OCEAN'S THIRTEEN

OCEAN'S THIRTEEN (2007). Director: Steven Soderbergh.

When Reuben Tishkoff (Elliott Gould) winds up in the hospital because he gets screwed over by hotel man Willy Bank (Al Pacino), his friends gather together to enact one more con. The idea is to deprive Bank of a coveted award by giving the reviewer (David Paymer) a miserable vacation -- and ruining Bank's opening night -- while rival hotelier Terry Benedict (Andy Garcia) agrees to help with their plan if they steal some of Bank's coveted diamonds for them. Ocean's Thirteen is leisurely but entertaining, with the best acting from Paymer, Garcia [Twisted], Gould, Pacino and Carl Reiner, not to mention Don Cheadle and especially Ellen Barkin [Adventures of Buckeroo Banzai Across the 8th Dimension] in an excellent turn as Bank's security gal, Abigail. George Clooney and Brad Pitt sort of saunter dully through this affair without raising a sweat, while Matt Damon is somewhat more interesting. Soderbergh also directed Behind the Candelabra and the inferior Ocean's Twelve.

Verdict: Amiable nonsense. ***.

IRON MAN 3

IRON MAN 3 (2013). Director: Shane Black.

Anthony Stark (Robert Downey, Jr.), whom the world knows is the hero Iron Man, issues a challenge to a terrorist known as the Mandarin (Ben Kingsley) and shortly after Stark's cliffside house is demolished by missiles. Another threat is posed by one Aldrich Killian (Guy Pearce), who has developed Extremis technology that gives human beings explosive and fiery super-powers that can easily get out of control. Are Killian and the Mandarin working together? The Mandarin in this movie is nothing like the character in the comics, but the business with Extremis was taken from relatively recent Iron Man stories. Iron Man 3 is entertaining [although non-comics fans may wonder what the hell is going on] and generally fast-paced, although it can be awfully talky at times. The action scenes are pretty well-orchestrated, and the two best scenes detail the attack on Stark's house and a knock-out sequence when Iron Man rescues eleven people who have been sucked out of an airplane [surely some of them would have died from terror?]. The climax has Iron Man and Iron Patriot (Don Cheadle) -- formerly known as War Machine -- rescuing the president and having a knock-down drag-out with a super-charged Killian. Iron Man 3 has a little too much humor and comes dangerously close to camp at times. Downey gets across the movie Stark's flippancy, but not much else. Guy Pearce steals the picture as Killian, easily giving the most impressive and intense performance. Don Cheadle is miscast, but Gwyneth Paltrow is fine as Stark's girlfriend and associate Pepper, and there are notable turns by Rebecca Hall as Myra Hansen, James Badge Dale as Savin [both associates of Killian's], and Ty Simpkins as little Harley, who helps Tony midway through the picture. Ben Kingsley is also good as the movie's rather weird reinterpretation of Iron Man's arch-enemy, the Mandarin. To read more about the comic book adventures of Iron Man, see The Silver Age of Comics.

Verdict: Iron Man fans may scratch their heads but otherwise enjoy this. ***.

TRAFFIC (2000)

Michael Douglas as Judge Wakefield

TRAFFIC (2000). Director: Steven Soderbergh.

Compressing a long BBC mini-series [Traffik] into a two and a half hour movie, this feature deals with different aspects of the drug traffic, from Mexican cops and dealers, to American drug lords and narcs, to a Judge or "drug czar," investigating the problem who discovers his own daughter is an addict. Michael Douglas is the judge; Steven Bauer is the businessman who turns out to run a drug cartel, and Catherine Zeta-Jones is his initially unknowing wife who ultimately proves as ruthless as he is, wanting to take out a witness played by Miguel Ferrer. Others in the cast include James Brolin [The Car], Albert Finney [Tom Jones], Dennis Quaid [Legion], Benicio Del Toro [The Wolfman/2010] , and Don Cheadle [Iron Man 2] as a cop. The acting is okay and sometimes better than that, but the movie is disjointed [you get a sense that an awful lot was left on the cutting room floor] and badly directed. The movie holds the attention but it should be riveting and it isn't. Worse, some of the developments stretch credulity; certainly there is enough drama in the subject without contriving improbable sequences, such as the judge hitting the streets instead of calling the cops to find his daughter? This is not great movie-making by any stretch of the imagination.

Verdict: A movie on this subject shouldn't be so blah. **.

IRON MAN 2

IRON MAN 2 (2010). Director: Jon Favreau.

Antony Stark (Robert Downey Jr.) returns as the armored hero in this sequel to Iron Man. The plot doesn't really matter, but Stark mixes it up with the Black Widow (Scarlett Johansson), Whiplash (Mickey Rourke), and Justin Hammer (Sam Rockwell), all of whom first appeared in the Iron Man comic books. The Widow pretends to be an employee of Stark Industries, Hammer has a sinister plot afoot involving dozens of Iron Man clones, and Whiplash is really Ivan Vanko, a Russian scientist who uses electronic whips to slash automobiles in half. However, the best sequence has a drunken Iron Man [Stark is a reformed alcoholic in the comics] battling his pal Rhody (Don Cheadle) as the latter is dressed in his own armor as War Machine. Iron Man 2 is colorful and has some exciting sequences, although it's too long and drags at times. Downey is fine as Stark; ditto for Gywneth Paltrow as his assistant Pepper Potts [whom he makes head of Stark Industries] and the rest of the supporting cast. Mickey Rourke looks fairly grotesque but he nearly steals the picture with his intense portrayal of Ivan Vanko. Nice theme music by John Debney.

Verdict: Noisy and splashy and at times entertaining. ***

BOOGIE NIGHTS

BOOGIE NIGHTS (1997). Director: Paul Thomas Anderson.

Mark Wahlberg is excellent as an academically disinclined young man who does have one enormous asset, and uses it to become a famous porn star named Dirk Diggler. This is clearly inspired by the story of John Holmes [aka Johnny Wadd], who was also the subject of a far superior biopic a few years later. Although it's hard to dislike the movie, the lack of a moral focus, while initially refreshing, eventually becomes a problem, but even worse is the fact that the movie meanders along for too long a length and doesn't do enough to develop any of its characters. The film is essentially a comedy that throws in moments of violence and then erupts into brutality in the film's true climax – three incidents at once – but ultimately offers no true drama. Along the way there are some nice bits – such as a scene when Dirk's friend Scotty expresses unrequited love for him [this, too, goes nowhere] – but the movie is poorly edited, with tedious tracking shots and uneventful scenes that go on for too long. This could only be considered powerful stuff by the unsophisticated. Along with Wahlberg, Philip Seymour Hoffman and Don Cheadle are stand-outs in a fine cast, but Burt Reynolds is given no real character to play. He's just the porn maker and is never developed beyond that; the limited Reynolds isn't able to add anything to his portrayal. Wahlberg, however, is quite impressive, unafraid to show emotion and vulnerability along with angst and anger. This is a good showcase for the actor; if only it were a better movie. Some viewers may overdose on the picture's disco soundtrack long before it's over.

Verdict: Interesting failure. **.