Iron Man 3

As the first Marvel Studios release since The Avengers demolished worldwide box office records, Robert Downey Jr. returns in his role as ‘billionaire, playboy, philanthropist’ Tony Stark in Iron Man 3, faced with the daunting task of living up to the considerable success of the previous Marvel blockbuster and redeeming the Iron Man franchise after a weak second outing.

There’s a new director and co-writer in the form of Shane Black at the helm, and it’s clear to see that this latest instalment has changed tack from the comparative dud that was Iron Man 2. But whereas the revival of the series’ trademark action sequences and humour mark an unsurprising return to form, it’s the film’s treatment of Iron Man himself that warrants the most attention. But we’ll come back to that last point later.

Plot-wise, Iron Man 3 offers the usual fare of high stakes silliness. With the President’s life under threat from Ben Kingsley’s mysterious terrorist leader, an explosion that leaves bodyguard Happy’s life hanging by a thread handily acts as the obligatory plot device for Tony Stark to get involved. So far, so good. Yes, a lot of the finer details about the main antagonist’s motivation don’t make a whole lot of sense, but this is hardly a series renowned for its narrative coherence, placing far more importance on its spectacles and set pieces.

Iron Man 3 is no exception to this rule, with the spectacular destruction of Stark’s home and a mid-air evacuation of Air Force One acting as particular highlights. These scenes, together with the B-movie transition animations that act as welcome throwbacks to the likes of Indiana Jones and Star Wars, tie in nicely with the customary refusal of this franchise to take itself too seriously.

Then something strange happens; Iron Man shows weakness.

More than ever, Stark’s character is given a sense of fallibility, at times bearing the image of a tortured hero that has become de rigueur since Christopher Nolan’s dark adaptation of the Batman franchise. The news that Superman will soon be getting the same treatment this year has been applauded by critics and fans alike, and it looks for a brief instant as though Stark may be going the same route. His anxiety attacks and insomnia after the events of The Avengers certainly indicate as much, prompting Stark to declare himself ‘a piping hot mess’ to girlfriend Pepper Potts. It may seem like a departure from his typical composure, but part of Iron Man’s appeal has always lain in the fact that he is, all things considered, a regular guy with extraordinary machinery; a ‘man in a can’, in the character’s own words.

And this is never more apparent than the opening acts of the film, as Stark loses his home and is robbed of his usual equipment. Here, Iron Man doesn’t soar; he stumbles. For much of the running time, the usual aerial acrobatics are eschewed and, in an apt metaphor for Stark’s deteriorating sanity, replaced by shots of falling. Lots and lots of falling. Even the climactic final battle sees Stark awkwardly brandishing a pistol while the equivalent of a miniature Transformers battle takes place in the background. What results is that much of the action is almost too chaotic to follow, but maybe that’s just how Black intended it; maybe Iron Man is just as confused by what’s happening as we are.

Stark’s anxiety doesn’t give much opportunity for introspection, though; more of a momentary gasp for air that usually ends up being played for laughs. Like Stark, this is a film that hints at sincerity but baulks at the suggestion of the overly solemn. Of course, vulnerability isn’t something we’ve come to expect from Iron Man as a character, and Robert Downey Jr. is a master when it comes to playing the lovable narcissist. But there are times when a bit more insight into his fragile mental state wouldn’t be amiss. As it stands, the audience is only given a brief glimpse before it’s whisked away by the usual array of explosive action and cheesy one-liners. As a result, it’s hard not to be left wanting more.

With this latest instalment in the Iron Man franchise, Marvel have given us an entertaining follow-up to The Avengers that delivers the visual panache that routinely sets their films apart. At the same time, the reluctance to embrace its protagonist’s frailties amidst the sense of spectacle feels like a missed opportunity to add real emotional depth to the series. Maybe we’ll just have to wait for the inevitable sequels to get to know Iron Man better.