As far as the latest trilogies or sagas or, as they are collectively known, "sequentials" go, pleasing dedicated audiences does not fall under their key objective. Apparently. Otherwise, I would have said something that flatters sagas, but I did not, so the fact remains that they, for lack of a better word, are disgraceful testaments to the admiration of viewers. Is it me, or was that utter gibberish? It's been a while. Forgive my creaky sentence structure. From comedies that have grown stale to action franchises that really serve no purpose anymore and should just stop, sequentials are not doing so well in market value. No, that is completely false: They are doing extraordinarily in the market, producing exponential box-office receipts on account of faithful viewership. What they lack is the love they should have towards their audience because what, other than sheer laziness and indifference to viewers' reactions, can justify the fresh rotten-quality of films following the outstanding originals. Case and point: The Hangover. What was an ingenious comedy degraded into a trite, uninteresting series of stale gags, led by the unfunny Zach Galifunkikis. Now, with the third (and hopefully final) part of the "epic" trilogy, I have absolutely no sincere desire to see it. This scenario, furthermore, is not uncommon within the cinematic stratosphere, for nearly every part-two I find myself anticipating has fallen drastically short of what I expected. Which brings me to this evening's topic of analysis, as well as the conclusion of yet another introduction, and that is Iron Man 3.
Accompanying Tony Stark, in a significantly dimmer shade as to not surpass the mighty Robert Downey Jr., is Hollywood's Most Hated Gwyneth Paltrow as the sharp damsel-in-distress, Pepper Potts. (Alliteration is amusing.) In the previous films, Pepper Potts served as a confidante to Tony Stark's massive ego as well as a feminine touch that lightened the mood. While in the first Iron Man the two characters flirted and love did appear to blossom, nothing actually materialized which, despite what the writers believed, was good. Keeping love as a mere thought in the plot would spice up the flirtatious scenes with the edge-of-your-seat question of "will they or won't they?". Think James Bond and Money Penny or Jerry and Elaine. However, the second film introduced the eye-rolling tete-a-tete between Tony and Pepper, including arguments that resemble those in a marriage and dependence. With Pepper as an emotional asset, Tony Stark finds himself unable to carry out certain responsibilities, or is now easily compromised as the villain abuses his affection as blackmail. The latter situation occurs often in Iron Man 3, as Aldrich Killian threatens the safety of the human race by infecting Pepper, just to torture poor Tony Stark, defenseless in his agony. Dull and, oh yes, predictable. Returning to the thesis of this post, there is nothing wrong with a little damsel-in-distress intensity. In fact, superhero movies demand it. But to praise this film as something more than just a Marvel epic? Please.
P.S. I'm back!
|Even when it is a picture of them, it is a picture of him.|
|He's here, too. Looks ridiculous, doesn't he?|
P.S. I'm back!