When making their action blockbusters (which are made up, increasingly it seems, of super-hero movies) studios are getting more and more cautious. Since these huge summer tent pole movies cost (usually) well over $100 million apiece, it's no wonder that studio execs want to play it safe and deliver the broadest appealing movie they possibly can. This often means hiring hack directors that can make broadly commercial films in their sleep (just look at the workmanlike quality of Brett Ratner's X-Men 3) or by hiring acclaimed directors that can be bullied and micro-managed into making the one-size-fits-all film that's required (like the cesspool that is Gavin Hood's Wolverine). Occasionally a Christopher Nolan or Bryan Singer can successfully transfer their vision onto the big screen...but more and more often that's not the case.
After Sam Raimi's Spider-man was released, rival studios recognised Sony had produced the perfect summer event movie; action packed, funny, relatable ...with just enough originality to provide a unique experience without becoming a commercial risk. Director Raimi had suppressed the quirkier aspects of his film-making, yet retained his confidence in storytelling. Since then, not until 2008's Iron Man, no one had really succeeded in capturing that broad, family blockbuster; the results either being too dark (Batman Begins), too serious (Hulk), too weird (Hellboy) or just too plain predictable (Fantastic Four). With the hiring of Elf/Zathura director Jon Favereau, that elusive mainstream, break-out hit film was created...and it's great.
As a super-hero origin movie Iron Man follows familiar terrain with the basic three act structure of set-up, exploring/developing the super powers and finally, fighting the big bad. Despite the familiarity, the script is very tight, gets off to a topical and explosive start in Afghanistan, is delicately balanced with emotional dramatic beats, thrilling action sequences, a villain that's cleverly woven into the heroes back story and some well timed gags. The film has a pleasing high-tech sheen and has a tone that is neither too dark, too juvenile nor too dramatically light weight. ILM's effects are uncluttered, and look all the better for it, while the score echoes the production itself; utterly commercial, but distinctive enough with it's themes and style (electric guitars in scores are generally corny, but not here).
What elevates this from being good to great is the casting...specifically that of Robert Downey Jnr in the lead as billionaire industrialist Tony Stark. Like Johnny Depp in the Pirates movies, Downey brings to Iron Man not only the confidence, charisma and swagger needed...but also the baggage and humility of a man who can be his own worst enemy. Downey's been there and done that...so he's able to channel that into his portayal of the conflicted hero. He's funny too, especially when interacting with Gwyneth Paltrow's Pepper Potts in some inspired improv.
Despite not having the biggest budget in the world, Iron Man has some thrilling set pieces...notably Tony's return to the Middle East and his subsequent encounter with a couple of US fighter Jets. With any other actor this could have been simply 'stuff' happening onscreen (Michael Bay...I'm talking to you), but thanks to Downey, the action sequence has great character driven humour, dramatic tension and a lead you want to succeed. Sounds simple. Looks simple. But it took years to get to this. Despite being a lesser Marvel character, it's no wonder people went in droves to see it.
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