Black and Downey reunited for no kiss but tons of bang; almost loud enough to drown out other voices.
Black definitely goes back to early filmmaking tactics. Scoffing off all the pop culture references and not including an analogous rhythm in the system, there is an admiring obligation that he feels towards his viewers. Shane Black, the co-writer and director, ought to and has to justify his characters by giving them enough reasons and room to pitch in, no matter what and how big a price he has to pay, he takes it with a big smile on his face. In the previous chapter of Favreau, the humor was turned to 11, and even though compared to it, it still is low and smooth, it also is questionable at times in here.
Personally, I feel that this is MCU’s biggest threat, contrary to popular opinion, this double edged sword might one day consume a film in its sweetness. Take the last act, for instance, Downey in a port going mano-y-mano with Guy Pearce and taking heavy losses still keeps a certain levity in his vocab. Now, this is something that often happens in this franchise that vigorously rottens its sincerity. These tiny things are accounted, for the game this franchise is now, a mistake like such isn’t acceptable.
And not that the film is competent in every other way, in fact, if anything, it sort of is a mirror to the original Favreau chapter, from cornering Downey to prove himself beyond and without his wealth and fame, to still trying to balance him on the edge of the responsibility factor. Don Cheadle gets a much bigger half in the supporting cast, with lots of eye rolling and sarcastic exhales. Excluding the fist fight, Pearce is not a threatening antagonist, nor is Gwyneth Paltrow or Rebecca Hall a decent supporter. Ben Kingsley’s character paints the picture with accurate colors, where Downey tries a lot but against all odds, Iron Man Three remains a distraction, a colorful one though.