The Mandalorian and Grogu

Director: Jon Favreau
Starring: Pedro Pascal, Jeremy Allen White, Jonny Coyne, Martin Scorsese, Sigourney Weaver, Brendan Wayne, Lateef Crowder
Running Time: 132 min.
Rating: PG-13

★★★ (out of ★★★★)  

Whatever problems exist with director Jon Favreau's The Mandalorian and Grogu actually have little to do with the film itself, which marks an admirable big screen outing for the once popular Disney+ series. The real issue is that it comes about five or six years too late, long after the show's popularity peaked and briefly gave Star Wars fans hope their franchise may have turned a corner. And with pop culture moving faster by the day, it's easy to forget just how big a moment it was when a Mandalorian bounty hunter discovered this adorable, childlike green creature we initially dubbed "Baby Yoda." 

With that reveal, it seemed as if any criticisms, complaints and lingering resentment from the sequels momentarily subsided, replaced instead with the adoration millions suddenly had for Grogu. And for at least the first two seasons, Favreau and co-creator Dave Filoni couldn't miss, crafting a deliriously creative space Western that didn't coast on overexposed legacy names of the past. That is until Disney got greedy, flooding the market with inferior spin-offs and abandoning The Mandalorian after 2023's rough third season. So now amid creative chaos and confusion, this oddly becomes the first full-length Star Wars feature to hit theaters since 2019's The Rise of Skywalker. But awful timing aside, it is a blast seeing these two characters reunited in a film that's better than expected. 

Mandalorian Din Djarin, aka "Mando" (Pedro Pascal) and his foundling Grogu are hunting down Imperial forces on the outskirts of the galaxy when New Republic commander Ward (Sigourney Weaver) tasks Mando with rescuing the late Jabba the Hutt's son Rotta (voiced by Jeremy Allen White) and returning him to Jabba's twin successors. In exchange for this, the Hutts' promise Ward intel on the whereabouts of a mysterious warlord, with Mando begrudgingly accepting the assignment after a new Razor Crest ship sweetens the deal. 

Joined by his mini apprentice, Mando is directed to the moon Shakari, where he discovers Rotta pit fighting for crime-lord Janu (Jonny Coyne), Determined not to be judged by his father's tainted legacy or take part in the family business, Rotta enjoys newfound popularity as a fighter, making his extraction messier and more complicated than Mando anticipates. With Rotta disinterested in returning home and Janu unwilling to give up his prized competitor, Mando takes drastic measures, putting him and Grogu in harm's path. Only this time it's the foundling who's called upon to protect his adoptive father. 

In keeping with recent tradition for the spin-offs, this begins with a short title card rather than the franchise's iconic opening crawl, wisely distancing it from the other films and dropping us into the action right away. For fans of the series, a formal introduction is unnecessary while new viewers won't feel lost when Favreau and Filoni stick to the familiar formula, albeit with a few added flourishes.

The central mission to save Rotta is a good one that isn't bogged down by extraneous side quests, setting Mando on a collision course with three formidable villains, two of which share a connection to one of the original trilogy's more substantial characters, both in girth and importance. And though it's awkward seeing any member of the Hutt clan move (think Jabba in Lucas's '97 Special Edition) much less engage in combat, Rotta's backstory is certainly developed well enough. So even if there's no getting around his visual limitations as a muscular, intergalactic UFC fighter, White's vocal performance creates a sympathetic character, especially in scenes opposite Grogu. We're also treated to brief but humorous voice work from Martin Scorsese as a fearful Ardennian fry cook who nearly steals the film's first half.

Sigourney Weaver's role as Ward is smaller than advertised, to the point that some of her scenes in the trailers and commercials appear to have been cut. But in terms of kicking off the plot, the actress's fair, no-nonsense approach as an authority figure can still be appreciated, however briefly. As for Grogu, he kind of tags along for the ride during the first hour, engaging in his typically cute antics while Mando handles the heavy lifting, at least until a major development changes the course of things. 

Sixty minutes in, it feels as if this story's all wrapped up and the closing credits are ready to roll. Of course, we know that's not the case as Mando gets into deeper trouble escalating from his earlier decisions. And by necessity, Grogu will become more involved, giving the film its big payoff when he takes the initiative to rescue his dad. 

Despite a slow section where maybe too much time is spent with Grogu alone in the woods, everything does come together for an exciting finale. And those still complaining about Pedro Pascal's overexposure may want to prepare themselves for Mando's helmet coming off, as it did a couple of times already during the series' run. But how he loses it is thematically warranted, hardly lacking in either context or motivation. 

If Grogu's the real star, his closest competition might come from Oscar winning composer Ludwig Göransson, whose music here actually exceeds and builds on what he did on the show. And besides a return of that main title theme majestic enough to compete with John Williams' best, his electro-synth sounds interestingly highlight Mando and Grogu's excursion into Shakari's gritty fight pit. 

The biggest concern was always whether this would go a more cinematic route or safely play like an extended episode of the series. As a "two-parter" of sorts, it's clearly the latter, hypothetically ranking among the show's stronger entries. But in successfully harnessing the spirit of a series we'll probably never see again, you wonder why Disney couldn't even manage to announce they were shelving it. To this day, no one knows. Still, Favreau and Filoni get their act together to deliver a fun, tightly scripted adventure that recaptures much of the early magic. It's just a shame it didn't come sooner.                                   

The Mandalorian (Season 2)

Creator: Jon Favreau
Starring: Pedro Pascal, Giancarlo Esposito, Gina Carano, Carl Weathers, Ming-Na Wen, Temuera Morrison, Katee Sackhoff, Rosario Dawson, Mark Hamill,Timothy Olyphant, Bill Burr, Mercedes Varnado
Original Airdate: 2020

**The Following Review Contains Major Spoilers For The Second Season of 'The Mandalorian' **

★★★★ (out of ★★★★)

While not among those disappointed by the frequently maligned big screen Star Wars sequels, it's still hard to deny Disney was always walking a thin line with them, regardless of the result. It's tricky balancing the needs of a notoriously cranky adult fanbase desperate for their nostalgia fix with the desires of kids and more casual watchers clammoring for fresh content. What we got was a battle of wills, wherein an unspoken compromise had to be reached where there could be certain callbacks and a reliance on classic, iconic characters just so long as it was in service of newer faces and more forward-looking stories. 

Even if Disney fared much better than they've been credited for in their efforts, it can't be ignored that neither contingent of fans walked away completely fulfilled. If returning the franchise to its heyday of the late 70's and early 80's by reigniting the feelings that sorrounded the original trilogy was already a tall order, using it to effectively lay the groundwork for Star Wars' future would be close to impossible.

So how did creator Jon Favreau, with his only mildly anticipated Disney Plus series The Mandalorian, manage to do again for this franchise what J.J. Abrams, Rian Johnson and even George Lucas himself at one point couldn't? You have to think he first probably recognized just how burnt out even the saga's biggest supporters had become after an inundation of big screen content that left everyone wanting a break. If all the sequels and spin-offs were universally beloved that would be one thing, but with wildly mixed notices, something had to change to justify this besides receipts or it wouldn't last.

The best received spin-off, 2016's Rogue One, worked because it felt as if it had temporarily released us from the shackles of this mythology, demonstrating that there's plenty of fringe universe yet to be tapped (through novelizations, games and the animated series), featuring fresh characters and missions unencumbered by baggage or expectations. And to balance things out, the film also marked until now what had been Disney's most successful use of a classic character with Vader's sensational corridor rampage, showcasing him at the peak of his powers in way that completely complimented the plot. 

When the pilot episode of The Mandalorian premiered in November of last year, Favreau revealed the magic ingredient."The Child" (AKA "Baby Yoda") In wisely withholding the reveal in all the show's pre-release promotional advertising, fans were reminded what it's like to be surprised, as lone Mandalorian Bounty Hunter Din Djarin (Pedro Pascal) looks inside the floating carriage to discover the "asset" he's been hired to protect exceeded our highest expectations, causing hearts to grow about ten sizes that day. And that was it. 

Taking place five years after the events of Return of the Jedi, the series debuted as the perfect blend of familiar and new, using the remnants of a beloved but somewhat still mysterious character in Yoda to posit the theory that there could be others like him. And it's accompanied by a lot of possibilities when one of them is a scared, occasionally mischievous, but adorable alien baby of about 50 years-old. Even while partially digitized, the creation harkens a return to the realistic, practical effects and puppetry that defined the original films, while also revisiting one of the series' most prevalent themes of parentage and fatherhood on an even deeper level.

As just the starting point for an initial season that Favreau and producer Dave Filoni spared no creative expense on, Mando begrudgingly protects the Child, who has yet to master his Jedi Force powers, even as his gift could become a curse if exploited by others. That's the intention of a dangerous Moff Gideon (Giancarlo Esposito) who's attempting to restore order to the Galaxy after the fall of the Empire, eyeing this force-wielding baby as his path to do it. 

If the show had been mildly, but unfairly criticized for anything during its first season, it was for settling into a procedural format during which Mando, with Child in tow, would embark on missions of the week with or for various characters. These weekly adventures were frequently transactional, featuring an exchange wherein Mando would reluctantly work with someone who couldn't be completely trusted in order to gain something he needs. 

Some of these forty-minute weekly missions were undeniably better than others, but the world and character building that took place in all of them proved essential in getting to the Season 2 end game, retroactively resulting in an even stronger set of episodes than its inaugural season. And this format comes as a relief for returning the franchise to its roots as a space Western while temporarily shelving that "big picture" blueprint, supressing concerns about how everything and everyone will fit into some larger plan fans will complain about. If a weight was lifted by first making the show good and then taking it from there, it's still kind of astounding all the small and even considerably more substantial details Favreau gets right. Whether that's a soaring Ludwig Göransson score that's up there with anything John Williams has previously done, or the storyboard artwork incorporated into the closing credits.  

What was clear late in the first season, but comes into even sharper focus here, is that Mando's strict, unwavering commitment to upholding a rigid code is cracking as his attachment to the Child grows, now seeking out a Jedi in hopes of returning the little one to his home, wherever that may be. The story heads in the direction we assumed it probably would and while an eventual showdown with Moff Gideon and his Darksaber surely looms, the path there is accompanied by more thrills than expected, along with some unpredictable bumps along the road. After enlisting the help of Mandelorian warriors Bo-Katan (Katee Sackoff, reprising her Star Wars: Clone Wars role) and Koska Reeves (Mercedes "Sasha Banks" Varnado) to locate this Jedi, Mando briefly reunites with Cara Dune (Gina Carano) and Greef Karga (Carl Weathers) before heading forest planet of Corvus in the series' most revealing episode, the Filoni-directed "Chapter 13: The Jedi."

In introducing Ahsoka Tano (a pefectly cast Rosario Dawson) into the live action canon, a bomb is dropped in terms of the Child's background that actually gives at least one of the prequels a reason for existing, while revealing his given name. That Favreau manages to escape disappointing everyone with this reveal is noteworthy since it couldn't have been easy with expectations running so feverishly high. Grogu. Short, simple and sounds very Star Wars-like. That's all you can ask for. It fits him. Supposedly, Favreau already knew it very early on in the first season and it just became a matter of when to pull the trigger, a decision made that much harder when Baby Yoda became a worldwide sensation. But the Band-Aid had to be ripped off at some point and this sure went down a lot easier than anticipated. 

Ahsoka can't train Grogu since he's just too attached to Mando and she senses fear in him, the first hint that his egg eating, cookie stealing shenanigans may not have been as cute and innocent as it appeared, suggesting the possibility we may have another little Anakin on our hands, tempted by the dark side of the Force. But all hope isn't lost since she knows of a Jedi who can train him. Maybe. And with that comes the season's big mystery. Who is it? The possibilities should seem limited, yet are kind of endless when you start running through all the candidates. 

Thanks to Ahsoka, Mando's comes into possesion of a Beskar steel spear we know he'll need, and against whom. The indelible image of a meditative Grogu sorrounded by an energy field reaching out for a connection at Tython's seeing stone eventually makes him a sitting duck for Gideon's Dark Troopers, giant black Transformer-looking droids that make the human-occupied Stormtroopers look like Ewoks. While the undeniable tragedy of the Robert Rodriguez-directed "Chapter 14: The Tragedy" is Grogu's kidnapping, the destruction of the Razor Crest ship at the hands of Gideon could easily compete with it given it's well-earned status as the franchise's most identifiable transport since the Millenium Falcon. 

As far as surprises go, the return of Fennec Shand (Ming-Na Wen) after being left for dead in the desert in last seaon's "Chapter 5: The Gunslinger" an expected, but welcome, especially considering who's with her. In another great example of how Favreau just "gets it," he knows that bringing back Boba Fett (Temuera Morrison) after his sarlacc demise in Return of the Jedi is a no-brainer, because, why not?  If you could bother explaining away Emperor Palpatine's resurrection, this is almost downright logical. And why wouldn't you take the opportunity to do something more substantial with a seemingly minor character who became a major fan favorite by standing silently in a cool uniform for two movies? Now, with a detailed backstory and sense of importance that isn't merely speculative, we get what we always wanted.

Slightly older and more weathered, Boba demands his father and grandfather's armor back from an unwilling Mando, who got it from Mos Pelgo Marshal Cobb Vanth (Timothy Olyphant) in "Chapter 9: The Marshal." And so another one of the series' famous trades leads to Jabba's former bounty hunter once again donning the helmet and armor to help Mando kick some Stormtrooper ass. After being programmed for disappointment for so long, it's almost surreal to see such a bold creative choice pay off this well, both in concept and execution. And it's unlikely anyone could claim they ever expected to see Boba Fett take a tornado DDT from Sasha Banks.

Arriving well-prepared with the help of Boba, Fennec, Dune, Bo-Katan and Koska to save Grogu ("Chapter 16: The Rescue"), Mando's  showdown with Moff Gideon carries an anticipation unmatched by any recent Star Wars battle, largely because of the stakes. Darksaber vs. Beskar Spear. It has to be acknowledged that Giancarlo Esposito's performance during this episode represents his best work of the series, alternating between pure, unadulterated evil and a maniacal glee, gloating at knowing a key detail concerning the power of the Darksaber that will undoubtedly carry into next season.

With an entire fleet of Dark Troopers for the group to fight off, the arrival of that sole X-Wing carries an overwhelming sense of importance the second we see it pull up, signifying the arrival of our mystery Jedi. And it's him. They actually did it. 

Before we even see the hood, the green saber or the glove, we know it's Luke Skywalker because, of course, it had to be. In trying to come up with all the reasons this couldn't work, we ignored the one obvious explanation why it does. Yoda trained Luke and now student must become master and train Grogu, who deserves the most important character in the Star Wars canon clearing his schedule. The kid's earned it.  

Anyone other than Luke would feel second-rate, and however anyone feels about his treatment in The Last Jedi, it takes only a minute or two before it's erased from our minds as he effortlessly slays Dark Troopers left and right in a chills-inducing sequence that brilliantly calls back to his father's aforementioned Rogue One appearance. With his hand on the monitor, Grogu looks on in wonder, as we once did, transfixed with the same sense of childlike amazement experienced during the original trilogy, but rarely felt again since. Until now.

"Open the door." And with those words speculation ends which incarnation of Luke we'd see and, more importantly, how. With Hamill now too old to play the character five years post-ROTJ, would Favreau recast the role with another actor (Sebastian Stan was speculated), or instead go the equally risky route of relying on the same de-aging technology that was used for Carrie Fisher's Princess Leia and Peter Cushing's Grand Moff Tarkin in Rogue One, and briefly for Luke and Leia in The Rise of Skywalker flashbacks? 

In going for the CG option, we're reminded there's still a long way to go before it can be reliably used without issues, but the digitized Hamill is a massive improvement over the the Fisher effort, and about equal to Cushing. But the more noteworthy achievement might be that we hardly care, with the narrative context overshadowing any perceived technological deficiencies. So, even if George Lucas would probably endorse the decision (for all the wrong reasons), this does stand as one of its better uses.

Luke's appearance only enhances the central storyline of Mando having to temporarily part with his son. And, yes, it definitely feels okay to refer to Grogu as his child because he's been that for a while,  and even more so during the course of this season. One of the toughest sells of the show was always going to be having it revolve around a masked protagonist, limiting any actor who would have to convey everything through voice and body language. Not only has Pedro Pascal debunked those fears, he's completely conveyed the bond Mando and Grogu share through this helmet, adjusting accordingly on the very few occasions it's come off and we've seen his face. 

The first removal of Mando's helmet occurred in the Season 1 finale ("Chapter 8: The Redemption") with the IG-11 droid taking it off to treat his injuries, and again this season in "Chapter 15: The Believer" when he and Mayfeld (Bill Burr) go undercover to obtain the coordinates to Gideon's cruiser and a facial scan forces him to remove it. Of course, this is a big deal because if the first time was a necessity, this one's a choice, or rather a sacrifice he makes for the Child. 

At the start of the series we couldn't imagine the inflexible, unemotional Mando doing something like that, but through great storytelling and acting on Pascal's part, we've reached the point where he's now voluntarily removing the helmet so his son can touch his face and say goodbye, if just temporarily. To call it the most powerful moment in this season or even the series as a whole feels like selling it short, as it's tough to recall the franchise coming close to a peak like this within the past thirty years. It also serves a great parallel to Luke removing the helmet off of his injured father at the end of Return of the Jedi. 

Of course any resistance from Grogu to go with Luke is tempered by not just by Mando's blessing, but the presence of R2-D2, joined at the hip with Luke, just as we remembered him at the end of ROTJ. These are how classic characters can be used to service the stories of newer ones without getting it in the way. From a timeline perspective it also perfectly fits, as Luke's exact whereabouts shortly after the conclusion of Episode VI were wide open and largely unestablished.

The big question now is what exactly happens with the future of the series. Will Grogu go on hiatus while he trains with Luke or could we actually see it? The latter seems far-fetched given technological hurdles, so it could be a situation where we have a flash-forward to whenever that's completed, posing another huge creative risk in having to age the Child. But there can be too much of a good thing and overexposing an insanely successful character can be just as damaging, which is why Favreau and Filoni deserve tons of credit for bringing this season's story arc to its logical conclusion, regardless of the creative challenges it'll probably present. 

In successfully shifting the series from becoming the Baby Yoda show into something far more encompassing, there's a good chance Favreau and Filoni are prepared to handle what's next. The show's still titled The Mandalorian so it's a good bet it will continue to follow Mando's adventures and Grogu will return in due time. Aside from the fact he's printing too much money not too, he basically rivals both peak Luke and Yoda in importance at this point.

As the the The Book of Boba Fett post-credit sequence further solidifies, there's going to be an onslaught of new shows, spin-offs and features arriving over the next few years if the franchise can withstand it this time. But even as someone who thinks Disney's done a fantastic job since acquiring the property from Lucas, I'm skeptical of the Marvel-like direction they're taking it, bombarding fans with cross-over content that could be very hit-or-miss. 

If there's a silver lining in this approach, it's that the franchise now has a much stronger foundation on which to build thanks to this series. It may seem hyperbolic to credit one person with "saving" an entire franchise, but that's undeniably what Jon Favreau did with The Mandalorian, giving credence to those suggestions that he and Grogu deserve their own statue beside Walt and Mickey at Disney theme parks. And now we can at least feel safer knowing that any future Star Wars project going through the pipeline will likely have his input or involvement.

Iron Man 2

Director: Jon Favreau
Starring: Robert Downey, Jr., Gwyneth Paltrow, Don Cheadle, Scarlett Johansson, Mickey Rourke, Sam Rockwell
Running Time: 125 min.
Rating: PG-13

★★ 1/2 (out of ★★★★)

While it seems like faint praise, Iron Man 2 really isn't all THAT much worse than its predecessor. What complicates the issue is that the first film was massively overpraised, accumulating truckloads of accolades for just simply being a fun, competent summer diversion. So we all knew, if only for monetary purposes, we'd see a sequel, no matter how unnecessary. As the continuation of the groundwork laid in the original, this film works as a logical progression, except for the fact that it's a discombobulated, annoying next chapter of a story that didn't need to be told to begin with. I'll give it this though: At least it lets go and tries to have fun, and doesn't attempt at any point to try and get us to take the material seriously, which was a sore spot with me in the original. Unfortunately, there are enough other problems to go around. And how couldn't there be with so many plotlines and characters fighting for attention? Packed with non-stop action, celebrity cameos and quick one-liners, the movie never bores. It advertises instead, delivering what amounts to a mildly enjoyable two-hour Marvel Studios trailer.

For at least the first hour, it appears director Jon Favreau had the ingredients for a successful sequel, until losing his way in the second act. It's at it's best early on when focusing exclusively on Stark Industries CEO, Tony Stark (Downey), who's now living the life of a rock star after revealing his identity as Iron Man to the world. The government doesn't quite see things his way as senate hearings are called in an effort to get Stark to turn over the Iron Man technology. Meanwhile, mad Russian physicist Ivan Vanko (Mickey Rourke) aims to settle a long-standing family grudge by constructing a reactor-powered suit to take Stark down and finds a generous supporter in rival defense coordinator, Justin Hammer (Sam Rockwell). With the reactor in his chest slowly releasing toxins that are killing him, Stark appoints his loyal assistant Pepper Potts (Gwyneth Paltrow) new CEO.  He must also deal with the mysterious arrival of S.H.I.E.L.D. organization director, Nick Fury (Samuel L. Jackson) who's undercover agent, Natalie Rushman, (Scarlett Johansson) has infiltrated his company.

The set-up for all of this is actually quite good with Favreau doing an admirable job handling an overstuffed Justin Theurox script that tries to find room for every character, without giving enough of them something to do, or us a reason to care. For a little while at least he effectively balances all the sub-plots and it was the right way to go focusing on the hard-partying Stark's struggle to deal with increased with his new found celebrity. Then at about the hour mark Samuel L. Jackson appears as Nick Fury and this becomes a paint-by-the-numbers superhero movie doubling as an infomercial for whatever sequel or franchise Marvel studios is planning to take our dollars with next. In this case, it's The Avengers and while comic fans may be drooling over it (assuming it's ever even released), that's not an excuse to sidetrack the story being told NOW. You know, the one with Iron Man in it. For all I know it could fit perfectly into the Marvel "Universe" but in this film it doesn't and in a deck already stacked too high with sub-plots and characters, it's an unnecessary addition. Not quite as worthless as the throwaway Tony Stark cameo at the end of The Incredible Hulk, but close. The rest of the film suffers along with it as Stark's best friend Lt. Jim Rhodes' (Don Cheadle taking over for Terrence Howard) transformation into War Machine feels too rushed, the Natalie Rushman character loses her mystique the more we learn about her and the promising storyline involving the alliance between Hammer and Vanko turns into a bit of a mess. The remaining run time is a big blur, lost in a sea of noises and explosions before arriving at the final credits.

The performances are mostly solid all-around but let's be honest in admitting that as well as he plays it, the role is clearly beneath an actor as talented as Robert Downey, Jr. who could be spending his time on more meaningful projects that better utilize his skills. There's nothing wrong with taking on fun, escapist entertainment but this is essentially a repeat of his work in the last, with the cockiness amped up. It's to his credit that he makes Stark's struggles interesting at all but praising him for this role is starting to feel like congratulating The Rolling Stones for covering Katy Perry songs. Well done, but a waste. The biggest letdown is how little is done with Gwyneth Paltrow, with Pepper going from being the rarest of well-written female love interests in the first film to merely an afterthought. You know it's bad for her when even a bloated Garry Shandling (who now strangely resembles Jiminy Glick) gets just as much screen time as a crooked senator. Still, even a little Gwyneth goes a long way. Johansson really isn't done any favors either with an underwritten role, which is a shame because her character had potential. Rourke looks to be having almost too much fun as Vanko/Whiplash, letting his inner goofy flag fly with a pet parakeet and a hilarious take on a Russian accent while Cheadle is actually a downgrade from Terrence Howard as Rhodes, possessing a more calming, laid back presence that conflicts with the commanding one we previously associated with the role. That it was recast so haphazardly by the filmmakers demonstrates how little regard they have for a character that could have easily been excised from the film altogether without anyone noticing. Aside from Downey, the best performance comes from Sam Rockwell, who steals every scene he's in as Stark nemesis Justin Hammer. If the series must continue (and you know it will) his return would at least be a suitable consolation prize.  

If I'm making it all seem slightly worse than it is it's only because this franchise wore out its welcome after the first film and there's no reason to keep going other than the almighty dollar, which the filmmakers make abundantly clear with their cross-promotional tie-ins. They should concern themselves with making one really good film first before thinking ahead to other ones. Part of the problem may be that after The Dark Knight the bar has been raised to the point where all these superhero movies can't help but come off as child's play, with this being no exception. But at least it moves at a brisk pace, the action sequences impress (the race track scene is something else) and unlike last year's big summer release, Transformers: Revenge of the Fallen, it has its fun moments, most of them again provided by Robert Downey, Jr. Calling Iron Man 2 disappointment wouldn't be fair, if only because it assigns the sequel expectations it couldn't have met to begin with.

Iron Man

Director: Jon Favreau
Starring: Robert Downey Jr., Terrence Howard, Jeff Bridges, Gwyneth Paltrow, Leslie Bibb, Shaun Toub
Running Time: 125 min.
Rating: PG-13

*** (out of ****)

We’ve come a long way. The days when superhero films were perceived as nothing more than a goofy joke have come to an end. It took a while, but studio executives have finally seen the light, realizing comic book stories can still be fun even if they're intelligent. There’s nothing wrong with taking the material seriously. Better yet, they realized if the material is up to a certain standard it will attract accomplished actors whose work will make the film even better. Especially if that actor happens to be Robert Downey Jr., who previously wouldn’t have topped anyone’s list as a top candidate to play the title role in Jon Favreau’s Iron Man. Not because we didn’t think he could do it, but because we didn’t have faith that the powers that be would be smart enough to consider him for the role.

The story is that Favreau pushed hard for Downey to get this and it’s a good thing he did because Iron Man would be a far inferior film without him, perhaps even barely recommendable. Sometimes it hurts your viewing experience to come to a movie late after everyone has already seen it and other times it doesn’t make a difference. This is one of those cases where it really has an impact. This is a big spectacle movie that’s meant to be seen and experienced on the big screen. That’s not to say I didn’t enjoy the film a great deal, but rather that I got exactly what I expected from it. Nothing more, nothing less.

As far as mainstream recognizabilty and acceptance, Iron Man would probably fall somewhere toward the middle of the superhero food chain, well below Batman and Superman and closer to Daredevil, The Flash and Captain America. But Favreau and Downey do the character a great service by getting us to really get to know and care about the man behind the suit before puling the trigger on all the action. In a huge risk, nearly three quarters of this film is build-up, weaving a story that not only digs slightly deeper than your average superhero film but is also very timely. It’s almost disappointing that by the end you realize it is just a superhero story because there were so many other interesting issues going on. Still, as far as superhero movies go, Iron Man is one of the better ones. More importantly, it’s smart AND fun.
Robert Downey Jr. is Tony Stark, head of billion-dollar weapons manufacturer, Stark Industries, of which he shares controlling interest with his ruthless business partner, Obidiah Stane (a bearded, chrome-domed Jeff Bridges). But Tony is also a freewheeling, arrogant playboy who likes his cars fast and his women even faster. Struggling to keep his ego in check is his loyal assistant Pepper Potts (Gwyneth Paltrow) and best friend, military man Jim Rhodes (Terrence Howard). The film opens as Tony is seriously injured and taken captive by terrorists in Afghanistan while he’s on his way to show off his latest weapons of mass destruction.

With irremovable shrapnel lodged in his chest he’s fitted with an electromagnetic device by a doctor (Shaun Toub) to keep him alive and together they build an armor-plated bulletproof suit that enables his escape. After returning to the States following his ordeal, Tony’s priorities shift dramatically when faced with realization that his work has been aiding terrorists and taking innocent lives. Much to the displeasure of shareholders and the company’s board of directors, he controversially terminates the company’s weapons division, instead donating all his time to perfecting the design of the armor-plated suit. Tony's decision ends up causing much more than just a public relations problem.

I found a lot of the stuff involving the suit to be a little silly. I was just confused as to why this guy who has enough money and power to do whatever he wants to help the world would indulge his new found social awareness by building an indestructible, flying costume. I know I’m supposed to just go with the flow because this is a superhero movie, but because the film introduces such serious story elements like nuclear proliferation and terrorism the other elements can’t help but feel slightly off. Luckily, it’s a minor problem because Favreau, his screenwriters and Downey get us to care so much about the guy inside the costume.

Unlike the Spider-Man films, which only talk about the idea of personal responsibility, this movie's actually about it. He given maybe just a couple of notes to play, but Downey plays them better than anyone else could have. It may not be the actor’s most challenging role but he realistically pulls off Tony’s transformation from ignorant playboy tycoon into peaceful crusader with subtle ease. He’s so talented he probably still could have pulled this off just fine had he just phoned it in, but I’m glad he chose not to. If I wasn’t blown away it’s just because I’ve come to expect work like this from him. Without Downey there would be no film, or at least not one this good.

All the fancy cars and homes are nice but if I were Tony Stark all I'd want is Pepper Potts as my assistant. And as for that actress playing her, I had to stop and wonder who she was, and what she did with Gwyneth Paltrow. Besides looking unrecognizably amazing, Paltrow shows off a sexy, spunky side we never suspected she had. Who would have thought that she actually knows how to have fun? Her chemistry and interplay with Downey is priceless and the script wisely doesn’t push things too far between them. It doesn’t have to. Supposedly, Downey convinced her to take this by asking her if she ever gets tired of starring in great movies that no one sees. There's a lot of truth in that. Potts should be just the typical throwaway love interest but Paltrow makes it more. Here may be the first time she’s come off as both an actress and a movie star. The latter has always seemed to be missing. It took this role to bring it out.

In addition to Downey, the always-reliable Jeff Bridges has to sell a tough, multi-layered transformation as well when his intentions are revealed to be a bit different than we thought at the beginning. And as usual, Terrence Howard is wasted with a throwaway role but gives his all. Through no fault of his own, audiences may have a tough time remembering he was even in the film

It’s somewhat disappointing that the last half hour of the film plays like a standard issue comic book movie with a final battle scene reminiscent of Transformers. But I can’t say the movie in any way deteriorates or Favreau doesn’t have a strong grip on the visual effects, which are impressive without being overwhelming. I’m in the unique position of being one of the few to view this film after The Dark Knight and it says a lot that this still doesn’t suffer greatly in comparison. That film was an epic crime drama, but this is very much a popcorn summer action movie and a completely different animal altogether. The Dark Knight wasn’t without its flaws also but the big difference is that they were so interesting you could analyze them for years. The flaws here are more of what you’d typically expect to see in a movie like this.

I think the reason the movie has been slightly overpraised is because we’ve gotten so used to junk in this genre for years and are thrilled that an actor of Downey's abilities is there to elevate the material. For what its worth, I'd rank Downey’s work in this ahead of both Toby Maguire’s in Spider-Man and Christian Bale’s in The Dark Knight. I’ll be interesting for me to see how Ed Norton’s performance in The Incredible Hulk holds up against those.
As much as I enjoyed this I’m not interested in a sequel, or if there is a sequel, there should be a limit of one. The last thing we need is for Downey to be tied up in a series of Iron Man films and turn into another Tobey Maguire, who’s once promising career has now been obliterate because no one can ever think of him as anyone other than Peter Parker. Doing this once or twice is fine but we can’t afford to lose an actor like Downey to big-budget action movies. Having said that, it’s great to see him enjoying the success and acclaim he is right now. It’s been a long time coming. Critics and film buffs always knew how good an actor Robert Downey Jr. is, and now thanks to Ironman, everyone else finally does too.