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Logic-lapses aside, it’s the most thrilling part of the movie, and it’s over all too soon.ĭon’t misunderstand us – there’s still much to enjoy. It’s in these harsh, subterranean surroundings that Stark travels most of his character arc, discovering a conscience and constructing the Ned Kelly-style ‘Mark One’ suit of armour (which looks absolutely nothing like the missile that was on the menu, but somehow his captors don’t notice, despite the fact that they keep him under constant video surveillance). It opens dramatically and impressively with the tinkle of icecubes in whisky, casual references to Maxim cover girls and an explosion, setting up Tony Stark as an amoral, money-grabbing high-flyer who is felled with inevitable irony by his own hardware, incarcerated in a cave and ordered by Afghan guerillas to build a mountain-levelling missile. For all the bold casting and inventive selection of director, Iron Man certainly doesn’t break the mould on this front.
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The problem isn’t so much that origin stories themselves are inherently uncompelling, rather that by the film’s midpoint they’ve run out of steam, leaving the latter half, and usually a rushed final act, to summon up and dispense with a token threat, the hero’s mettle duly tested. and cover letter to get into our multiplexes – especially the Marvel mob.
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Superheroes these days require a full C.V. And where’s it written that comic-book franchises need origin stories? It didn’t hurt Indiana Jones, Connery’s James Bond or Captain Jack Sparrow that they arrived on our screens fully formed.
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X-Men suffered from being all set-up and no pay-off, and even Christopher Nolan’s brilliant Batman Begins was less sure of how to climax than it was of how to, well, begin. Origin stories are tricky things, too – they too often feel like feature-length pilots for intended franchises. You can almost hear the collective breath-holding over at Beverley Boulevard while those multi-million-dollar dice are being rolled… Kudos to Marvel for going for talent over big-name draw – a gambit the studio’s also taken for the upcoming Incredible Hulk. Especially when you look at the creative team: some great names, with several Oscar nominations between them (and one statuette, for Gwyneth), but none who have ever opened a summer blockbuster. And, with north of $150 million dollars invested, it represents a risky way of kick-starting your business. This is, after all, the first true Marvel Studios picture, the first fully financed by the comic-book publishers-turned-entertainment megahouse. Iron Man is an origin story in more ways than one.