Operating as an opening act for the flood of summer superhero movies, “Iron Man” flies to theaters with a successful blend of action, humor, and a tinge of topical drama. Jon Favreau helps the viewer forget his abysmal “Elf” and “Daredevil” travesties in a tightly crafted origin tale that lands somewhere between “Spiderman’s” family fare and “Batman Begins’” darker-themed saga. Iron Man is a little more crass and carefree than Peter Parker, and his methods are far less precise and exact than the brooding dark knight.
Robert Downey Jr. is perfectly cast as billionaire weapons manufacturer Tony Stark. A man seemingly without a conscience, Stark designs and builds weapons of terrific destruction, making bold deals with the U.S. military, and selling to the highest bidder. During a successful unveiling of his new “Jericho” missile in Afghanistan, Stark is abducted and kidnapped by a ruthless band of terrorists. Sequestered in a cave, he is forced to build the rebels weaponry for their army. Instead, he starts building a bulletproof metal suit tricked out with flight abilities and a host of nifty weapons and gadgets. Escaping his captors after three months, Stark makes it back home and has a change of heart. His eyes have been opened to the chaos and killing his weapons have been integral to, and decides to operate his company as one of protection and peace, not murder and mayhem. As he constructs newer models of his flight suit, he is brought closer to his personal assistant Pepper Potts (a sublime Gwyneth Paltrow).
Their demure relationship builds gradually, and by the end of the film, their camaraderie is crucial to Stark’s vision.
Jon Favreau, taking cues from “Batman Begins” director Christopher Nolan, applies a very grounded science and reality to “Iron Man’s” fiction. In a move sure to rile up the fanboys, Favreau even dismisses Iron Man’s long-time nemesis Mandarin because of the mystical and high-fantasy elements of his powers and persona. In Mandarin’s stead, Obadiah Stane (Stark’s power-hungry company partner) fills the role of chief villain. Stane is impeccable portrayed by a scenery-chewing Jeff Bridges (sporting a snazzy cue-ball haircut and grizzly beard.)
Though the film is a basic origin tale, chronicling a “normal” man’s transformation into superhero, its topically relevant storyline helps define it as unique — Stark isn’t fighting just a villain, but a culture consumed and obsessed with violence and war.
The producers took many appropriate steps in distancing the story from the recent glut of comic book adaptations; the move from the East to West Coast being the most pertinent. The switch from the grimy, claustrophobic surroundings plaguing comic fare (“Batman”, “Daredevil”, “Spiderman”) to a more open and vibrant setting also helps distinguish and establish Iron Man’s original universe.
“Iron Man” is not a perfect movie — Stark borderlines crude a few too many times, and Stane’s role seems almost throwaway compared to villains like The Joker and The Green Goblin. However, Stark as a hero is far more germane and complex than the cookie-cutter good guys of those same films.
He doesn’t go through the ubiquitous self-pity phase that Spiderman and Batman weigh us down with; he’s constantly working. The inevitable sequel (there’s already word of a trilogy) is eagerly awaited. “Iron Man” is the first of the popcorn summer blockbusters, and is definitely worth a watch.
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Operating as an opening act for the flood of summer superhero movies, “Iron Man” flies to theaters with a successful blend of action, humor, and a tinge of topical drama. Jon Favreau helps the viewer forget his abysmal “Elf” and “Daredevil” travesties in a tightly crafted origin tale that lands somewhere between “Spiderman’s” family fare and “Batman Begins’” darker-themed saga. Iron Man is a little more crass and carefree than Peter Parker, and his methods are far less precise and exact than the brooding dark knight.
Robert Downey Jr. is perfectly cast as billionaire weapons manufacturer Tony Stark. A man seemingly without a conscience, Stark designs and builds weapons of terrific destruction, making bold deals with the U.S. military, and selling to the highest bidder. During a successful unveiling of his new “Jericho” missile in Afghanistan, Stark is abducted and kidnapped by a ruthless band of terrorists. Sequestered in a cave, he is forced to build the rebels weaponry for their army. Instead, he starts building a bulletproof metal suit tricked out with flight abilities and a host of nifty weapons and gadgets. Escaping his captors after three months, Stark makes it back home and has a change of heart. His eyes have been opened to the chaos and killing his weapons have been integral to, and decides to operate his company as one of protection and peace, not murder and mayhem. As he constructs newer models of his flight suit, he is brought closer to his personal assistant Pepper Potts (a sublime Gwyneth Paltrow).
Their demure relationship builds gradually, and by the end of the film, their camaraderie is crucial to Stark’s vision.
Jon Favreau, taking cues from “Batman Begins” director Christopher Nolan, applies a very grounded science and reality to “Iron Man’s” fiction. In a move sure to rile up the fanboys, Favreau even dismisses Iron Man’s long-time nemesis Mandarin because of the mystical and high-fantasy elements of his powers and persona. In Mandarin’s stead, Obadiah Stane (Stark’s power-hungry company partner) fills the role of chief villain. Stane is impeccable portrayed by a scenery-chewing Jeff Bridges (sporting a snazzy cue-ball haircut and grizzly beard.)
Though the film is a basic origin tale, chronicling a “normal” man’s transformation into superhero, its topically relevant storyline helps define it as unique — Stark isn’t fighting just a villain, but a culture consumed and obsessed with violence and war.
The producers took many appropriate steps in distancing the story from the recent glut of comic book adaptations; the move from the East to West Coast being the most pertinent. The switch from the grimy, claustrophobic surroundings plaguing comic fare (“Batman”, “Daredevil”, “Spiderman”) to a more open and vibrant setting also helps distinguish and establish Iron Man’s original universe.
“Iron Man” is not a perfect movie — Stark borderlines crude a few too many times, and Stane’s role seems almost throwaway compared to villains like The Joker and The Green Goblin. However, Stark as a hero is far more germane and complex than the cookie-cutter good guys of those same films.
He doesn’t go through the ubiquitous self-pity phase that Spiderman and Batman weigh us down with; he’s constantly working. The inevitable sequel (there’s already word of a trilogy) is eagerly awaited. “Iron Man” is the first of the popcorn summer blockbusters, and is definitely worth a watch.
