When it was announced that Jon Favreau would not return as director of the third “Iron Man” film, the producers surely fielded offers from every name director in town. So how did Shane Black land this gig, again? The guy hasn’t written or directed a feature film since 2005’s “Kiss Kiss Bang Bang,” and yet here he is, doing that Shane Black thing once again, only this time with superheroes, while trying his best to streamline his R-rated ways for a PG-13 audience. As it turns out, “Iron Man 3” works, but just barely, and it’s more in spite of Black’s influence than because of it. At the beginning of the second act, Black begins to get in his own way, and for anyone familiar with his work, it’s not long before a strong case of deja vu sets in. He even set the movie during the holiday season, just like “Lethal Weapon.” And “The Long Kiss Goodnight.”
The opening scene in “Thor: The Dark World” is very revealing, but not in the ways that the filmmakers intended. It tells an exposition-laden tale of a battle bought ages ago between Asgardians (Thor’s people) and the dark elves, who planned to use this mystical force called the Aether (pronounced ‘ether’) to distinguish all light. The scene is meant to shed some light on a plot that they must have deemed too difficult to follow, only it’s not. It’s a straightforward revenge story, and the audience would have figured out the rest in time. That they insisted on spoon feeding the audience shows a lack of confidence, and while “Thor: The Dark World” is not as consistent as its predecessor, the film has some truly great moments, including a spectacular climax. To see them acting so desperate is both unbecoming and unnecessary.