Spoiler warning: these reviews reveal plot twists.
Tony Stark (Robert Downey Jr) has outed himself as the famous Iron Man – but the US military want his secret technology, while an embittered rival wants revenge…
For most of its running time, Iron Man 2 is just as enjoyable – just as zippy and slick and witty – as the first movie. There are plenty of good gags, the storytelling is often slipping information in while we’re being entertained, and director Jon Favreau is having fun with some cinéma-vérité sequences. There’s an impressive balance of plot, character and comedy, and everything is crisply edited. It’s shame that it doesn’t stack up to a better movie. When the story starts, it’s six months since the events of the first film. Iron Man is now a superstar and we first see him skydiving into a showbiz event surrounded by fireworks and dancing girls. The whole sequence sings with razzmatazz and confidence. But you can also see the hubris: Tony is heading for a fall… We’re soon introduced to characters old and new. Gwyneth Paltrow is back as Pepper Potts and her scenes with Tony Stark are joyful; Paltrow and Downey Jr have terrific chemistry and a total command of overlapping dialogue. Tony’s pal Rhodey returns too (actor Terrence Howard has been replaced by Don Cheadle due to a contract dispute), as do Nick Fury (Samuel L Jackson) and Agent Coulson (Clark Gregg). The latter two have bigger roles than in the first Iron Man adventure, because it’s now that the series story arc is powering up. And they’re not the only SHIELD agents we meet. Initially thought to be a PA called Natalie Rushman, Scarlett Johansson’s Natasha Romanoff is actually a spy under orders from Fury. She later puts on a skin-tight outfit and beats up bad guys. Wowzers. The film’s main antagonists, meanwhile, are Justin Hammer and Ivan Vanko. The former is a Tony Stark wannabe, a flashy and cocky businessman who challenges Tony at a Senate hearing, and he’s played with energy and humour by Sam Rockwell. The latter – played by Mickey Rourke with lank hair, a toothpick in his mouth, lots of tats and a broken Russian drawl – is a former Soviet prisoner who has a grudge to settle. He first encounters Tony at a motor race. (It’s the Grand Prix de Monaco Historique – ABSOLUTELY NOT FORMULA 1, no, siree. Because they couldn’t get the rights.) After Stark and Vanko’s fight, the film takes a darker turn. The frivolity is replaced by Tony’s maudlin mood, brought on by Vanko’s challenge and Rhodey betraying him. And here, sadly, is where the problems begin. The film has a great eye for the absurd and surreal – check out the scene of Tony driving a convertible loaded down with the scale model of the Stark Expo, or the running gag about him not liking people handing him things, or the perpetual-motion gizmo on Pepper’s desk – but is less discretionary when it comes to plain silliness. It’s a lovely moment when Tony watches some old film footage of his late father (Tony Slattery from Mad Men). But the information Howard Stark is recording for his son to watch when grown up just beggars belief. It’s something to do with an unknown chemical element, which Tony is coincidentally looking for in the present, and Howard has built the clue to its discovery into the architecture of the venue for a 1974 trade exhibition. (Couldn’t he just have written it down?) This kind of convoluted plotting affects the shadowy character of Vanko too. He wants revenge on Tony for something Howard did to Vanko Snr, so spends a lot of time and energy building his own mechanical suit in order to go toe-to-toe with Iron Man. You wonder whether just shooting the often-at-public-events Tony Stark might not be easier. His plan also means the spine of this story is the same as the first film (rival builds his own suit to fight Iron Man). To be fair to Vanko, he does at first attempt to simply attack Tony. Tony manages to fight him off, thanks to an Iron Man suit he carries around in a suitcase, but this action sequence is oddly just one of two times the characters interact. After it, Tony thinks Vanko is dead until 88 minutes into the film, then their climactic battle is over in under two minutes. And that sums up the whole film: it promises a lot early on, but vaguely disappoints.
Seven Larry Kings out of 10