Acting, blazing action a blast in 'Iron Man 2'
Favreau has learned his lesson. "Iron Man 2," which rocks with pulsating action and outstanding acting (a rare combination), builds to a spectacular crescendo, then ends on an emotional human note.
In fact, the sequel takes a cue from comic book hero and competitor Superman. The Man of Steel liked to whisk Lois Lane suddenly skyward and then park on a rooftop for a flirty, "Go ahead, kiss her" chat after the bombastic dust settled.
Screenwriter Justin Theroux's feature film debut came in the outrageously funny "Tropic Thunder," which drew Downey an Oscar nomination. He takes some chances here that work, like letting this film's lead character get drunk and shame himself with birthday party angry rant. From a bottom-out low often comes a rise to great heights, however. Theroux's script manages that.
"I am Iron Man," billionaire industrialist and former weapons dealer Tony Stark (Robert Downey Jr.) proclaims during a press conference that comes at the end the first "Iron Man" and launches the sequel. You're in for a robust two hours of "Holy s%#*!" action sequences, dandy performances and witty, if at times silly, dialogue.
Six months after the first adventure, admittedly egocentric Stark is flaunting his wealth, his "peacemaker" iron suit with rockets in the heels and his need for flaunting applause at Stark Expo. His late father put on a similar chest-thumping dog and pony show first, looking a little like vintage Walt Disney talking about Tomorrowland. Tony's flashy reboot, however, more closely resembles a slightly larger-than-life version of Apple CEO Steve Jobs bestowing the iPad on the world.
The government wants to take Stark's invention away. So Stark proclaims to the Senate Armed Services Committee (with Garry Shandling chewing the scenery as Sen. Stern) that no possible threat exists that can rival Iron Man, so chill, America.
Pretty soon after that, a Russian named Ivan Vanko (Mickey Rourke) whips up a lightning-whip knock-off version of the Iron Man technology and off we go into grand adventure.
Rourke, nominated for a Best Actor Academy Award in 2009 as the washed-up modern day gladiator in "The Wrestler," is perfectly cast as a vengeful Russian who's way smarter than he looks.
Vanco constantly chews on a toothpick, even when he's slicing race cars apart at the Monaco Grand Prix or plotting Stark's demise. The camera loves Rourke's craggy face, and the veteran actor -- a survivor of good times and bad -- is rivaled by only one other toothpick chewer in the history of cinema. That's Paul Newman.
"Iron Man 2," not unlike Stark's flashy computer gadgets, unlimited resources and, of course, the red-and-gold supersuit, borders on being an embarrassment of riches. The technical effects astound even more this time than the first time around.
Downey, one of the finest actors working today for my money, is super and completely comfortable in the suit and out. Like his character, Downey is a gifted man who has beat the odds to get where he is.
Few actors can still act engulfed in a formidable costume. Downey, on screen during the Christmas holidays as the title character in "Sherlock Holmes," is one of them. Perhaps the finest.
Gwyneth Paltrow returns as Stark's assistant "Pepper" Potts, and their verbal tête-à-tête is even more finely tuned than it was in '08.
Newcomers, who are all great, include Scarlett Johansson ("The Spirit," "Vicky Cristina Barcelona") kicking hiney and not taking names in a unitard as mystery lady Stark assistant Natalie Rushman. Also, Sam Rockwell ("Everybody's Fine") struts his stuff quite well as a spoiled, jealous arms manufacturer.
Don Cheadle, nominated for an Oscar for "Hotel Rwanda" in 2004, takes over the role of military liaison Lt. Col. James "Rhodey" Rhodes seamlessly, like he belonged there all the time. Cheadle is so good, in fact, that some "Iron Man" fans might be thinking, "Terrence Howard who?"
"Iron Man 2" falls just short of measuring up to the name of its parent franchise company, Marvel. It's a blast of a superhero action sequel. It's just that No. 2 must, by definition, revisit a cinematic world now familiar and, therefore, slightly redundant.