IRON MAN:  “If you douse me again I’m donating you to a city college.”  4.5 out of 5.0

The weather is getting warmer, the sun is casting its warm rays on the green grass, the aroma of newfound passion and love rises from the revitalized earth.  The 2008 spring movie-going season has finally arrived after a long, cold and monumentally boring winter, with only a few juggernaut Oscar-nominated flowers standing out amongst a wasteland of dried up and malnourished studio early-year filler pitches and schlocky tumbleweeds emerging from the darkness of the Writer’s Strike.  Finally, after months of generic romantic comedies and extended theatrical splices of would-be Mad-TV sketches, the movies are coming into bloom and are gearing up for what could be one of the most profitable summer seasons in recent memory, with the returns of the Dark Knight, Indiana Jones and Carrie Bradshaw and the favorite newcomers Speed Racer and Wall-E.  First up, however, is Iron Man, the first theatrical film from the newly-created Marvel Studios, a branch of the best-selling comic book publisher.

        Directed by Jon Favreau (best known to the general public as a character actor, making his screen debut in 1996’s indie favorite Swingers and a supporting role in 2003’s Daredevil, and making his mark as a director with the likeable Elf with Will Ferrell and 2005’s Zathura), the film is the origin story of the title character, the alternate identity of millionaire playboy and alcoholic Tony Stark (Robert Downey Jr., essentially playing himself as he did in last year’s sadly overlooked crime drama Zodiac), a genius entrepreneur who specializes in advanced weaponry for the United States Military, manufacturing shrapnel-spewing projectiles and missiles with mountain-leveling capabilities, all the while ignoring the publicity as a womanizing death dealer with a stiff drink and a snarky remark.  While pitching his latest invention to Uncle Sam’s Army in Afghanistan, Stark’s transport is attacked (with his own weapons, no less), and is taken hostage by a group of Arab terrorists who commission him to build one of his missiles for their use.  Kept alive by an electromagnetic generator hooked up to a car battery which prevents irretrievable shrapnel within his body from cutting his insides into ribbons, Stark creates an indefinitely-powered miniature generator to power his heart and proceeds to build what he claims is his latest piece of weaponry.  In reality, it is his escape plan; a mechanical suit equipped with flamethrowers and bulletproof armor.  Upon returning to the United States after mowing down some terrorists and torching their cache of weapons, Stark immediately begins work on a personal project, a new version of his mechanized armor which he plans to use for good rather than profit, having witnessed how his weapons destroy lives with his own eyes.  However, this retirement from arms dealing upsets his contemporaries, and to make things worse, members of the terrorist ring who captured him are utilizing his plans to create their own version of Stark’s suit.

        While none of the performers truly stand out in their roles, most of the actors are comfortable with their parts and work well; Downey Jr. is perfect casting for the character, with a lot of sharp smarm and casual ignorance to do justice to the source material, and Gwyneth Paltrow is lovely as Pepper Potts, Stark’s strawberry-haired personal assistant and love interest (who, interestingly, never feels the need to remove her high heels despite imminent danger, unlike so many unfortunate slasher film characters).  Terrence Howard (Oscar nominee for Hustle & Flow) and Clark Gregg (of The New Adventures of Old Christine) take on supporting roles, Howard as Jim Rhodes (don’t get your hopes too high, comic book fans, but be ready...), and Gregg as an agent of the Strategic Homeland Intervention, Engagement and Logistics Division (...I told you to be ready...), both of whom just fill their parts with a sort of “happy-to-be-here” feeling.  However, the film’s standout performance comes from Jeff Bridges (abandoning parts which label him as the Dude, shaving his head and looking like a Greek God for this role), who has a lot of fun playing the bad guy, and gives us a core evil to base our feelings around.

        Director Favreau blends the film’s spectacular set pieces and quasi-slapstick humor wonderfully, balancing one with the other and without placing more importance than deserved on either aspects (see Stark’s first test of the Iron Man boots, an example of great special effects and Stooge-esque humor), and both are appealing.  It’s also nice to see a film which utilizes some practical effects (the Mark I and II suits being created by Stan Winston of Alien and Jurassic Park fame) which blend seamlessly with innovative computer generated images (see Iron Man’s first real appearance fighting terrorists in a small Afghani village).  It’s got all the fun and excitement a summer movie needs, with a little extra kick that makes it worth the price of a modern movie ticket.

        While the film has its flaws (the subplot involving the terrorist ring and its dealings of Stark’s weapons is clunky and never quite deals with possible obvious real-life connections, better explored in films like Lord of War (2004) and better suited to documentaries such as Taxi to the Dark Side, last year’s Best Documentary Feature), Iron Man succeeds fantastically in all other respects.  The hype has been that Iron Man is the best comic book movie to be released to date.  I, for one, am hesitant to allow Iron Man that particular distinction; while I give it a near-perfect score, it all boils down to how the film holds up after its theatrical run.  However, I will say this; after several disappointments from last year (Spider-Man 3 was an incredible let-down), Iron Man does stand out considerably from the rest of the crowd, and that the makers of The Dark Knight should plan for an according critical reception in the shadow of Black Sabbath’s favorite superhero.  For now, Iron Man is an essential getaway for those who want to get back into the summer blockbuster habit, and that comic book fans will be delighted by the film, as will casual moviegoers.  Hardcore comic fans, stay after the credits; the moment you’ve all been waiting for his here.  Rated PG-13.