From the earliest days of his appearances in Marvel Comics' 'Tales of Suspense,' Tony Stark has always been modeled after aviator/inventor/industrialist Howard Hughes. With 'Iron Man 3,' Stark assumes a new dimension of Hughes' persona: that of the paranoid shut-in who, in his later years, became notorious for roaming his private floor of the Desert Inn Hotel in Las Vegas, freaking out about invisible germs and collecting jars of his own urine. 'Iron Man 3's' Tony Stark, played once again by the inimitable Robert Downey Jr.isn't quite that bad, but he's getting there.
After the events chronicled in 'The Avengers,' where Manhattan was nearly leveled by invading aliens and Tony himself was almost killed, he's become obsessed with upgrading his armor -- leaping all the way from the Mark VII to the Mark 42 in a matter of months. When anyone mentions New York or aliens, Tony gets panic attacks. There's a reason Daredevil, not Iron Man, is the Marvel hero known as "The Man Without Fear." Poor Tony is terrified.
"I don't want to be a good man; I want to be a great one." So says Oscar, a humble (read: crummy) magician in a traveling circus circa 1905, just before a magical tornado sweeps him and his hot air balloon away to a land that just so happens to share his nickname: Oz. In 'Oz the Great and Powerful,' Oscar (James Franco) finds exactly what his heart desires; the chance to be a great man, wealthy and powerful, the ruler of a beautiful kingdom. And the kingdom does look damn good, and most of Oz's adventures in it are pretty entertaining as well.
'Parker' is not Jason Statham's best movie, but it may have his defining onscreen moment, a perfect, succinct summation of everything pleasurable about his onscreen persona. His character, a thief and con man named Parker, has returned to his hotel room in Palm Beach. He's surprised by an assassin; since this is a Jason Statham movie, an elaborately choreographed fight scene ensues.
The assassin's weapon of choice is a knife and after he gets Parker in a headlock, he tries really hard to get Statham's face acquainted with the finer points of his blade. The knife keeps inching closer and closer to his eyeball -- so to save himself, Parker sticks up his hand and willingly lets the assassin stab him through his palm. The sacrifice gives him just enough of breather to gain the upper hand. That is The Cinema of Jason Statham in a nutshell: action and indomitable determination. His characters are all men who'll stop at nothing to win; an echo of Statham's onscreen work ethic -- he'll stop at nothing to entertain you. Even in a vehicle as average as "Parker," Statham still delivers an intensely committed performance.
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