Shane Black re-teams with Robert Downey Jr. to deliver not only an exceptional stand-alone action film with comedic and emotionally charged themes, but produces another gold brick in the foundation of the Marvel universe. All returning characters are at the top of their game, with no wasted reintroductions or unnecessary plot devices, including the best showing to-date for Gwyneth Paltrow as love interest Pepper Potts. Used limited but effectively, Don Cheadle proves yet again that his Rhodes is far superior. One of my favorite castings is Rebecca Hall who rises above her brief appearance and reflects a wit and sex appeal unmatched in previous installments. As is said, the quality of the film is often reflected from how formed and significant the villains are. Ben Kingsley and Guy Pearce are phenomenal in their roles, rising not only above the previous Iron Man foes, but any in the Marvel universe. Kingsley is unrecognizable as The Mandarin, with a voice and disposition that will not soon be forgotten. The humor of the script is whip smart and relentless, perfectly timed and strategically placed, often offering several highlights of the film, helped immensely by Downey's delivery and aura, which is irreplaceable. The emotional darkness emoted by the characters and brought on by the film's events, specifically Tony in dealing with his post traumatic stress after "The Avengers" and along with the destruction of his home and belongings, creates a special dynamic that raises this "Iron Man" above most superhero endeavors, following in the footsteps of Nolan's "Dark Knight" series. Even the action sequences are top notch, never recycling fights from previous films. The ingenuity of Tony's suits helps develop a fresh feel to the story and adds another exciting layer to the final battle. Add to that cinematography that captures the immensity of its surroundings, specifically scenes like Tony's Malibu mansion being demolished by helicopters or a free-fall rescue out of Air Force One involving twelve passengers. The marketing for the film is undeniably swift, burying the secrets of the film and for good reason. With plenty of surprises and a handful of allusions to the previous installments (and foreshadowing of events to come), "Iron Man 3" entertains on all levels, continuing the near perfect legacy of "The Avengers" and the preceding Marvel films.

Short and sweet, "FernGully" packs more beautiful animated imagery and life lessons into 72 minutes than most films fit in twice that run-time. The voice acting is high caliber, with Robin Williams, Tim Curry, Christian Slater, and Cheech & Chong offering up some exceptional voice-over. Original for its time, this family favorite provides some memorable tunes, iconic animation, and a story that still teaches valuable lessons two decades later.

Entertaining yet never quite exceptional, Michael Bay's foray into the comical and violent true story of three Miami bodybuilders turned criminals starts off strong but fizzles off into a stylized and indulgent farce of an action film. Mark Wahlberg does his best to keep the momentum going, but with the macho, dimwitted dialogue burdening the entire film, there's little he can do to save it from itself. Dwayne Johnson continues to break his typecast, delivering a sincere and childlike performance that is often the source of the film's humor, basically allowing him to steal the show. Ed Harris is looking good and proves too well trained for a whimsical film such as this. I look forward to his future detective work in a film that actually deserves him. The biggest problem coming out of "Pain & Gain" is that by the end of the film, none of the characters are likeable, with Tony Shalhoub becoming the victim, even though you hate him most of the film. That, and the story gets so unbelievable that Bay has to remind you that this is "still a true story". Though I am glad Michael Bay was allowed to make his passion project, I look forward to his return to big budget blockbusters like "Transformers 4".

Marking the career best performance of Matthew McConaughey, "Mud" is a slow burn, heavy hitting drama with themes of coming of age, family systems, and the reality of love. Tye Sheridan and Jacob Lofland deliver breakthrough performances as Ellis and Neckbone, both of whom stumble upon a hideaway named Mud (McConaughey) living in an abandoned boat in a tree. Director Jeff Nichols continues to display his gift for down home drama, creating an aura of mystery, unease, and emotional growth, all without slapping the viewer across the face with it. "Mud" also displays male father figures in a more realistic light than any drama before its time, with many exchanges of affection. Also, Nichols turns the stereotype of what most would consider rednecks completely around and shatters preconceptions when dealing with adults interacting with children. McConaughey displays a deep seeded understanding for his character and becomes him. His stern face and cold, Southern drawls steal you in and never let go, as you begin to anticipate the boys going to see him again, so you too can experience his mystery. Dramas don't get any better than this.

One of the most powerful foreign films I've ever encountered, "Oldboy" is an epic story without the unneeded glitz and glamour of a Hollywood blockbuster. Park Chan-Wook tests the viewers' endurance, putting his main character, Dae-Su, through challenges, all while touching on thick and heavy emotions that translate perfectly to the spectator. The epic feeling is achieved through masterful character development, as Dae-Su is unrecognizable from his first scene compared to his last. Chan-Wook is also excellent at messing with perspective and people's assumptions, which is apparent in several of his other films as well, in which he shows an image to which you take away your initial understanding. Then we revisits the same scene later and either shows you an element you did not see before that changes the meaning of the event, or gives you enough details to skew your perception. The crowning achievement of "Oldboy" is the ability to mask all of the secret twists and turns that you encounter throughout the film. It takes a gifted director to weave intricate secrets into a film without spoiling them or telegraphing them. "Oldboy" is simply a masterful film in general, foreign or domestic. It's a shame that anyone sees this film and feels the need to remake it.