by Steve Habrat
Last May, Marvel kicked the summer movie season off with the hugely satisfying superhero spectacular The Avengers. Not only was The Avengers massively successful, but it also raised the bar for both Marvel and the superhero genre in general. When the lights came up in the theater, you knew that it would be extremely difficult for the comic book juggernaut to top themselves after the blast of awesome they had just delivered. Speed ahead one year and we have Iron Man 3, which lets us know that Marvel has absolutely no intentions of slowing down and giving their heroes a little bit of a breather (Thor is back for seconds this Thanksgiving and Captain America swoops in next spring). For the past few months, there has been quite a bit of hype surrounding the new entry in the Iron Man franchise and the film has already opened to staggering numbers overseas. So the question on everyone’s mind is, is it as good or better than The Avengers? Well, Iron Man 3 certainly isn’t better than The Avengers or the original Iron Man, for that matter. It is, however, a little bit better than the lackluster Iron Man 2, which is a huge relief. With a new director behind the camera and a script crammed with twist after twist, Iron Man 3 reassures us that there is still some life in a franchise that was starting to show signs of rust on its second run. This is a well-oiled superhero epic that finds ever-game star Robert Downey Jr. having the time of his life as he goes up against two of the ghastliest foes he has faced so far.
Picking up several months after the events of The Avengers, the brash industrialist Tony Stark (played by Robert Downey Jr.) is suffering severe anxiety attacks over what he witnessed in New York City. He is having a hard time getting a little shuteye and when he does manage to drift off, he suffers from horrible nightmares. In his spare time, Tony retreats to his workshop and builds new Iron Man suits that he proceeds to store away in an underground vault for a rainy day. Meanwhile, the United States has suffered a series of bombing attacks orchestrated by a mysterious cult-like terrorist known only as the Mandarin (played by Ben Kingsley). After one of the Mandarin’s attacks injures one of Tony’s closest friends, Tony decides to issue a televised threat to the mumbling terrorist. The Mandarin quickly responds by destroying Tony’s luxurious home and several of his Iron Man suits. To make matters worse, Stark Industries CEO Pepper Potts (played by Gwyneth Paltrow) finds herself approached by Aldrich Killian (played by Guy Pearce), a bitter but brilliant scientist from Tony’s past who appears to be working hand-in-hand with the Mandarin’s terrorist organization. With the Mandarin’s attacks growing deadlier by the day, Tony has to enlist the help of Colonel James Rhodes (played by Don Cheadle) to help him get back in the fight.
Perhaps the biggest problem that plagued Iron Man 2 was the fact that the film seemed to exist solely to prepare audiences for The Avengers. It spent so much time prepping the Iron Man character for the ultimate meeting of do-gooders that it almost seemed to forget that it was also supposed to be a stand-alone film. It never felt like a strictly solo outing for Tony Stark. Thankfully, Iron Man 3 boots all the S.H.I.E.L.D agents out on their butts and even shoos Samuel L. Jackson’s Nick Fury and Scarlett Johansson’s Black Widow away from the action. Granted, there are a number of references to The Avengers and the three other team members are mention throughout, but Iron Man 3 seems refreshed by the idea that it isn’t just a lavish set-up. Free of these ties, the wave of trailers sent out by Marvel seemed to promise a darker entry for Mr. Stark and while there is plenty of sinister activity going on in Iron Man 3, the edgier moments are always complimented by a scene of slapstick comedy. This is especially apparent in the earlier moments of the film, where Tony fumbles and bumbles around with a new suit of armor that attaches itself to him in pieces. Here and there he complains about his anxiety and insomnia, but it never fully ventures into Tony’s heart of darkness, which is incredibly frustrating. Director Shane Black pushes the darkness even harder when he introduces the Mandarin, who appears in terrifying televised appearances that disrupt your normally scheduled programs. They are absolutely spectacular and maybe a little too effective in playing on our current fears of terrorism. Bravo, Black!
While the first forty minutes may be a mixed ball of emotions and tones, the second and third acts of Iron Man 3 boast breathtaking action sequences and showdowns. The Mandarin’s first attack on Tony’s home is appropriately disorienting and frenzied as our hero desperately tries to round up all the pieces of his armor to fight back against the advancing helicopters. The standout rescue of thirteen Air Force One passengers tumbling through the air will have every single audience member holding their breath and wondering if their hero will be able to pull off the rescue. It is by far the film’s coolest action set piece and quite possibly the best from any Marvel film yet (it would only be second to the battle for New York City in The Avengers). Things really get epic when the grand finale hits and I must say, this is the first Iron Man film that truly seems to have a satisfying and coherent climatic showdown. The previous two films seemed to wrap everything up a bit too hastily, at least in my humble opinion. I won’t say too much about this fiery clash, but it really puts our hero to the test and finds Stark actually breaking a sweat, something you didn’t really see when he was trading blows with Iron Monger and Whiplash.
The true beauty of the Iron Man films is that there seems to be a genuine and giddy enthusiasm from the performers, which is always infectious. Downey continues to wow us as the mile-a-millisecond industrialist with a weakness for booze and babes. He can be crude, charming, and hilarious, but he can also reveal a vulnerability buried deep inside all the clanking iron. He is also given the chance to jump into a few action scenes without the cover of a CGI suit of armor, which is a nice change of pace. Paltrow continues to glow as the mild mannered Pepper Potts, who is even given the chance to throw a couple of punches herself. By now I’m sure you’ve heard or seen that she dons one of Tony’s Iron Man suits. Cheadle is his usual tip-top self as the straight-laced Colonel Rhodes/Iron Patriot. He doesn’t do anything extraordinary but he has plenty of charming moments with Downey’s Stark. Perhaps the biggest surprise of Iron Man 3 is how good Ben Kingsley is as the mumbling teacher-terrorist Mandarin. I don’t want to spoil the Mandarin but believe me when I say that he will practically have you in a ball under your seat when you first meet him. Guy Pearce also shines as the crippled scientist Aldrich Killian, a bitter rival who slowly morphs into one seriously nasty piece of work. Rounding out the new players is the severely underused and virtually pointless Rebecca Hall as Maya Hansen, who is basically there to provide a bit of exposition and that’s it. What a waste!
While all the zippy action and adventure is fun, Iron Man 3 is not without its faults. In addition to the choppy commencement, I also found Tony’s little detour into rural Tennessee to be a bit dull. While there, Tony is forced to mingle with a local boy named Harley (played by Ty Simpkins), who I just couldn’t really bring myself to care about. Then there is the big twist at the middle of the film, which filled me with disappointment. Once again, I can’t go into much detail about it but I do think the film could have done without it. Overall, Iron Man 3 is a great way to kick off the summer movie season and it finds the series returning to form after a muddled second installment. It smartly plays on our current fears of terrorism and it wraps them up in one big, loud, and bold action sequence after another. It would have been nice to see the film venture deeper into the dark side and drop some of the childish humor, but I suppose they just have to appeal to the kiddies too. Oh, and do stay for a nifty little treat after the credits. You’ll be glad you did.
by Steve Habrat
Since May of 2008, Marvel has begun to hype their heavily anticipated superhero mash-up The Avengers with little Easter egg hints in the origin stories for Iron Man, The Hulk, Thor, and Captain America. It has been a torturous journey for Marvel fans but we finally have the crown jewel of Marvel superhero offerings and I’m just going to be frank when I say that it kicks a whole bunch of ass. Clocking in at just shy of two and a half hours, The Avengers is one gigantic nerd money shot, not bogged down by any longwinded origin tale or story set-up. With The Avengers, director Joss Whedon, allows his superhero titans to let loose and show off what they are capable of. There is a whole bunch of flying, jumping, punching, shooting, smashing, destroying, hammer throwing, shield throwing, missile launching fun that will keep a smile plastered across your face and drool splattering onto your Thor t-shirt. Yet The Avengers is even more of a triumph because it is actually a really good movie. This isn’t a big empty excuse that stretched things to get all these do-gooders into the same movie, which is what I feared when I first heard about The Avengers.
The Avengers begins in a remote research facility where a powerful energy source and portal known as the Tesseract is currently being held. The Tesseract suddenly activates, allowing the exiled Norse god Loki (Played by Tom Hiddleston) to step through the portal and attack the S.H.I.E.L.D. agents that are guarding it. Loki finds himself confronted by S.H.I.E.L.D director Nick Fury (Played by Samuel L. Jackson), who attempts to stop Loki from making off with the Tesseract. In the process, Loki declares war on planet earth and announces that he is in control of a powerful alien army that is capable of wiping earth out. Running out of options, Fury and Russian agent Natasha Romanoff/The Black Widow (Played by Scarlett Johansson) begin rounding up the exiled Dr. Bruce Banner/The Hulk (Played by Mark Ruffalo), weapons defense expert Tony Stark/Iron Man (Played by Robert Downey, Jr.), Loki’s brother and fellow Norse god Thor (Played by Chris Hemsworth), the recently rediscovered super-soldier Steve Rodgers/Captain America (Played by Chris Evans), and kidnapped assassin Clint Barton/Hawkeye (Played by Jeremy Renner). The group forms a rickety alliance and begins trying to find a way to stop Loki and convince him not to attack earth but it turns out that S.H.I.E.L.D. may be hiding a few secrets about the Tesseract of their own.
Every hero that makes up The Avengers team gets a classic moment that sent the audience members of the midnight showing I attended into a frenzy of cheering, whistling, hooting, and hollering. It helped when the sequences that were filmed in Cleveland blasted their way onto the screen, which really drove my audience wild. Every hero gets the opportunity to fight the other or team up to take on Loki’s relentless army of hideous aliens. A sequence where Iron Man and Captain America gang up on Thor is an earthshaking encounter as well as an aerial battle between Black Widow, The Hulk, and Thor. The Thor/Hulk brawl exceeded awesome when Hulk tries to lob Thor’s hammer at him but is unable to lift it. It is just as glorious as you might expect. The final battle almost exceeds words, each character getting a “HOLY SHIT!” moment that you will have to see to believe. Much has been made over the 3D in The Avengers, which was added in post production, many saying that it leaves a lot to be desired but I was actually impressed with it. Arrows fly out of the screen along with ruble, sparks, and more. Next to Avatar and Hugo, this is one of the movies that if you can see it in IMAX 3D, you should.
While the special effects will blow your mind, it’s Joss Whedon’s script that really sends The Avengers to the forefront of superhero movies. He catches us up on all four of the main heroes; so if you’re worrying about seeing the other films that have led up to this, don’t worry too much. You’ll be able to figure out what is going on with no problem at all. Whedon measures out every hero and gives him or her an equal amount of screen time so they can do their superhero thing. Mark Ruffalo is the newest member to this tights party and he smoothly settles in. He ends up being the best Bruce Banner/The Hulk of all the actors who have tried to tackle the role. Ruffalo is a poor soul who adds the grittiest emotion to the role (a scene where he discusses a suicide attempt will really stick with you), oozing with loneliness and longing for acceptance. Thor, Stark, and Rodgers are not far behind, as the three of them all have to come to terms with their outsider status. Rodgers tries to settle in at a time when the world may not even need him, Thor continues to act like a strutting brute, and Stark continues to act like a self-center brat. Hiddleston’s Loki proves to be a formidable foe for the dream team, a smirking baddie who can do quite a bit of damage on his own. I feared his character would be unable to carry the weight of the villain considering he wasn’t front and center in last summer’s Thor but he rises to the challenge and knocks it out of the park. The two characters that I would have liked to have seen more of and developed a bit further was Black Widow and Hawkeye, who only get fleeting hints at their past. You’ll forgive because Whedon is clearly trying to juggle a lot and pulling it off exceedingly well.
The Avengers does become its own worst enemy in a way. I found myself getting so caught up in the idea of the film (Four legendary superhero in ONE movie!) that some of the sci-fi chatter and story development ends up being overshadowed. When the heroes would sit down with Fury and discuss all the science behind the Tesseract, my mind would wander a bit from the story and I would become antsy for the next action sequence. It was clear that the entire theater was getting restless during these scenes and craving more explosions, rescues, brawls, and more. There is a flipside to this and it works in the film’s favor. Since I have seen the film, I have been itching to get back to the theater to see it again and invest myself more into the story. This isn’t to say that The Avengers is a difficult film to follow (it certainly isn’t) but the gimmick of spectacle outweighs the story every step of the way. But hey, what do you expect from a summer blockbuster?
Despite a few minor hiccups, The Avengers is still a must-see action extravaganza that will be one of the biggest films of the summer. It has everything you could want in a superhero movie and then even more that you didn’t even know that you wanted. The Avengers is Marvel’s best film to date and I fear almost every film they do in the wake of it will pale (unless of course it is another Avengers movie). The film has a strong script with applause worthy one-liners, pristine CGI (get a load of Hulk!!), devoted performances, and a strong patriotic spirit that leaves American soil and infects everyone around the world. Kicking the summer movie season off with a nuclear explosion, The Avengers will awaken the inner fanboy or girl in each and every one of us, even if you think there isn’t one to be found in you. A top-notch crowd pleaser of the highest order.
by Steve Habrat
There is no question that Jon Favreau’s 2008 Iron Man is one of the best Marvel Studios films out there. It’s a rollicking good time with an incredibly poised and charismatic hero carrying the whole project to dizzying heights that I never thought possible. Iron Man, which clocks in at a speedy hour and fifty-five minutes, remains light and breezy for much of its runtime, never wandering into any overly dark territory or dealing with subject matter that will whiz over the heads of younger viewers, which is who this is all clearly aimed at. Yet Favreau and his army of screenwriters ground Iron Man in the modern world where terrorism is very much alive and deadly, giving the film a level of relevance that makes things interesting for the older viewers. What makes Iron Man such a great film is that is manages to strike a perfect balance of hearty belly laughs, steamy love story, and heavy metal action that will please every man, woman, or child out there. To make things even better, Favreau populates his film with a remarkably strong supporting cast, all who make sure that Iron Man never has a monotonous moment. Iron Man also happens to be the comeback vehicle for Robert Downey, Jr., who cheerfully embraces clanking around in a red and yellow iron suit, zipping around destroying weapons of mass destruction and trading punches with the dreaded Obadiah Stane.
Iron Man introduces us to wealthy playboy and genius Tony Stark (Played by Robert Downey, Jr.), head of Stark Industries, a weapons defense company that he inherited from his father. Stark loves a strong drink, a beautiful woman on his arm, and to vocalize how great he really is. Stark travels to Afghanistan to show off his menacing new weapon called the “Jericho” missile and while there, Stark and his military bodyguards are ambushed. Party boy Stark is kidnapped by a terrorist organization called the Ten Rings, who demand that Stark build them their own “Jericho” missile and in return that will free him. Instead, Stark builds a heavily armed iron suit that allows him to barely escape with his life. Upon returning the United States, Stark attempts to regain control of his company from Obadiah Stane (Played by Jeff Bridges), his father’s old business partner and company manager. Stark declares that Stark Industries will no longer produce weapons, which upsets Stane and sends the media into a frenzy. Stark also reunites with his pretty and uptight secretary assistant Pepper Pots (Played by Gwyneth Paltrow) and his close friend and military liaison Lieutenant Colonel James Rhodes (Played by Terrence Howard). After Stark learns that weapons made by Stark Industries were provided to the Ten Rings, Stark begins building a modified suit of armor to set out and destroy the weapons that were provided to the terrorists. Soon, Stark realizes that there may be a traitor close to him who is upset with Stark’s decision to change the course of the company and is working on a deadly suit of armor of his own.
Iron Man never shies away from what it truly is, a sleek summer blockbuster meant to slap a big smile across your face. It succeeds in doing just that, even on repeat viewings. You’ll still chuckle during the first disastrous tests of the Iron Man suit or when Stark throws a witty one liner your way. My personal favorite is when Stark would interact with his robot helpers, who are all fond of blasting him with fire extinguishers. The action sequences are finely tuned with wondrous CGI and rock ‘em-sock ‘em force, leaving you clamoring to see the next action packed situation Iron Man finds himself in. Iron Man isn’t all razzle-dazzle, as the film does offer up a true original in the character of Tony Stark, who has to go form uncaring playboy to embracing what he was destined to become. The fact that Downey, Jr. makes Stark come alive is what makes Iron Man the titan that it is. You begin to feel like you actually know this guy, which makes it even easier to root for him. His transformation is rocky at first, but that is part of what makes Tony so human and win our hearts. He has trouble adjusting from nonstop party boy to a man heavy with responsibility.
While this is Downey Jr.’s show, the background players make sure that you walk away from Iron Man remembering their presence too. Paltrow is smoking as Stark’s assistant Pepper Potts, who at times I feel isn’t really given that much to do by Favreau and his screenwriters (Mark Fergus, Hawk Ostby, Art Marcum, and Matt Holloway). She is basically asked to just chase Stark around and shake her head at his childish actions but she does it well. I enjoyed her awkward love story with Stark, another aspect that adds a little flesh and blood to Iron Man. Terrence Howard is his usually top notch self as Rhodes, who tries to be the voice of reason and authority to the free-spirited Stark. The die hard fans will also get a money moment when Rhodes checks out one of the prototype Iron Man suits and makes a comment that hints that War Machine may show up in latter installments. The most surprising turn here is Jeff Bridges as the baddie Obadiah Stane, who whips up an iron suit of his own and becomes Iron Monger. It was great to see Bridges, who shaved his head and grew a beard for the role, get to play antagonist for a change. At times his role seems a bit familiar (a sinister business man), but Bridges seems to be having a grand time in all the superhero chaos and he does such a memorable job, you’ll forgive if some aspects of his character slightly derivative.
Director Favreau smartly gives Iron Man a human heart, which helps to win ours over. While it is obviously a set up for the future Avengers movie, this installment of Iron Man does seem to have a life of its own outside of being an overly expensive trailer for what is to come. Iron Man does come with a few scuffs in the armor, mostly the final battle between Iron Man and Iron Monger, which seems suspiciously short for all of the build up. I have to suspect that Marvel may have held back a bit and viewed Iron Man as sort of a test run to see how audiences would react. It turned out that they had a new Spider-Man on their hands and that they had something that we didn’t know we wanted to see. The main reason to see Iron Man is for Downey Jr.’s comeback. This is the role that placed him back on the A-list and put him in high demand for countless other projects. A superhero classic and one of the best that you will see, Iron Man is a feisty and playful escape that you won’t mind returning to time and time again.
Iron Man is now available on Blu-ray and DVD.
by Steve Habrat
Leave it to Oliver Stone to tackle an issue like the American public’s fascination with serial killers, blood, sex, guts, and all out mayhem. Natural Born Killers is without question one of the most controversial films ever made, a psychedelic road trip into Hell that boasts hallucinatory images, shotgun wielding satire, and a blood drenched riot as a finale that leaves the sane viewer with their mouth on the floor. Natural Born Killers is notorious for inspiring a long list of copycat murders in the wake of its 1994 release including the shooting of William Savage and Patsy Byers, the Heath High School shooting, the Columbine High School massacre, and the Richardson Family Murders. Natural Born Killers deals with the morbid intrigue we have with cold-blooded killers and how the media glamorizes and glorifies their actions. The film touches on all the major figures in death including Charles Manson, Ted Bundy, John Wayne Gacy, Charles Whitman, and David Koresh, to name a few. Through all the controversy, director Stone has some thought provoking things to say and we can’t help but feel ashamed in ourselves for how we hang on the violence projected into our homes via the nightly news. We, as a society, were guilty this past summer when we hung on every second of the Casey Anthony trial and now, we are guilty of it again with the recent Chardon, Ohio school shooting, where news cameras were onsite to catch every drop of blood and every tear from those affected. We still haven’t learned from the message Natural Born Killers tried to deliver to us.
Natural Born Killers follows the horrific killing spree of Mickey (Played by Woody Harrelson) and Mallory (Played by Juliette Lewis) Knox, two bloodthirsty individuals who have been twisted and mutated into heroes by the media for the carnage they leave in their wake. The film hops around and shows us glimpses into their troubled pasts, the pursuit of a Detective Jack Scagnetti (Played by Tom Sizemore) who has a few secrets of his own, Mickey’s Manson-esque interview with self-centered Australian tabloid journalist Wayne Gale (Played by Robert Downey, Jr.), and their stay at a prison run by Warden Dwight McClusky (Played by Tommy Lee Jones). After a year stay at the prison, Mickey and Mallory are to be moved to a mental institution after being deemed insane, but the Warden, Gayle, and Detective Scagnetti all have plans of their own for the deadly duo.
You can’t evaluate Natural Born Killers without discussing the hyperactive style and array of colors Stone bathes the film in. He shoots with multiple types of film including Super 8, 16mm, black and white, animation, and video, the film flipping from one style to another with frantic randomness. Stone also adds heaping amounts of stock footage including footage of the 1993 siege on the Branch Dravidians, the Nazis, and the Charles Whitman shootings. In addition, Stone also shows us Mallory’s disturbing upbringing at the hands of her abusive father and cowardly mother. Stone presents this to the viewer as a 1950’s sitcom, adding laugh tracks and upbeat music, suggesting that we sensationalize the past of criminals and use their pasts as entertainment. Stone further suggests that we sensationalize violence every single day and use it as a form of entertainment. Even though the film deals with gruesome topics and we should be appalled by it, we keep watching and easily digesting it because he molds it into shameless entertainment. Even if you hate the film and find yourself mortified by it, you can’t say that you weren’t entertained while watching it.
The characters of Mickey and Mallory are contorted into a modern Bonnie and Clyde with a sprinkling of Charles Whitman and Charles Manson. They relish in their hellish fame and joyfully tell their fans “you ain’t seen nothing yet!” as they are led into court. Stone makes them charismatic despite their urges to kill and maim. They use theatrics in the massacres, usually leaving one person alive to tell the tale of Mickey and Mallory. Mickey is a brewing storm of fury that is bottled up and when provoked, slowly uncorks and spews forth with a wrath that will make your head spin. Mallory isn’t as discreet (I use that term loosely here) as Mickey, she unhinges at the smallest little things. But in a sick way, we root for Mickey and Mallory, who actually just want to be left to themselves by the end. Their love for each other trumps their murderous impulses. Stone purposely wants us to root for them, forcing us to listen in on their warped viewpoints Mickey explains to Gale. He also paints them as tragic victims by their troubled pasts, another action by the exploitative media. But Stone uses Gayle to show us how infectious the mental sickness is, the virus spread with a camera and microphone. Mickey sparks a gruesome riot and awakens a killer in Gayle, who begins to enjoy the murder and mayhem. Stone seems to be foretelling the idea of individuals who find inspiration in these monsters.
Natural Born Killers doesn’t pour much hope in the ones who are sworn to protect us. They use murders and psychos for their own personal fame and gain. Wayne Gayle uses them for reputation, Scagnetti uses them for vengeance, and McClusky uses them for his career. In the end, we have to wonder if any of the individuals out there really care about our safety or well-being. These twisted people realize that they can capitalize on death. By the finale, Mickey and Mallory are the rebellion to these individuals–bring down a flurry of bullets with an army of inmates tearing through the prison. Natural Born Killers says that those who claim to protect and serve are really no better than the ones they are trying to capture and put behind bars, something that the real life individuals who are guilty of this crime should be ashamed of.
Natural Born Killers is a film that should be approached with caution, a dangerous weapon in the wrong hands. As I have pointed out, many miss the intellectual message of the film and see it as a trippy view into how murder can make you famous. How murder will make the world remember your name, a message that is formed by a weak, delusional mind. For the viewer who wants a thought provoking experience, I encourage you to see Natural Born Killers, a film that holds a slot in my top twenty films of all time. I have always found myself fascinated by how the evening news projects violence into our homes on daily basis. Think of how no one stopped disgraced politician Budd Dwyer as he pulled out a gun and blew his head off on live television, on a snow day when young children were able to see it. If you have seen the footage, you know that the camera kept rolling and the cameraman even zooms in on the bloody mess, making sure we see every minute detail and every smudge of gore. Then it was rerun for everyone to see, presented as a spectacle of a desperate man with no other option. Think 0f how the news covered the events of Waco, how we hang on the interviews with the deranged and manipulative Charles Manson, or our round the clock coverage of any given school shooting. We are the ones who are guilty of making these monsters heroes. We are the ones who sensationalize death and tragedy, refusing to try to intervene or turn away from it. We haven’t learned from our mistakes, that I say with firm confidence. Natural Born Killers is as relevant now as ever, morphing the film to a polarizing classic.
Natural Born Killers is now available of Blu-ray and DVD.
by Steve Habrat
Did you miss him? Robert Downey Jr.’s motor-mouthed brawler/detective Sherlock Holmes blasts his way back into theaters and the people are flocking to his latest case. While I found myself smitten with Downey Jr.’s magnetic performance during the first case, I found the events swirling around him too tortuous. I understand what British director Guy Ritchie is trying to achieve, which is to put us in Holmes’ rutty boots and work along side him in racing the clock and solving the diabolical plot. Yet Sherlock Holmes: A Game of Shadows gets tangled up in its own reveals, twists, turns, and fake-outs. I found myself backtracking to pinpoint which character Holmes and Jude Law’s Dr. Watson were chattering on about. Do not interpret this as me saying the film was over my head, but I just wish these movies would slow down for a minute and let me catch up before it dashes off again. The film leaves you mentally exhausted. I suppose that the modish action sequences are there to let us rest our brains, but Ritchie goes above and beyond the normal slam-bang intensity that is rampaging through action films of late. He stages some of the most rousing action sequences of the year, with precise slow-motion halts to give us a clear glimpse of the bone snapping action. It’s exhilarating and you can’t peel your eyes from it. So much for a second to catch my breath.
After a string of seemingly unrelated crimes throughout Europe, the peculiar detective Holmes (Played by Downey Jr.) suspects that there is more to these strange events than meets the eye. He begins applying his usual unorthodox detective work and enlists the help of the less-than-patient Dr. John Watson (Played by Law) to aid him in discovering the truth. The trail leads them to Professor James Moriarty (Played by Jared Harris), a genius that can match Holmes every step of the way. As Holmes tries to piece together what all these crimes are leading up to, he crosses paths with a dagger-throwing gypsy named Sim (Played by Noomi Rapace), who is the next target of Moriarty. Sim proves to be useful in aiding Holmes and Dr. Watson in figuring out what Moriarty’s plot is, which turns out to be more destructive than Holmes could have ever imagined.
I don’t really want to dive into many more details about the plot of the second entry to the Sherlock Holmes franchise; the slow reveals of this one prove to be a hell of a lot more interesting than the first installment. A Game of Shadows benefits from a much better villain, one who can go toe-to-toe with Holmes both in a fight and in brains too. The film does have some incredibly exhaustive art direction, featuring some lavish costumes, realistic CGI, and some sets that are to die for. It maintains the steam-punk industrial aesthetic that Ritchie established with the first film. Yet my qualm about Holmes stems from its overly busy inner workings, mostly in the plot department. Everyone speaks in a thick British accent and rambles on about characters that are hard to remember. Trust me, there are a TON of characters so I would advise you bring a notebook to scribble them all down in. The film also moves at a breakneck speed that left me wishing I could just have a brief intermission and review everything that had just happened before piling on more plot points. This one will leave you exhausted but I commend its unremitting energy.
The one aspect that I love about Sherlock Holmes is the driven, fanatical performance from Downey Jr. I think he may be a bit sharper with Holmes than he is with Tony Stark, a role many love a bit more than Holmes. Credit should be given to his spot-on and rich British accent that pours effortlessly through his mumbling mouth. He sometimes comes off as a ranting lunatic that would seem more at home in a straightjacket rather than an overcoat and bowler cap. He’s unpredictable (He shows up on a train dressed as a woman), brash, and poised in every move he makes. When at one point he admits he made a mistake and lives are lost, we feel his distress in himself. It’s only one of two times we see a crack in his self-assured manner. Law’s Dr. Watson acts as the voice of reason when Holmes goes on a brain-frying rampage. Law also has perfect comedic timing to Downey Jr.’s deadpan delivery. Truth is, their relationship is given room to grow and evolve here. We get to see their affection for one another. They are an odd couple but, hey, opposites attract right?
Moriarty is a memorable villain, one who spits his words out with vitriol to spare. He truly does have a diabolical plot and I love his final moments with Holmes. Harris look like he had a good time playing evil. Rachel McAdams returns for a brief cameo as Adler, one that seems a little bit pointless, as she wasn’t in the original all that much. Rapace, for all the celebration around her performance in the Swedish film version of The Girl with the Dragon Tattoo seems to just be a pretty face stuck between Law and Downey Jr.’s stubbly faces. I would have liked to see more range from her, as all Ritchie has her doing is running from bullets, hitmen, and cannonballs. Stephen Fry turns up as Mycroft, Sherlock’s posh brother who is just as deadpan and batty as the good detective.
As someone who is always rallying for more intellectual blockbusters, I have to hand it to Sherlock Holmes: A Game of Shadows. It refuses to dumb itself down too much, even if it is just escapist fluff. If there is another Sherlock Holmes, and I’m sure there will be, I would love to see the screenwriter shave things down a little bit and I’d love for Ritchie to ease up on the pace. Don’t be in such a rush to push Holmes through the case, as I enjoy watching him tick. I’ll definitely have thirds on the relationship between Holmes and Dr. Watson, as that acts as the heart and soul for this franchise. The action should also be noted, as it turns out to be much more epic the second time around. Just wait until you see the gunfight between Holmes, Sim, and Watson against a gang of German soldiers. All I will say is that it involves stellar slow-motion effects and a gun named Little Hansel. Funnier than the original, a bit more straight forward (Just slightly!), with style and energy to burn, Sherlock Holmes: A Game of Shadows is the ideal thrill ride to distract you from all those Christmas presents you still have to buy.