|
Aiming to be bigger, better and more of what made its predecessor such a hit, IRON MAN 2 hits most of those targets though at times too much of a good things holds it back from reaching as high as it could. Jon Favreau's confidence in helming this huge-budget sequel shows from start to finish, but the very ambitious story penned by Justin Theroux packs in extra elements that are simple excess. This energetic, slightly more serious story occasionally bogs down as Tony Stark stages his personal comeback and Iron Man punishes his armored foes, when a little less would truly be more.
The reactor-powered core of the film hums along just fine as Stark endures the side-effects of his power cell and a Senate hearing aimed at separating Tony from Iron Man technology. Like Robert Downey Jr. cannot be separated from this iconic role, Stark testifies that he and Iron Man are one, even if this proves detrimental to his health. A key them of the film results: heroic public actions come with the price of personal responsibility. The rare metal inside his chest's mini-arc reactor is poisoning Tony's system and without finding a non-toxic replacement (none exist), the device which saves his life will soon kill him. Recognizing the limits of his own mortality more easily than he accepts the limitations they place on Iron Man, Stark plans to hand off his company to the capable hands of his successor, Pepper Potts (allowing Gwyneth Paltrow to share more of the stage with Downey this time). The temporary downfall of Tony Stark bears unavoidable comparison to Downey's own past difficulties, so it's all the more telling when both men arise from their own suffering and resurrect their souls to shine brightly in the spotlight once again.
 Yet while on that path, Pepper's executive competence breeds conflict with Tony's personal mission: to find out why Russian thug Ivan Vanko (restrained yet edgy Mickey Rourke) nearly kills Stark in Monaco and how this lethal mystery relates back to Tony's father and technical genius, the late Howard Stark. This review won't spoil the plot for readers, but the answer to the villain's vengeance works better than it might in lesser comic adaptations. Rourke is convincingly menacing in an otherwise shallow character, but then again Vanko — who becomes Whiplash when he creates his own father's improved arc reactor weapon — serves the story rather like the shark in JAWS: he exists to kill his prey, not engage in lengthy philosophical debates on good and evil. Indeed, like in the first IRON MAN, Tony Stark's profitable, swanky image and reputation is built upon the Stark legacy which has its own secrets and failures woven through its history. On that note, kudos to the wonderful John Slattery whose depiction of Howard Stark skillfully blends the industrial brawn of Howard Hughes with the creative soul of Walt Disney, providing key insight into Tony's personality. This story element serves IRON MAN 2 beautifully, filtering through both plot and character development while remaining organic to the story — easily the best, most successful advancement in this sequel.
Generally, most key elements reprised from the first film are revealed to have up- and downsides to them, as do new additions like Stark's supposed competitor Justin Hammer (Sam Rockwell) who has built a career on being second best to Tony. Hammer is his sixties in the comic universe, but Rockwell's younger version plays well as an inferior Stark-wannabe, from his lack of personal command with women and business down to his comically faked tan. While most of Hammer's shortcomings play for humor, the personal and professional gulf between the two industry titans services the plot — though Hammer's inherent lack of a credible threat on any front also disarms him as a potential antagonist as well, yielding lesser results than expected. Ultimately, only Hammer's collusion with a hidden partner creates a desperate battle for Iron Man's survival, though its the least original segment in this sequel given how the first film's climactic finale with Obadiah Stane ensued.
 On the superhero side, take the IRON MAN 2 title to heart as the soul of this story is about partnerships: Pepper gaining equal responsibility and importance in Tony's life, Stark finally teaming with with Colonel James "Rhodey" Rhodes who dons the suit as War Machine, and the return of Nick Fury and S.H.I.E.L.D. influencing the future of Iron Man. Cheers to Don Cheadle for taking over the part of Rhodey, adding needed humor and some emotional resonance as Tony's most trusted friend and professional confidant. Samuel L. Jackson gets more to do as Fury, though for now the role remains necessarily undeveloped until THE AVENGERS aspect of the Marvel franchise powers up. Likewise Scarlett Johansson literally kicks ass as Natalie Rushman/Natasha Romanoff (aka Black Widow), who may well surprise devoted comic fans that doubted her ability to succeed in such a physically demanding role. Both the role and her sleek black suit fit her like a glove, and she should do well going forward if she reprises the character. Amiable Clark Gregg returns as S.H.I.E.L.D. Agent Coulson and he never disappoints — be sure to stay after the end credits for his tag scene which should delight Marvel fanboys and girls alike. Garry Shandling oozes political insincerity as Senator Stern attempting to appropriate Iron Man technology for the government, while Paul Bettany reprises his voiceover-of-reason role as Jarvis, Stark's virtual home/lab sidekick. Keep an eye peeled for returning Marvel icon Stan Lee as well in a brief cameo as Larry King (apparently between marriages).
While the blast-everything-in-sight climax runs about five minutes too long and predictably so, its context of the Stark Expo (cleverly developed in the film's viral publicity campaign) and what it means to Tony's heart and health stands out as a refreshingly original concept for the sequel. Fans of Disney theme parks will get additional chuckles at the pop culture references dating back to the mid-1960s inception of Walt's Carousel of Progress attraction for the World's Fair or his vision of EPCOT, and the filmmakers slyly rely on these touchstones to misdirect audiences from the Expo's true meaning. Suffice it to say that Slattery and Downey, presumably separated by three decades of lost father-son connection, play the moment convincingly on multiple levels.
Aside from isolated moments of indulgent pacing which allow the film to drag a bit, IRON MAN 2 will undoubtedly prove a blockbuster summer smash — as indeed it's already been overseas where the film has grossed $100 Million-plus in tickets sales one week before its U.S. debut this Friday. Downey and Favreau further establish their credentials as a winning creative team for both the IRON MAN franchise and Marvel's promising future as a movie producing studio in its own right (albeit owned by Disney now). This is comic book-turned-graphic-novel-era superhero filmmaking done right, delivering armor-crushing action to delight summer flick expectations while keeping a light shining in the soul of the story, adding meaning to all the superb sound and fury (IMAX adds extra punch in this regard, so seek it out in the large screen format if you're so inclined). IRON MAN 3 is now inevitable, but that's a good thing. |
4 stars)
