Iron Man 3 (Shane Black)

Stark realism.

At last, I was able to squeeze in "Iron Man 3" into my otherwise busy schedule partly because I cannot take the attention-whoring spoilers on social media anymore and also because, well, who wouldn't? Iron Man is, after all, our most beloved Avenger. He is the coolest billionaire on film outside Bruce Wayne. Hell, the film's about an egotistically charismatic guy in a robot suit. Who wouldn't find time for that? 

Unlike "Iron Man 2" which is quite unsure if whether it really wants to be an action-packed comedy or a brooding drama, "Iron Man 3", directed by Shane "I am Hawkins from Predator" Black, is a whole new monster. For me, this marks the first time that an Iron Man installment really feels more like a Tony Stark movie, and for good reason. 

     

The plot, although the usual science fiction/quasi-political mix, feels more fun than it has any right to be simply because the film is effective in being half-serious and half-camp. In this regard, we must give proper credit to Mr. Black, whose experience in character and chemistry-driven action movies (the "Lethal Weapon" franchise) has benefitted the film a hundredfold, not to mention that he has already directed Downey Jr. in the brilliant crime-comedy "Kiss Kiss Bang Bang" alongside Val Kilmer. In short, "Iron Man 3", despite its unsurprising abundance of visual effects, feels a whole lot more grounded because we see a lot more of Tony Stark outside that pesky armor. This time, we don't see Stark as a mere alter-ego but as a believable action hero who just happens to own a robot suit or two. For all I care, the film could have easily been entitled "Tony Stark" and it will still appeal to the audience. This aspect is what makes "Iron Man 3" quite an innovation, execution-wise. We see Tony run around a lot like a bearded Sam Witwicky, wield service pistols and neutralize enemies with make-shift weapons, and it entertains because his trademark, all too human wit is admittedly at a better high when he's not suited up. 

     

For some, seeing Stark more often without the armor suit lessens the essence of what the film promises to be, but for me, it has even made the film a whole lot better. Well, of course, there's that big 'Iron Men' scene at the film's climax, but aside from that, there really isn't much time to bask on Iron Man's individual awesomeness. After all, this is a pained Tony Stark we're dealing with here both emotionally and physically, so seeing him all rusty and desperate, without much time to go all CGI Fonzie inside the suit, just fits the film's overall tone.

     

The performances, on the other hand, are quite great by superhero movie standards. Robert Downey Jr., after being the evident scene-stealer in "The Avengers", has once again proved that, well, he is currently the 'King of Cool' by giving what might be his best Tony Stark performance to date. Guy Pearce was also quite outstanding in his role as the villainous Aldrich Killian, whose performance mirrors that of Kevin Bacon's in "X-Men: First Class". But the real spark plug of a revelation here is Ben Kingsley, who's just, well, 'deceptive' in his portrayal of the Mandarin. Take my word for it: I think he's perhaps the biggest surprise of the year so far, and that's both a compliment and a slight dig.

     

Admittedly, "Iron Man 3's" trailers are really the most misleading things to come out for quite a while. At the time of the teaser materials' release, some have even speculated that Marvel, perhaps after seeing the success of "The Dark Knight" trilogy, has also finally decided to go all 'Nolan' on this installment. Instead, what the film has done was take just the right amount of insightful character psychology, throw it in with the staple explosiveness and fun that make Marvel films such a joy to watch, and mix well. The crucial part, naturally, is on the mixing. Unlike blockbuster filmmakers like Michael Bay and whoever made the G.I. Joe films, Shane Black has this certain, '80s 'buddy cop' feel in his directorial style which lifts "Iron Man 3" on a league of its own. I also loved how he used some narration (by Tony Stark) to tell the story on a more personal level, as opposed to the passive narrative technique of the previous two films. "Iron Man 3", despite its flaws and slight unevenness, has nonetheless hit the right notes. Off to a great start, Marvel's Phase 2 seems to be.

FINAL RATING

The Dictator (Larry Charles)

Admiral General Aladeen.

After 3 years, Sacha Baron Cohen is back yet again with his comic shenanigans, but this time, it is on a bigger political scale. "The Dictator", a film that marks Cohen's third collaboration with director Larry Charles, is a gross-out satire of, obviously, everything dictatorial and politically unethical. But unlike "Borat" and "Bruno", "The Dictator" is visually more polished (mainly because of its bigger budget) and a tad more ambitious in scope. 

     

But then again, compared to the two earlier films, "The Dictator" is also quite forgettable. Sure, the trademark Sacha Baron Cohen comedy is still there, but the ingenuity and effortless wit seem amiss this time around. The politically incorrect jokes are spot-on yet there's something off in their deliveries. As one racial joke bombards the screen after another, I sure have let out some laughs, but they are ones that are hollow and abrupt. 

     

Although I wouldn't go to great lengths by describing the Cohen-Charles combo as a 'train finally running out of steam', I think that there's just a lack of general inspiration and twist in how the film was realized. It has sure made me laugh numerous times, but the jokes (especially the racial ones) are often generic and sometimes just plain bland. As far as I'm concerned, this is their weakest film yet in terms of comedy, but as a potent political satire, "The Dictator" is a bit of a success. The Cohen-Charles team seems to be humorously degenerating yet satirically improving with every film. Perhaps that's quite a consolation. 

     

With majority of current world news circling around controversial dictators from parts unknown and the quasi-humorous manias they so nonchalantly flaunt, it is inevitable for a comic provocateur like Sacha Baron Cohen to take on such a persona. Sporting an overly thick beard, a mock Middle Eastern accent and a complete lack of common human decency, he has transformed into Admiral General Aladeen: a monster of a dictator (of the fictional Republic of Wadiya) who orders murders at will and has a penchant for nuclear supremacy. By combining Borat's political tactlessness and social ineptitude with Bruno's vulgarity and sexual promiscuity, Sacha Baron Cohen was able to form the foundations of his Aladeen character, with some additional touches of 'control freak' wickedness. 

     

While this may not be Sacha Baron Cohen's best character (that would still go to Borat), his turn as Aladeen is still quite memorable because of the way he has displayed the humorous extent of how a man raised in an isolated manger of violent political power deals with the reality outside his own. The result may not have been the freshest in terms of execution, but nonetheless, there were flashes of comic brilliance all throughout the film that were relatively able to carry "The Dictator's" satirical weight. 

     

Compared to "Borat" and "Bruno", "The Dictator" is the closest that both Sacha Baron Cohen and Larry Charles can get to a narrative. But the way I see it, perhaps the film's adherence to a standardized plot is quite a disadvantage because Aladeen was utilized not as a freewheeling character much like Borat Sagidyev is but as a parody of a character who merely operates within the confines of a predictable narrative (notice how the film, as it progresses, slowly takes on a tone akin to a rom-com?). Although Aladeen as a character was in no way wasted, I think it's fair to say that his utmost potential as a riotously funny character was mostly left untouched. 

     

On the other hand, I have to give the rest of the cast lots of credits, especially Anna Faris and Jason Mantzoukas (with bits of Ben Kingsley) in how they have complemented Sacha Baron Cohen's often times overbearing presence. 

     

As a comedy film, "The Dictator" is too heavily flawed to be ranked shoulder-to-shoulder with the very masterful "Borat" (still Sacha Baron Cohen's best film). But as a no-holds-barred political satire, the film is very, very effective. I especially loved the scene where Aladeen and his nuclear scientist, Nadal (Jason Mantzoukas), are talking about innocuous things in their native language aboard a tourist helicopter when, suddenly, two tourists riding along with them mistake their conversation as an insidious plan to go 9/11 on the Empire State Building's ass. It is moments like this that makes "The Dictator" more special than it has any right to be. Oh, and also maybe Edward Norton's cameo.

FINAL RATING 

Hugo (Martin Scorsese)

Hugo Cabret.

Well, I can really say that 2011 has really been a great year for cinematic love poems. We have "The Artist", which pays tribute to the seminal greatness of silent films, and then we also have Woody Allen's "Midnight in Paris", a film that has not only been an endearing piece about the eponymous city itself but also one that embraces the people behind great works of art and timeless literature. And finally, there's Martin Scorsese's "Hugo".

A film that centers on the beautiful power of imagination and the innocent wonder of early cinema, it is, overall, a piece of cinematic work that has truly breath fresh air into the boundless limits of storytelling and has also been a larger-than-life portrait/tribute to the great Georges Melies: a revolutionary director and the first true cinematic artist to whom we owe our wondrous film-watching lives and whose pioneering works have contributed to the advancement of cinema as a strong artistic medium.

Martin Scorsese, a man who I have been and will always consider as one of the greatest filmmakers of all time and a man who we all loved by way of his films that deal with violence, loneliness, criminal perversions and even thematic controversies (with his truly masterful "The Last Temptation of Christ"), directed "Hugo" with surprising humility and simplicity without any traces of recklessly self-imposed panache. Sure, there have been countless elements in the film which may come across as truly audacious (the most glaring example being the automaton), but come on, "Hugo", a film adaptation of "The Invention of Hugo Cabret" written by Brian Selznick, is in no way up for something grounded in reality here.

Combining magical realism with the ironically down-to-earth story of Mr. Melies himself, "Hugo" is a balanced film which, in a very good way, wallows on 'adventure' that isn't literal in the Jules Verne sense of the word but more about the journey of the mind and the heart towards a hidden treasure chest not filled with tangible gold and pearls but one that is located somewhere within the very passionate soul of a truly great man.

Armed with visual sensibilities that closely mirror Tim Burton's recent child-friendly films, Martin Scorsese, furthered by that comparison may, on an initial glance, look out of place and sync with what he's working on, which is an adventure film that appeals to both the adults and the younger ones alike; a truly far-fetched idea considering that he really hasn't worked with the latter demographic before.

But looking at how "Hugo" actually turned out as a whole, right there and then surfaces the fact that he is indeed an unbelievably flexible filmmaker whose greatness cannot just be contained within the crime genre. As I watch the film, the joy of making it is evidently abundant in "Hugo's" very atmosphere which when coupled with the transcendental-sounding musical score created by Howard Shore, is a feast both for the eyes, the ears and, as corny as this may sound, the heart.

The actors do not disappoint either, and although Asa Butterfield may have done a bit better as the titular character, he has been quite a joy to watch in his convincing chemistry with Chloe Grace Moretz in a very sweet and 'harmless' (Remember "Kick-Ass"?) performance. Along with the enjoyably bit parts played by the legendary Christopher Lee and Jude Law and the comic part played by Sacha Baron Cohen as the train station inspector, it was Ben Kingsley's performance (which I believe should have at least been nominated for an Academy Award) as Georges Melies that has served as the figurative coal that has constantly kept the film's narrative locomotion on the right track.

Martin Scorsese, aside from being repeatedly heralded as one of the best filmmakers ever, is also one of the most passionate and vocal lovers of cinema out there. And here in "Hugo", he has expressively created a near-perfect cinematic love letter to the very medium itself that was initially seen as nothing but a passing fad (a statement ironically given by the Lumiere Brothers themselves), but now generally regarded as one of the most powerful means of expression, if not the most. And it all started with a trip to an all-smiling moon courtesy of a man motivated by endless wonder and fueled by nothing but his own dreams.

FINAL RATING