Mud is fashioned with fascinating, well-drawn characters in realisitc settings and Nichols' dialogue is natural and totally on point. Even when you fear the plot might be delving too closely to all-too familiar contrivances, Nichols quickly pulls at the reigns and knocks you off your seat with his unique twists and turns.

Performances are outstanding across the board too. Nichols directs his young cast flawlessly. Tye Sheridan as Ellis gives one of the most convincing and natural child performances I've ever seen and Jack Lofland as Ellis' friend Neckbone is equally as effective in his role. Matthe McConaughey as the title character is irresitbly charming and mysterious; Reese Witherspoon as Juniper, the love of Mud's life, gives a vulnerable and touching performance and Sam Shepard as Ellis' mysterious neighbor Tom Blankenship is wonderful. Even Michael Shannon drops in, making a welcome appearance as Neckbone's treasure-diving, womanizing uncle and, goodness, I wish he could be in every movie.

CONCLUSION: Without a doubt, Mud is one of 2013's very best films. It's funny, touching, emotional, and exciting without feeling trite or contrived in any way. It's a definite crowd pleaser and serves as further confirmation that Jeff Nichols is one of the most talented filmmakers of this generation. I can't wait to see what else he has up his sleeve.

FINAL RATING: 4.5/5

Before Midnight: The Best Film of 2013...So Far...

It's been eighteen years since Before Sunrise graced cinemas, introducing audiences to Jesse and Celine: two young twenty-somethings who spent an unforgettable evening together in Vienna, Austria. During their brief time together, they discussed anything and everything that crossed their minds and fell madly in love. Before parting ways, they agreed to meet again in six months' time, but life has a fiendish way of upsetting even the best-laid plans and their next meeting would not take place for nine years...

In 2004, Before Sunset was released, reuniting the beloved characters after a long absence. Jesse, now a published author of a best-selling book based on his and Celine's Vienna exploits, was reunited with her in Paris and the spark between them was immediately rekindled. They strolled through the city streets, caught a ride on a tour boat, and finally had their long overdue emotional breakdowns during a car ride in which all their pent up feelings for each other finally came to the surface. Like Sunrise, Sunset ends on an ambiguous note, leaving the question of whether or not Jesse decided to abandon his loveless marriage to pursue a relationship with his long, lost soulmate up in the air.

That is, until now!!

Before we go any further, let me just say that I love, love, love Before Sunrise and Before Sunset. They are, in fact, my personal favorite films of all time. So few romances come close to portraying relationships or love this honestly, which makes them in my not so humble opinion very special movies. So, it should come as no surprise that I've been awaiting the release of Before Midnight with great anticipation and I am thrilled beyond reason to be able to say that I was not let down in the least. It is a masterful film, passionately made, funny and, at times, utterly heartbreaking. At all times, it is never anything short of being a completely engrossing work of art.

Almost immediately, Before Midnight reveals that Jesse chose to stay with Celine in France following the events of Before Sunset nine years prior and they now have adorable twin daughters. He is an accomplished author and she is doing the work she loves for different activist groups. Not all is well in the world of Jesse and Celine, though. You see, Jesse's decision to stay with Celine came at the cost of developing a meaningful relationship with his son Hank, who is currently living with Jesse's ex-wife in the US. At the start of the film, Jesse is walking Hank to his flight back to the States. Despite Hank's insistence that he's had the best summer of his life with Jesse and Celine in Greece, the strain in their relationship is evident and Jesse is harboring an enormous amount of guilt over not being there for his son's development into a young man. During a long car ride, Jesse hints at the possibility of moving back to Chicago where Hank is living with his mother, but Celine is none-too-thrilled by this prospect as she has just received a very promising job opportunity which would keep her in Europe for the foreseeable future. Their brilliant conversation is captured in 15 minutes of real time (A single take broken only by a brief cutaway). In it, they voice their concerns and engage in the witty, enchanting banter that has made watching them such an enjoyable experience.

It's astonishing to think that a scene in which two people do nothing but drive and talk for 15 minutes straight could be so fascinating, but when it comes to Jesse and Celine, no amount of action could possibly be more mesmerizing than their conversations. The dialogue is flawless and the performances are so effortless, you'd swear someone was beaming live footage of a real couple into your theater. This is due in no small part to the immaculate talents of writer/director Richard Linklater and his leads/co-writers Ethan Hawke and Julie Delpy. They crafted the first two films together as well (Screenplay co-credit for Before Sunrise went to Kim Krizan, but apparently Hawke and Delpy had a lot more involvement than you would think) and their understanding of these characters and their love for them is evident from the very first frame. Linklater's direction is expertly unobtrusive, allowing the conversations to flow and breathe as real conversations do. Hawke and Delpy wear these roles like second skins, transcending mere performances to become something so much more.

But, even from Before Midnight's first conversation, it's clear that the hopeful optimism that graced their conversations in Before Sunrise and Before Sunset is now undercut by a world-weariness that can only come with the knowledge that the reality of 'true love' is not quite as fairy tale-esque as one would hope. Jesse and Celine's love for each other is still present as evidenced by their playful banter and interactions, but a subtle bitterness creeps into every one of their exchanges now - A bitterness that comes boiling to the surface in a hotel room showdown where the two exchange verbal blows that will make you chuckle and cringe in equal measure. Make no mistake, of the trilogy Before Midnight is easily the most painful to watch, and yet it is also a strangely cathartic experience.

But no matter what way you look at it, Before Midnight, like its predecessors, is incredibly refreshing in its honest portrayal of the trials and tribulations of love and its authentic analysis of relationships in general. So few films have taken it upon themselves to examine love in such a straightforward, realistic way and it makes this series something to cherish. These films make up what could very well be the definitive love story of our time.

In some odd way, the Before Sunrise series could actually serve as a cautionary tale for any relationship, warning young lovers of the trials and tribulations that await them, whilst providing a great deal of hope for those who are willing to stick together through the good times and the bad.  Let's hope Linklater, Hawke, and Delpy reunite in another nine years to continue sharing this story with us. It'll give me hope for the future of movies and mankind as well.

CONCLUSION: Before Midnight not only cements itself as the best film of 2013 so far, it cements the Before Sunrise series as one of the finest film trilogies of all time.

FINAL RATING: 5/5

Set Phasers to Awesome: Star Trek Into Darkness Review

Set a course for the nearest movie theater. Maximum warp. Star Trek Into Darkness is the kind of movie for which the term 'summer blockbuster' seems tailor made. From its very first frame to its climatic final showdown(s), Into Darkness is a rip-roaring, frantically paced, non-stop roller coaster ride of a movie that still manages to pack quite a bit of heart and humor into its running length. Don't let the 'Darkness' in the title fool you; this is escapist moviegoing at its best and it's an absolute blast.

Alright, so I'm going to forgo anything remotely resembling a plot description to avoid spoiling any of the major twists and turns that await you. (Believe me, there are plenty and you won't want them ruined and I shall not be the one to do so) Be warned, though, as very, very minor spoilers may await you here.

As many of you already know, I'm a big fan of what Abrams and co. did with the 2009 reboot of Star Trek. It felt like a breath of fresh air, reinjecting the franchise with new life and successfully ushering in a whole new legion of fans who couldn't have cared less about Star Trek previously. It was a superb reimagining of the Trek universe, upping the action while keeping its focus on what has always been Trek's finest staple: its characters. Sure, the long-winded philosophical discussions were all but extinguished, but this was in favor of an excitement level that previous Trek iterations could only dream of reaching.

Star Trek Into Darkness continues this trend, but ups the thrills to even greater heights. It's practically one set piece after the other, each as exhilirating as the last, if not more so. Abrams has a deft talent when it comes to crafting rousing action sequences and he directs these and his cast with unmistakable zeal, keeping things up and running at a breakneck speed that would make Spielberg proud. That's not to say Into Darkness isn't without its fair amount of flaws though. These are largely due to a slightly lazy screenplay coined by the pair who wrote the screenplay for the 2009 reboot: Roberto Orci and Alex Kurtzman, this time joined by Damon Lindelof of Lost fame. I call it slightly lazy because the screenwriting team borrows almost too slavishly from some of the best stories in the Star Trek archives. In fact, some of the movie's most affecting moments are stolen practically beat for beat and line for line from earlier films in the franchise, severely diminishing the emotional impact they seem to be aiming for. It comes across as more of a cheap imitation than a thoughtful homage and it robs Into Darkness of the sense of freshness that marked its predecessor.

But what Into Darkness lacks in storytelling prowess, it more than makes up for in pure spectacle and, most importantly, in developing its characters' relationships, providing the film with much needed heart and soul. As with the previous film, the primary focus relationship-wise is on the bromance between Kirk and Spock. Chris Pine's Kirk is still cocky and headstrong, but there are some new shades to the character as well and some powerful lessons left to be learned here before he can truly earn the title of  'Captain.' Zachary Quinto is, to put it bluntly, totally badass as Spock and I really love what he's doing with the character. He simultaneously honors Nimoy's iconic performance while adding his own unique spin. The chemistry between these two is unmistakable and makes all their scenes together a joy to watch.

Big Baddie John Harrison, played to perfection by Benedict "How 'bout that Baritone?" Cumberbatch, serves as a formidable foe for the Enterprise and her crew and Zoe Saldana continues to make the character of Uhura her own in all sorts of awesome ways. Even Scotty gets some geat moments here and, as far as I'm concerned, the more Simon Pegg you have in a movie, the better. With the exception of these main players, though, the rest of the supporting cast is painfully underdeveloped. Most disappointingly, Karl Urban's McCoy is criminally underutilized and doesn't get to do much more than spout quippy one-liners when the occasion calls for it. Considering how beloved this character is (And his larger role in both the television show and the earlier films), as well as Urban's superb talents, it's kind of a bummer to see 'Bones' reduced to this level. Sulu and Chekhov (John Cho and Anton Yelchin respectively) also struggle for screen time, but thankfully they each get nice moments to make up for it. (One of the best moments in the movie is Chekhov's reaction to Kirk ordering him to don the infamous red shirt) The same can't be said for Alice Eve's character Carol Markus, who serves practically no purpose other than to strip down to her bra and panties to satisfy drooling males the world over. Peter Weller as Carol's father fares a bit better, but still suffers from shallow characterization.

But despite these underdeveloped supporting roles and the screenplay's overreliance on milking previous Star Trek films for their iconic moments rather than paving its own way into a new frontier, Star Trek Into Darkness is pure entertainment from start to finish. Fans should be mostly pleased, depending on how willing they are to go along with Abrams' action-oriented vision for the long-running franchise. Even those who are still sour about this direction will probably have to begrudgingly admit that as far as big-budget, blockbusting entertainment goes, Into Darkness is a huge success.

FINAL RATING: 4/5

Iron Man 3: The First Good Third Superhero Movie

Okay, first and foremost, let's get one big thing out of the way: Iron Man 3 jumps the shark. Multiple Times. As if its life depended on it, really. There are so many moments in Shane Black's take on Tony Stark's universe that I quite simply didn't see coming because they are so outlandish, so utterly absurd, that half the time the movie seemed to be crumbling apart right before my eyes. Somehow, miraculously, it doesn't. In fact, Iron Man 3 is the first third superhero movie I've ever seen that wouldn't qualify as a complete disaster. It's actually pretty darn good and considering all the awful third superhero movies out there that's a pretty enormous accomplishment. It may not be the rousing success that one would hope for following the brilliance of its predecessor The Avengers, but it has enough high-flying entertainment value to distract from its flaws.

At the film's start, Tony Stark (Portrayed by the always magnetic and brilliant Robert Downey Jr.) is deeply unsettled, his slumber interrupted constantly by dreams of the alien attack on NYC that took place in The Avengers. He copes with his unstable psyche by building countless Iron Man suits, including a pretty spiffy new one that bombards him piece by piece until he's completely armored up - Though it doesn't always work as well as intended. His girlfriend Pepper Potts (Gwenyth Paltrow) doesn't take too kindly to these distractions or his refusal to address his psychological issues. Naturally, their relationship is starting to show signs of strain. Mr. Stark's life becomes more complicated when a mysterious terrorist known as The Mandarin (Ben Kingsley, awesome and bizarre in ways you won't quite see coming) begins setting off bombs in various locations, spreading chaos wherever he can. After one of his companions is seriously injured by one of the Mandarin's attacks, Stark takes it upon himself to take down The Mandarin personally. He also clashes with Aldrich Killian, a scientist who has quite the vendetta against Stark as a result of an encounter they'd had nearly a decade prior in which Stark completely blew him off. When The Mandarin retaliates against Stark by attacking his home, Stark embarks on a quest to find him and defeat him once and for all!

It seems pretty straightforward, right? I assure you it's not. Iron Man 3 wriggles its way out of every possible comic book movie convention and any other expectations you might have, sometimes to the point of utter ridiculousness and regularly at the expense of legitimate drama. I don't want to spoil anything for anyone, but there were numerous moments that caught me completely off guard. Some walk the very, very narrow line between funny and just pure camp. Despite this, the movie never falls apart completely, even when it comes dangerously close to doing so. In fact, I think it's best if one enters the movie with the expectation that it'll be a comedy with great action sequences. Does that sound a bit odd? Well, it shouldn't if you've seen Shane Black's other work in Lethal Weapon and Kiss Kiss Bang Bang.

And might I also add that I am thrilled to see that Black is back in action in such a big way. His screenplay for Iron Man 3 (coined with Drew Pearce) is full of zippy dialogue and frequent laugh-out-loud punchlines.
This is easily the funniest of the three Iron Man films and the movie's pace is brisk and upbeat, but the focus on zaniness comes at the expense of emotional depth or character development. Black's direction during the action sequences can also be a bit chaotic to the point where it's difficult to discern what's actually happening. It doesn't quite reach Quantum of Solace levels of awful action direction, but it comes a bit too close for comfort at times. Still, he gets it right more often than not. Especially during a daring airborne rescue in which Iron Man, only capable of carrying four passengers at one time, must rescue eleven or so after they've been sucked out of an airplane. It's edge of your seat excitement and easily the film's most thrilling moment. There's also a great subplot involving a young lad helping Stark repair his armor. It works because it never resorts to cloying, manipulative lameness that most scenes involving young kids seem to demand. In fact, some of the best moments come from Stark's interactions with this kid.

There are, however, plenty of subplots and supporting characters that don't work nearly as well. Guy Pearce gives it his all as Tony Stark's foe Aldrich Killian, but despite his Bond villian-esque charm, there's only so much he can do with such a two-dimensional character. Another pointless subplot involving a woman Tony had a one night fling with (Rebecca Hall in a rather forgettable supporting role) is superflous, muddled and, in one particular scene, threatens to bring the film's breakneck pace crashing down. Poor James Rhodes (Don Cheadle) is also shoved to the side for most of the proceedings until the epic finale. But, Cheadle is awesome when he gets his moments to shine.

Despite its flaws and mostly tongue-in-cheek nature, Iron Man 3 succeeds far more than it doesn't mainly due to the talents of Robert Downey Jr. and Shane Black's unique take on the superhero mythos. It never quite reaches the high bar set by the first Iron Man and doesn't come remotely close to touching The Avengers, but it's harmless summer action movie fun and gives me renewed hope for the future of the Marvel universe.

FINAL RATING: 3.5/5

A Brief Tribute to the Amazing Beyond All Reason Roger Ebert

On Thursday, 4/4, the news of beloved film critic Roger Ebert's passing hit me like a sledgehammer. Over the course of his long and prestigious career, his reviews have inspired countless individuals, entertaining and informing in equal measure in a way that no one else ever has. He opened the doors for so many of us to view films critically and to express those opinions often and with as high a level of enthusiasm and intellegence as we could muster.

As much as I loved the man, there were times when his reviews could be rather frustrating. As long as I live, I'll never understand how or why anyone could possible give Star Wars Episode I: The Phantom Menace a higher rating than The Lord of the Rings: The Fellowship of the Ring. But, when one read Ebert's critiques, it wasn't driven so much by the need for his personal opinions to mesh with your own; (Though that was always an added bonus) it was because it was just so damn enjoyable to see/hear what he had to say. Even in his most baffling critiques, he wrote with care and an eloquence that seemed to know no bounds. I may not have always agreed with him, but I always enjoyed reading his thoughts. And, to this day, no one can rip a movie to shreds quite like he has time and time again. (His review for M. Night Shyamalan's dreadful The Last Airbender is still a personal favorite of mine. Check it out:

http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20100630/REVIEWS/100639999)

Regardless of whether or not we saw eye to eye on everything, Ebert's reviews always challenged me to develop my own reasons as to why I might have disagreed with him. In every review he composed, he always seemed to be saying, "Look, I liked the film and this is why I did. Plain and simple." Unlike some other critics, he never gave the impression that he was better than you. He just wanted to explain why he enjoyed a particular film or, in the opposite case, to try to save you from dishing out the $12 for something you might regret spending money on. It is something that has provided limitless inspiration as I continue to develop my voice as a writer and a critic.

The fact that in the last year of his life Ebert produced a higher amount of reviews than in any other year of his long-running career speaks volumes about his unshakable passion and his immense courage. Though he may no longer occupy the same physical plane, his voice will live on in every word he has ever written and will continue to provide his unique brand of wisdom for film lovers everywhere. Rest in peace, Mr. Ebert. You rule. So hard.