Billionaire Tony Stark must contend with deadly issues involving the government, his own friends, as well as new enemies due to his superhero alter ego Iron Man.
Starring:
Robert Downey Jr., Don Cheadle, Scarlett Johansson, Gwyneth Paltrow,
Sam Rockwell, Mickey Rourke, Samuel L. Jackson, Clark Gregg, John
Slattery, Jon Favreau, Paul Bettany, Kate Mara, Leslie Bibb, G...
- Directed by
- Jon Favreau
- MPAA rating
- PG-13 (Parental Guidance Suggested)
- Released
- Over 2 years ago
- IMDB rating
-
Movie review
After the high-flying adventures of the first Iron Man
picture, the billionaire arms manufacturer and irrepressible bon vivant
Tony Stark (Robert Downey Jr.) finds himself nursing a hangover. But
not like any hangover he's had before: this one is toxic, a potentially
deadly condition resulting from heavy metals (or something) bleeding out
of the hardware he's installed in the middle of his chest. This is the
problem Stark needs to solve in Iron Man 2,
not to mention the threat from resentful Russian science whiz Ivan
Vanko (Mickey Rourke), whose father helped create the Iron Man
technology. There's an even bigger problem for the film: the need to set
up a future Marvel Comics movie universe in which a variety of veteran
characters will join forces, a requirement that slows down whatever
through-line the movie can generate (although fanboys will have a good
time digging the clues laid out here). Actually, the main plot is no
great shakes: another Iron Man suit is deployed (Don Cheadle, replacing
Terrence Howard from the first film, gets to climb inside), Stark
continues to bicker with assistant Pepper Potts (Gwyneth Paltrow), and a
weaselly business rival (Sam Rockwell) tries to out-do the Iron Man
suit with an army of Vanko-designed drones. Mickey Rourke is a letdown,
burdened by a wobbly Russian accent and looking skeptical about the
genre foolishness around him, and Scarlett Johansson has to wait until
the final couple of reels to unleash some butt-kickin' skills as the
future Black Widow. That climax is sufficiently lively, and the initial
half-hour, including Stark's smirky appearance before a Senate committee
and a wacky showdown at the Monaco Grand Prix, provides a strong, swift
opening. But the lull between these high points is crying for more
action and more Downey improv. --Robert Horton
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