Iron Man 3

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Buckle up for some hot takes (mostly, that Iron Man 3 rocks).

75/100

“You know who I am.”

That’s the refrain that constantly dogs Iron Man 3: it’s written glibly by Tony Stark on a nametag in 1999, said by him in the voiceover that frames the film, broadcast by the supposed Mandarin as he threatens more terrorist attacks. And, of course, three movies in, we do know Robert Downey Jr.’s Iron Man, and so does everyone else, from kids in a restaurant to a local news cameraman. He’s an even greater celebrity than he was in his pre-Iron Man days: he was the hero in The Avengers’ Battle of New York, after all. He’s the biggest box office draw since the Skywalkers, the best thing since sliced bread. Everyone knows Iron Man, whether you’re a citizen in the MCU’s world or our very own flesh and blood reality.

“You know who I am,” but this movie spends most of its runtime challenging that. We know Iron Man, but what of Tony, when you strip him down to his bare essentials? Who does he become? That’s the question at the heart of Iron Man 3, tackled in its own superhero movie way. Another question haunting the movie: how do you follow The Avengers, a movie that—like it or not—forever changed the cultural landscape? (Or, at the very least, altered for quite some time.) The door has been blown open in the cultural consciousness, and also in the MCU, where the populace has been rudely exposed to aliens and a god flying around with a hammer. Iron Man 3 addresses all these questions by, well, mostly ignoring them. The Avengers went big, so this goes small. Of course, there are superheroes beating up bad guys and plenty of cheap tricks and cheesy one-liners (“Sweetheart, that could be the name of my autobiography,” as Tony says), but our titular hero spends most of this movie without his armor and without a superhero team to back him up. 

On the one hand, this is where the interconnected nature of the MCU starts to first show some of its fundamental flaws: logistically, not every superhero actor can show up in every movie. But if Tony is dealing with a terrorist threat, why don’t the other members of the Avengers show up? Where is Captain America, who could help? Thor, Hulk, Black Widow, Hawkeye? On the other hand, isolating Tony from his super friends and even his own suit makes for a better movie, one more interested in Tony than his other metal persona (though if you want to see Iron Man blow stuff up, there’s plenty of that, too).

Of course, Iron Man 3 doesn’t start with Tony separated from his suit, but just the opposite: since the events of The Avengers (where, to remind you, aliens came out of a wormhole in the sky and New York would have gotten nuked if Tony hadn’t made the sacrifice play and flown said nuke through said wormhole), Tony has been driven even deeper into his obsessive tendencies and holes himself up in his workshop, making new suits and avoiding sleep. Pepper (Gwyneth Paltrow) is at the end of her rope as she watches Tony circle the drain of self-destruction again, a different kind of destruction than Iron Man 2 but destruction nonetheless. Tony’s not sleeping, he’s having anxiety attacks at the mere mention of New York, he inadvertently sics a suit on Pepper. Things aren’t going great.

Tony’s declining mental state isn’t helped by the terrorist attacks going on lately, apparently carried out by a man styling himself as “The Mandarin” (Ben Kingsley), who sounds like John Goodman and Mick Rory had a child. Tony’s buddy Rhodey (Don Cheadle) gets rebranded as Iron Patriot, his own suit getting a nice new paint job to rally our crestfallen American spirits, and Tony stays to the sidelines: “It’s American business,” Rhodey tells him, though seeing as all our superheroes seem to have originated from or at least allied with America, the division between superhero business and American business is faint at best. Marvel doesn’t ever address this except obliquely, leaving any commentary on American exceptionalism to things like Watchmen and The Boys—which is probably for the best, considering Marvel’s lack of subtlety. (Though I don’t think anyone would call The Boys subtle…)

Regardless, Tony leaves this particular issue to the US military until former bodyguard/current head of security for Stark Industries and Downton Abbey fan Happy Hogan (Jon Favreau, no longer in the director’s chair but still producing) gets caught up in this plot and injured. Then it becomes personal: Tony provokes the Mandarin, the Mandarin’s people destroy Tony’s house, and Tony, presumed dead, ends up in Tennessee with a broken suit.

Read More of Anna’s Ongoing Marvel Retrospective Series Here

This would-be tale of woe is offset by a) the fact that this is a Marvel movie, so it’s probably not going to be too much of a downer, and b) writer and director Shane Black’s comedic sensibilities. (The movie is also set at Christmastime, a period that Black is rather fond of.) It’s got quips and banter for days, but they have a bit of a rougher edge to it than most MCU entries: upon landing in Tennessee, Tony meets precocious child Harley Keener (Ty Simpkins); upon learning that Harley’s dad left the family six years ago, Tony replies, “Dads leave. No need to be a pussy about it.”

For a big superhero movie, it seems odd that the best scenes would be set in the middle of nowhere in Tennessee, but Harley and Tony make for a great comedic duo as Tony tries to sniff out the Mandarin’s origins. Kids can certainly be a hindrance in films and tend to be cloying and/or annoying, but Shane Black eschews those pitfalls (as he does in The Nice Guys) and makes Harley endearing more than anything else, his clear-eyed optimism a good foil for Tony’s snark and cynicism.

Tony eventually connects the Mandarin plot back to businessman Aldrich Killian (Guy Pearce), whom Tony had rebuffed at a New Year’s party back in 1999, giving Killian a thirst for revenge and power. Killian, it turns out, created the character of “The Mandarin” and hired actor Trevor Slattery to portray him; the Mandarin conveniently serves as a scapegoat for the explosions Killian’s experiments with the regenerative drug Extremis causes. (The fact that most of these explosions are caused by disabled veterans who volunteered for this drug in order to regrow a limb is largely ignored, though it presents a potentially intriguing take on our treatment of veterans. However, the movie opts to sidestep this entirely by not addressing it.) 

The villains of Iron Man 3 are, to put it lightly, controversial. The Mandarin twist—where the imposing terrorist figure is an actor, and the real villain is the corporate suit—has continued to be a sore spot for fans, largely those already familiar with Marvel comics, who complain that Iron Man 3 wasted an iconic villain, that the twist was juvenile, that it was an insult to the fans, etc. However, the Mandarin of the comics that fans were apparently foaming at the mouth to see has a rather sticky legacy, as the original Fu Manchu-type character plays on ideas of yellow peril; this solution neatly avoids those issues—or perhaps it lampshades them, seeing as Killian purposely orchestrates the Mandarin’s appearance to prey on fear of a vague Middle Eastern “other.” As he says, “Ever since that big dude with the hammer fell out of the sky, subtlety has kind of had its day.” Killian aiming to rile up the military-industrial complex by manipulating Western iconography and conjuring imagined, otherized threats dressed in non-Western clothing all so he can fill his own coffers is far more interesting than a character whose origins are rooted in actual racist caricatures.

Unfortunately, Killian himself, though played with a sinister suaveness by Pearce, is a bit too thinly sketched to handle the weight the Mandarin twist dumps on him. Had Killian’s motivations been more fleshed out, or his threat greater than breathing fire (yes, that happens), the twist might have been better received even by the comic fanboys. (Pepper, it should be noted, is the one to land the final blow on Killian, taking her revenge on him for nonconsensually injecting her with dangerous drugs. This marks the third Iron Man villain Pepper has dispatched: she was the one who powers up the arc reactor that killed Obadiah Stane in Iron Man, alerts the authorities to Justin Hammer’s illegal tendencies in Iron Man 2, and here directly kills Killian. Don’t get on her bad side.)

Initially, Killian wasn’t even the main villain: that task instead fell to Rebecca Hall, though whether Hall’s character was a female version of Killian or the character she would go on to play, Maya Hansen, remains unclear. However, this was nixed when a call from Marvel corporate came and informed Shane Black that a female villain wouldn’t sell toys, and therefore the villain had to be a man. 

While Black says he doesn’t know who exactly placed the order, common speculation lands the blame at Ike Perlmutter’s feet. Perlmutter’s storied history with Marvel includes claiming that all Black people look alike and pushing back against the characters of Black Panther and Captain Marvel, so while this is all speculation, it doesn’t seem like a big leap to blame Perlmutter, at least in some capacity; in fact, Perlmutter is known to have limited Black Widow action figures for the same reason. (Black Panther and Captain Marvel would only get made after Perlmutter had been pushed away from Marvel Studios.) Rebecca Hall has voiced frustration at last minute changes to her character that made Maya little more than a footnote in the film, and given Killian’s just-okay-ness as a villain, more Maya could have been a welcome addition. 

But a villain change isn’t the only alteration made to Iron Man 3 to appease investors and audiences (though, for the record, changing a villain’s gender because of toy sales is both frustrating and imbecilic). A different version of Iron Man 3 played in China, featuring Chinese actors Fan Bingbing and Xuqei Wang (only the latter appears in the film outside of China), though the added scenes largely serve as product placement. Apparently, there were even discussions around making Harley Chinese to flatter Xi Jinping. More diversity, especially within Marvel, is always welcome, but perhaps it’s better to have diversity to more accurately represent our current world rather than solely to appease a, uh, problematic figure, to say the least. Marvel has consistently courted China’s market in such a way that their films suffer for it, from Iron Man 3 to Doctor Strange, where Tilda Swinton was cast as the Ancient One, typically portrayed as Tibetan, so as not to ruffle any Chinese feathers. 

Interestingly, Marvel’s upcoming Shang-Chi and the Legend of the Ten Rings, ostensibly a win for the China market as it features Chinese actors and is at least partially set within China, has received pushback for everything ranging from accusations of stereotyping to star Simu Liu not being attractive enough by Chinese standards, with some claiming that he looks too Western. (Liu was born in China but raised in Canada.) Director Chloé Zhao’s upcoming Eternals also faces an uphill battle, with Zhao’s critical comments on China (where she was born) potentially haunting her box office. Whether Marvel will take these setbacks in stride or try once more to appease remains to be seen.

Even with all this drama behind the camera, Iron Man 3’s finished product remains the best Iron Man film, even if it is a bit uneven. (Come for me with pitchforks, I beg you.) While at the time the first Iron Man was a fresh phenomenon, its novelty wears off after 20-plus similar films; Iron Man 3’s character-driven focus (character-driven for a big superhero movie, I should amend) gives it an edge over its predecessor; now that Tony has been established, the films can get meatier. Giving Tony PTSD and anxiety from the Battle of New York undercuts all Tony’s fake swagger, the persona that he crafts around himself like his suits; we are reminded that he is, at his core, painfully human, even if he is a superhero. When Harley asks for Tony’s name, he simply says, “The mechanic. Tony.” No big press conferences, no Stark Expo, just a mechanic trying to build things, trying to fix things. One of the best scenes comes from Tony assembling a prototype Iron Man repulsor from various items at a hardware store, fashioning everyday objects into something better. He doesn’t need the suit to be Iron Man. 

Too bad Joss Whedon will toss much of this characterization out of the window in Avengers: Age of Ultron (more on that later), but that’s the thing with comic books and their adaptations: they’re all about what Stan Lee called “the illusion of change.” Robert Downey Jr. was still game for more films, so Tony has to bring his suits back. Still, Iron Man 3 remains perhaps the most pivotal movie for Tony’s journey and certainly the one that best defines his character, and that vaults it above its peers (as does the post-credits scene, because it’s just fun).

Oh, sure, there’s an argument to be made about the problems of latching onto a certain character at the expense of the rest of the film, and how that drags us a bit too close to the hideously toxic world of stan culture. There’s no doubt that Iron Man 3 zigs and zags a bit, but in a cinematic universe where every film ends with some big bad evil guy fight scenes, it’s the smaller moments that make something stand out, and that’s what puts Iron Man 3 above its fellows, if only slightly.

Groundwork: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • The response to the Mandarin twist was bad enough that Marvel made a short in 2014, All Hail the King, which had Trevor Slattery taken by a “real” member of the Ten Rings who threatened to bring him to the “real” Mandarin. (Cowing to angry fans almost never works out, and while the short is fun, its existence is, well, stupid.) The Ten Rings and the “real” Mandarin, this time played by Tony Leung, will (re)appear in Shang-Chi and the Legend of the Ten Rings.
  • This marks the first verbal mention of Roxxon in the MCU. In the comics, Roxxon Corporation is a nefarious oil company that’s usually up to no good. In the MCU, its logo was shown in Iron Man and Iron Man 2; it doesn’t get namedropped until here. It’s mentioned in Agent Carter, Agents of S.H.I.E.L.D., Daredevil and other members of Marvel’s now-apparently-forgotten non-Disney+ TV legacy. Roxxcart, presumably an offshoot of Roxxon, appears in the Disney+ show Loki.
  • Extremis is used in Agents of S.H.I.E.L.D., most notably on Bill Paxton’s John Garrett. 
  • Not groundwork, but there was a lot of speculation that Harley would go on to become Iron Lad; this hasn’t happened yet, but his appearance at Tony’s funeral in Endgame at least proved Marvel hasn’t completely forgotten about him. We can pretty safely rule out Iron Lad, however, seeing as Iron Lad is actually a young version of Kang the Conqueror, and Jonathan Majors plays Kang, who (spoilers?) first appears in Loki.

Anna’s Favorite Scene: Tony has a panic attack on the side of the road and Harley has to bring him back down to earth. “You’re a mechanic, right? Why don’t you just build something?” Great acting, great character work, great scene. 

MCU Ranking: 1. The Avengers, 2. Captain America: The First Avenger, 3. Iron Man 3, 4. Iron Man, 5. Thor, 6. Iron Man 2, 7. The Incredible Hulk

Iron Man 3 Trailer

Iron Man 3 is currently available to rent and purchase on most digital storefronts, and is streaming on Disney+.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

Captain America: The First Avenger

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Time to punch some Nazis!

75/100

Captain America has recently come under fire for a new comic from Ta-Nehisi Coates featuring the star-spangled man with a plan that criticizes the American Dream, with superhero actors Dean Cain and Kevin Sorbo accusing Marvel of politicizing Captain America. (This also comes after the villainous Red Skull was depicted with similarities to Jordan Peterson.) Yet, no matter where you stand on the controversies that have followed the Cap comics, from his conception Captain America has been a political construct: Joe Simon and Jack Kirby created Cap and had him punching Nazis in the face even before America had entered World War II. Pointedly, Cap has always tried to stand for what America should be, not what it is or has been (except for that arc where a Cap imposter was a Nazi, which caused no drama whatsoever). 

In the MCU, the movies have had to refrain from anything other than sweeping statements like, “Nazis bad,” or “government surveillance bad,” as they cater to a larger audience than the comics, but the spirit of Steve Rogers’ comic origins are still visible enough throughout his cinematic tenure, starting with the pleasantly old-fashioned Captain America: The First Avenger. (It’s also a lot easier to avoid issues of overly aggressive American exceptionalism when your bad guys are literal Nazis.) 

Part of its winsome charm comes from the 1940s setting, making The First Avenger Marvel’s first period piece—though don’t conflate it with the high-falutin dramas that usually populate the genre; it’s still first and foremost a superhero movie. Director Joe Johnston had already balanced these genres in The Rocketeer, so he seemed a natural fit for this MCU entry, and proves himself more than up to the job of balancing the time period with superheroics. It’s all very Indiana Jones. (While Johnston would only direct this film, screenwriters Christopher Markus and Stephen McFeely would become mainstays of the MCU.)

America has entered World War II, and Chris Evans’ Steve Rogers is raring to go fight the good fight but is hampered by his small frame (Leander Deeny acted as Evans’ body double for the first part of the movie, and the head grafting usually looks decent) and litany of health issues. His childhood friend Bucky Barnes (Sebastian Stan) has already been drafted, and Steve’s frustration has grown to where he has begun to lie on his enlistment forms in an effort to somehow join up. His determination to help in any way he can attracts the attention of Dr. Erskine (Stanley Tucci), a German scientist helping the Allies’ war effort by providing them with a serum to create a super soldier. 

Steve gets whisked away to Camp Lehigh in New Jersey, where he meets the prickly colonel Chester Phillips (Tommy Lee Jones) and the no-nonsense Agent Peggy Carter (Hayley Atwell). Marvel often casts unknowns in leading roles, or, if not unknowns, at least someone unexpected; in this case, Chris Evans was mostly known for romcoms and non-MCU Marvel’s Fantastic Four duds. To compensate for their lesser-known leads, the MCU will populate the roles around their heroes with big names: Jeff Bridges in Iron Man, Anthony Hopkins and Rene Russo in Thor, and, in The First Avenger, Tommy Lee Jones and Stanely Tucci.

These casting choices generally pay off, giving the audience someone new to fawn over while the veterans keep the performance quality high. Here, Tucci and Jones give some of the most memorable one-off Marvel performances; Erskine in particular, while only appearing in the first third of the movie, has stayed fresh in the minds of audiences: he is, after all, the one who lays down the ethos of Captain America: “Not a perfect soldier, but a good man.”

This isn’t to say that The First Avenger’s leading man falls short—not by any means. Chris Evans, in addition to being ridiculously good looking, is ridiculously charming; it’s hard to imagine anyone else in the role, though he initially turned down the role. Evans’ Steve is someone we all want to root for, representing that ideal American gumption and gusto without any of the country’s baggage. Yet while it could be easy to paint Steve Rogers as a goody two-shoes, as someone with a stick up his ass who probably goes to church each Sunday and buttons up his shirt all the way, the character we are presented in the MCU, and the one we are shown by Evans, is much more interesting than that (though Joss Whedon will fall slightly into caricature in The Avengers, unfortunately): the first thing Steve does in The First Avenger is lie. He lies on an enlistment form to boost his chances of helping the war effort, so the lie isn’t a nefarious one, but Steve still consistently bends or outright breaks the rules to follow his own largely unfailing moral compass; he has never been one to simply follow orders and do things by the book. He’s smart, too, and not just some tail-wagging Golden Retriever. If not quite as complex as Tony Stark or Loki, Steve still—to quote a certain green ogre—has plenty of layers. Good is not dumb, nor is it boring.

While Steve fails to impress physically, he proves himself worthy of the super soldier serum when he jumps on a grenade (unaware that it’s a dummy) to absorb its explosion while everyone else runs away, convincing even Colonel Phillips that he can handle the responsibility of Erskine’s super soldier serum. Howard Stark (Dominic Cooper) arrives to assist, a mirror image of his son: smart, suave, self-important, though with less of the guilt and self-loathing. 

Steve Rogers then gets really, absurdly ripped. If Peggy has already been attracted to his innate goodness, this surely helps that attraction along. 

Unfortunately (though maybe fortunately, so America wouldn’t have a race of blonde-haired, blue-eyed super soldiers…), any chance of recreating this effect is dashed when an agent of Hydra (Richard Armitage, who definitely should get brought back for a bigger MCU role), an offshoot of the Nazis, kills Erskine. Steve, instead of getting to sock Nazis in the jaw on the front lines, is then used as a tool of the government to get more war bonds; his tenure as the government’s dancing monkey gives us a great musical number and a chance to lampoon the government: they stifle the real spirit of America, instead packaging some propagandic patriotic prattle in song and dance and costumes. (Again, this “real spirit of America” is much easier to portray during World War II, with clear-cut bad guys. Later on, it gets a little bit more complicated.)

Only with Peggy’s encouragement does he break out and begin to actually do something with his power. Arnim Zola (Toby Jones) and Johann Schmidt (Hugo Weaving), aka the Red Skull, have been up to no good, capturing Allied forces—including Bucky Barnes—as part of their nefarious work for Hydra, so Steve ditches his role as senator attaché and goes to save his comrades. 

Where Marvel typically tries to tone down some of its comic book origins in order to make the movies more palatable, Red Skull’s design is ripped straight from the comic pages in all its campy, pulpy glory. The preceding MCU movies have all tried to ground themselves even as their subject matter gets more and more outlandish, resulting in something like Thor, which fails to commit fully to its otherworldly premise. The First Avenger marks the first time that Marvel fully embraces its source material: it’s good vs. evil, superhuman vs. superhuman, good old American boy vs. Nazi with a red skull. It throws any pretension away and basks in its absurd comic book glory, a much better movie for it.

To even out the absurdity, we have the very real relationships between the characters. Steve’s close connections with Bucky and the Howling Commandos (Neal McDonough as Dum Dum Dugan, Derek Luke as Gabe Jones, Kenneth Choi as Jim Morita, Bruno Ricci as Jacques Dernier, and JJ Feild as James Falsworth aka the superhero Union Jack, though only a normal guy in the films) give him an anchor; his relationship with Bucky in particular will remain important in the MCU and spark the imaginations of thousands of Tumblr and Twitter users, though it’s not given quite enough heft here.

The real heart of the movie, however, is Steve’s relationship with Peggy. Despite only being developed for one film, this relationship has proved to be one of the strongest in the MCU (perhaps too strong, but more on that with Captain America: The Winter Soldier and Avengers: Endgame), and due to Hayley Atwell’s vibrant portrayal, Peggy received her own spinoff show, Agent Carter, and appears in Winter Soldier, Avengers: Age of Ultron, Ant-Man, Avengers: Endgame, and two episodes of Agents of S.H.I.E.L.D. Peggy and Steve serve as the film’s beating heart, giving the ending a gut punch and real emotional heft that the MCU films have largely lacked so far. It’s a testament to the depth of these characters that they can carry such weight in a movie where the main villain looks like this.

Upon revisiting The First Avenger, it’s remarkable how well the film has aged; while Iron Man deserves props (or boos, depending on your view of the MCU as an entity) for kickstarting the MCU, it feels largely rote when compared against the slew of other films that come after. The First Avenger, on the other hand, has a unique setting, and while it still lays the foundation for future entries, the film is still largely self-contained. Reverberations from its events can be found all over the MCU, but it’s less concerned with setup for the future and more so with payoff for the now, making it a satisfying entry on its own. It can get a little too silly at times, but it’s always fun and upbeat, a reminder of what Captain America can look like without the 21st century cynicism he becomes riddled with in later entries. Looking back after ten years, this may hold up better than Iron Man—this is a spicy and hot take, I know—and certainly helped reset the trajectory of the MCU after some more lackluster entries, setting them on firm ground before they take a big risk with The Avengers.

Groundwork: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • Hey, it’s the Tesseract with an Infinity Stone inside. Wonder if that will be important later.
  • Hey, the Red Skull used aforementioned Infinity Stone and got sucked up into space. Wonder if he will show up later. (He will, but not as Hugo Weaving, who has been open about the pay disputes with Marvel that led to Ross Marquand appearing as Red Skull in Avengers: Infinity War and Endgame.)
  • Hey, no more super soldier serum exists. Wonder if anyone will make knockoffs and that will be important later.
  • Before the Hydra base is blown up, Zola rescues some blueprints for what looks like a robot, a nod to his comic look; in Winter Soldier, they will adapt this so that Zola lives through a computer program as a head on a screen.
  • Boy, sure hope hiring Zola and other Hydra members to help the United States doesn’t bite anyone in the ass.
  • There’s a common saying that “the only people who stay dead in comics are Bucky, Jason Todd, and Uncle Ben.” That has now been whittled down to only Uncle Ben, as Bucky gets revived as the Winter Soldier by Ed Brubaker, a fate that will befall our filmic Bucky as well (and Jason Todd is also alive now, coming back as the Red Hood in DC comics). No one knew at the time if The First Avenger would get a sequel or if it would even adapt the Winter Soldier arc, so they filmed two versions of Bucky’s fall: one where Sebastian Stan had a green screen sleeve on his arm, and one without. Though they ended up using the latter, Bucky will still appear sans an arm in Captain America: The Winter Soldier.
  • Howard and the Howling Commandos show up in Agent Carter, and some Howling Commandos show up in Agents of S.H.I.E.L.D. with Peggy. Will I be able to bring up S.H.I.E.L.D. in every retrospective? Stay tuned!
  • Kenneth Choi, who played Howling Commando Jim Morita, shows up in Spider-Man: Homecoming as Mortia’s grandson.

Anna’s Favorite Scene: Dr. Erskine and Steve have a chat before the procedure, producing that classic MCU line: “Not a perfect soldier, but a good man.”

MCU Ranking: 1. Captain America: The First Avenger (I welcome your Twitter arguments), 2. Iron Man, 3. Thor, 4. Iron Man 2, 5. The Incredible Hulk

Captain America: The First Avenger Trailer

Captain America: The First Avenger is currently available to rent and purchase on most digital storefronts, and is streamable on Disney+.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

Iron Man 2

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Next up is Iron Man 2, which made the first Iron Man seem like a one-time stroke of good fortune.

60/100

If the MCU started with a bang with the first Iron Man, its two immediate follow-ups more closely resembled whimpers, making this burgeoning cinematic universe look like a flash in the pan rather than something that could stand on its own two feet. While Iron Man 2 is less laborious than The Incredible Hulk and possesses some of the wit that made the first Iron Man soar, its overstuffed plot and boring action set-pieces make it land with a bit of a thud, moving the MCU to rocky ground.

Where Iron Man’s opening act—Tony Stark in a cave with a box of scraps—is careful and meticulous, stripping our hero of everything but his wits and thereby giving him humanity, Iron Man 2 opts for a more haphazard approach even as it consciously tries to echo those opening moments from its predecessor. Instead of Tony in a cave, we have Ivan Vanko (Mickey Rourke) in a derelict building in Russia, but he too has a box of scraps—and a thirst for vengeance upon Tony Stark for some unknown wrong done to Ivan’s dead father, Anton (Yevgeni Nikolayevich Lazarev). All of this is truncated into the span of about five minutes, so where Tony’s grief at Yinsen’s death in Iron Man lands, Ivan’s overexaggerated howl at his father’s passing comes off as satire even as the movie tries to play it straight.

But, thankfully, we still have Robert Downey Jr. as our anchor, and Tony Stark continues to be endlessly frustrating and endlessly charming. As we reacquaint ourselves with our hero, we learn that the palladium core in Tony’s arc reactor that keeps him alive is also killing him, something that has sent Tony into a depressive spiral. 

Since the beginning, Tony has had a rather self-destructive streak; he can never let himself rest, and instead keeps pushing and pushing. He gets obsessive. He talks about using the Iron Man suit to protect the world, but often it’s really to protect himself from the guilt he feels over his parents’ deaths, the guilt he feels from Stark Industries’ murky legacy, always the guilt over something. His impending doom in Iron Man 2 accelerates this, his suicidal tendencies making him even more reckless than normal and sending him back to his old, pre-Iron Man self: he drinks, he parties, he ogles new assistant Natalie Rushman (Scarlett Johansson), and generally acts like a prat, though we know him enough to know that he’s faking it and putting on a front—at least to some extent. However, his actions result in Rhodey (Don Cheadle, replacing Terrence Howard) confiscating one of Tony’s suits after a mano-a-mano beatdown. To cap off his string of bad decisions, Tony decides to compete in the Monaco Historic Grand Prix, where Ivan is lying in wait for him. Aside from a great suit-up (and Pepper and Tony’s back-and-forth while director Jon Favreau’s Happy Hogan tries to run Ivan over), the fight is largely dull.

Tony learns that Ivan is seeking revenge on behalf of his father Anton, whom we learn worked on the original arc reactor project with Tony’s father, Howard, before Howard had him deported after Anton leaked secrets. This sets up the central idea of the movie: legacy. The legacy of Anton, the legacy of Howard, the legacy of Tony’s suits and Tony himself. (“If you could make God bleed,” Ivan says, “people would cease to believe in him. There will be blood in the water, the sharks will come. All I have to do is sit back and watch as the world consumes you.”)

Again, the movie tries to play up the parallels between Tony and Ivan: they both create suits with the technology their fathers built, they both wrestle with their fathers’ deaths—the movie almost suggests that the only difference between the two is money. Tony has it, Ivan does not. Unfortunately, Mickey Rourke cannot give Ivan the same nuance as Tony, due both to the script and to Rourke’s own acting, so this concept—one that could have been potent in the right hands—largely fizzles.

However, to Rourke’s credit, not all of this failure rests on his shoulders; in fact, according to Rourke himself, studio interference resulted in much of his performance getting left on the cutting room floor, stripping Ivan of any complex interior life in favor of a run-of-the-mill baddie made to sell cool toys (more on selling toys when we get to Iron Man 3). The production of Iron Man 2 was rushed and frantic even outside of Rourke’s complaints, with Marvel trying to capitalize too quickly on its initial success and rushing production in order to churn out another film, and it shows. Coming off an Oscar nomination for The Wrestler, it’s not as though Rourke had suddenly lost any acting abilities, and comments similar to Rourke’s would be made down the line by other directors and actors who worked with Marvel, though largely before 2015, when the so-called “Creative Committee” was disbanded and Marvel allowed directors a looser rein (more on studio meddling when we get to Age of Ultron).

Where Rourke—or, rather, the studio—fails, though, Sam Rockwell swoops in to save the day. As Tony’s rival Justin Hammer, Rockwell (who was originally in the running to play Tony himself) hams it up, clearly having a blast as he struts around and breaks Ivan out of prison. Hammer wants to use Ivan to make his own version of the Iron Man suits to sell to the US military, failing to consider the consequences or the fact that other people like Ivan have their own wants too. (Here’s another underexplored parallel that never goes beyond surface level: Hammer is the greedy corporate man who throws morality out the window in favor of profits, a path that Tony was going down until the events of his first movie. But the movie opts instead for a shallow comparison, portraying Hammer merely as a peacocking Tony-wannabe rather than a slightly warped mirror image.)

Luckily for Tony, S.H.I.E.L.D., in the form of Samuel L. Jackson’s Nick Fury and Clark Gregg’s Phil Coulson, shows up again to save him from himself. Turns out that Tony’s new sexpot assistant, Natalie, is also S.H.I.E.L.D., and her real name (most of the time) is Natasha Romanoff. Scarlett Johansson has spoken out against the sexualized nature of Natasha’s first MCU outing, and these missteps are glaringly obvious upon rewatch: multiple shots of her derriere, a completely unnecessary scene where she changes in the car while Happy tries to sneak a peek, et cetera. It feels like a very 2000s approach to gender equality: she’s sexy and the movie very overtly draws attention to this, but she can beat up people and is smart, and therefore it’s really a win for feminism. (It’s not.) As the MCU has gone on, Natasha has become one of the more interesting characters—and not because she has a nice ass—however, her introduction has aged poorly. 

S.H.I.E.L.D.’s arrival not only reveals the truth about Natalie, but also about Howard Stark—turns out he was its co-founder. S.H.I.E.L.D. is part of his legacy, but again, Iron Man 2 drops the ball by barely addressing how blindsided Tony is by this revelation, leaving it up to Robert Downey Jr. to do the heavy lifting here. He’s more than able, but he should have a script that backs him up as well. 

With the help of his dad from beyond the grave, Tony fixes his arc reactor, which is good news because Ivan has double-crossed Hammer (color me surprised) and rigged his Iron Man drones to run amok and destroy Tony and his legacy. What follows is a mind-numbingly boring and tediously long affair where various featureless iron suits shoot lasers at each other. It’s the Iron Monger fight from Iron Man, but longer and without any personal stakes because the movie never took the time to build up any sort of relationship between Ivan and Tony (unlike Tony and Obadiah), even though the seeds of something more interesting were right there.

The seeds of something more interesting seem to be always just out of reach for this MCU entry. Much of the film concerns itself with who gets to make and have the Iron Man suits, which raises many thorny moral questions: should technology be in the hands of only a select few? Should the American military have access to this, and if so, what does that mean for the rest of the world? Tony proclaims, “I have successfully privatized world peace.” What dangers could arise from this? Is this really something to aspire to?

But Marvel skates over these questions, giving them less than even a cursory nod. Tony is our hero, and therefore he as an individual should have the suit because he is the main character and thus deserves it. Rhodey can get a suit because he’s also a good guy, and he can use it for the American military because freedom, hell yeah! Comics have always been slightly better at handling weightier themes because they are less beholden to investors and have a smaller audience (for example, the “Demon in a Bottle” comic arc featuring Iron Man delves much deeper into Tony’s alcohol issues than Iron Man 2 does), but to have all this discussion on the military-industrial complex via Stark and Hammer Industries, to set up this proto-Cold War between Tony and Ivan, and then to ignore the complications that arise from these ideas feels disingenuous.

Iron Man 2’s saving graces are found within its smaller moments, in the relationships it builds upon from the first movie and in the easy rapport of its cast—at least, other than Rourke. Cheadle smoothly slides in to replace Terrence Howard, his Rhodey a little less down to party than the prior version but a better character for it. (To help the audience get over this speed bump, Cheadle’s first line as Rhodey is, “Look, it’s me, I’m here, deal with it. Let’s move on.” Guess the movie didn’t listen to Ike Perlmutter’s claim that no one would notice the replacement because all Black people “look the same.”) Gwyneth Paltrow and Robert Downey Jr. continue their chemistry from the first movie, making Pepper and Tony’s first kiss at the end feel earned, especially in comparison to some of the rushed Marvel romances that would come after; Clark Gregg and Samuel L. Jackson’s inclusion, however brief, points to the bigger universe that Marvel is building to. Sam Rockwell, as stated before, owns. For a movie with such boring action sequences and an overly convoluted plot, Iron Man 2 manages to have (mostly) good performances and strong character work.

Yet Iron Man 2’s failures mean that Marvel is, so far, only one for three. Not exactly a great ratio. They are balanced on a precipice, liable to tip either way depending on the success of the next several movies, and while we now know how they land, Iron Man 2 did not do much to help at the time.

Groundwork: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • If there is any justice in the world, Justin Hammer will show up in the new Disney+ show Armor Wars. (It’s only a rumor right now.)
  • Senator Stern (Garry Shandling) appears again in Captain America: The Winter Soldier as a Hydra agent.
  • The movie all but states this outright, but the issue in New Mexico that Fury and Coulson deal with ends up being Thor. Here’s something fun.
  • Howard Stark is dead here (obviously). Later, it’s revealed that Bucky Barnes as the Winter Soldier killed him, though Marvel didn’t know that yet. A young Howard will show up in a couple movies, looking nothing like John Slattery.
  • There really isn’t much groundwork laid in this movie, honestly—or, rather, no groundwork that just isn’t part of the plot already (like introducing Black Widow). 

Anna’s Favorite Scene: “If you try to escape or play any sort of games with me, I will taze you and watch Supernanny while you drool into the carpet,” Coulson tells Tony. Not really a scene, more of just a single line. (Scene-wise, it’s probably when Tony apologizes to Pepper by bringing her strawberries—which she is allergic to.) Agents of S.H.I.E.L.D. is great and everyone needs to stop sleeping on it. I don’t care it’s not really canon anymore, the Framework arc is damn good television.

MCU Ranking: 1. Iron Man, 2. Iron Man 2, 3. The Incredible Hulk

Iron Man 2 Trailer

Iron Man 2 is currently available to rent and purchase on most digital storefronts, and is streamable on Disney+.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

The Incredible Hulk

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Now, onto the movie that everyone forgets is canon.

55/100

Thor: The Dark World might have the distinction of being the worst Marvel movie, depending on whom you ask, but The Incredible Hulk most certainly is the most forgettable entry into the MCU, with most fans regarding it as barely canon until William Hurt appeared in Captain America: Civil War, reprising his role as Thaddeus “Thunderbolt” Ross.

The first reason fans purposely forget The Incredible Hulk is that it is simply a forgettable movie. 

Audiences having just seen Ang Lee’s 2003 movie Hulk starring Eric Bana, director Louis Leterrier eschews an overlong origin story, instead starting in media res, which spares us a rehash of an oft-repeated story but also leaves us grasping for details about Banner’s first Hulk transformation shown over the opening credits (with some very 2000s graphics reminiscent of Elrond’s floating head in The Fellowship of the Ring). Why did Banner volunteer for this dangerous governmental experiment? How was he involved? What exactly happened that made him turn into the Hulk? We don’t know, but we are expected to care about this random man hiding in Brazil anyway. 

Banner has found work at a bottle factory, where he demonstrates his intellect but rebuffs any offer of promotion, determined to stay where he is. He seems to be doing okay: he has a dog, he practices martial arts and breathing techniques, his hot coworker makes googly eyes at him. He’s also looking for a cure for his little green friend, corresponding with an unknown “Mr. Blue” about bloodwork and cells, and looking forlornly at a picture of Liv Tyler’s Betty Ross. After an accident in the factory allows the US military to track Banner down, Thunderbolt Ross sends a team led by highly-decorated Emil Blonsky (Tim Roth) to take Banner into custody.

Obviously, this ends rather poorly.

So Banner wanders back to the US and reunites with Betty, and they clearly want to get together despite Betty now dating a guy named Leonard (Ty Burrell), and we finally get some backstory. Bruce and Betty worked together on a scientific experiment for the military, ostensibly to make humans immune to gamma radiation but in actuality—though they didn’t know it at the time—to create super-soldiers. The exposure to gamma radiation created the Hulk within Banner, who pokes his head out whenever Bruce’s heart rate rises above 200 beats per minute. (Marvel entirely abandoned this heart rate conceit by The Avengers.) However, the serum has since been refined, and General Ross gives some to Blonsky, which obviously will end well. We also learn that General Ross is Betty’s father, something that is treated like a huge reveal by the movie but falls flat because a) we were not shown any reason to care about their relationship before the reveal and b) it has practically no effect on the rest of the movie. 

So Betty and Bruce go to track down Mr. Blue, who turns out to be the professor Dr. Samuel Sterns (Tim Blake Nelson), who turns out to be just a plot device (there are hints at him becoming his comic book counterpart, The Leader, but these are dead ends) to get Blonsky to fully turn into his comic book counterpart, Abomination. There are some big CGI fights and then it’s over; while Hulk vs. Abomination in this movie and Iron Man vs. Iron Monger from Iron Man sound similar on paper, the former gives us little reason to care about their fight whereas the latter builds a solid relationship between Tony Stark and Obadiah Stane before it all falls apart, so we feel invested in that clash of metal suits. (Tony shows up for about two minutes at the end to broach the Avengers Initiative with General Ross and those are the most interesting two minutes of the entire movie.)

It’s not that The Incredible Hulk is bad, per se—there remains a base level of enjoyment to most Marvel films, and at least from me you probably won’t see a score dip below 50—it’s simply a bit forgettable, a fact compounded by the way Marvel has tried to sweep the film under the rug, which in turn is compounded by the fact that Universal and not Disney owns the rights to any solo Hulk movie. (Remember when Marvel sold off character rights when they almost went bankrupt? Here are the ramifications.) It’s all very thorny.

The second, more obvious reason The Incredible Hulk has been neglected is Mark Ruffalo.

Mark Ruffalo took over from Edward Norton in the role of Bruce Banner come 2012’s Avengers, and aside from a joke about how he “broke Harlem,” the events of The Incredible Hulk are ignored. The circumstances regarding the recasting are murky: Norton, who helped write the film with Zak Penn (though only Penn received credit), wanted to go down a darker, grittier path with Hulk for any sequels, à la Christopher Nolan’s Batman trilogy, whereas Marvel was already starting to find their sweet spot as quippy, fun, and fast-paced action movies. Norton is also rather famously rumored to have a big ego, and Ike Perlmutter, Marvel Entertainment’s CEO, is rather famously stingy (as well as racist and sexist, but more on that in the later entries). The official statement from Marvel on Norton’s departure read, “Our decision is definitely not one based on monetary factors, but instead rooted in the need for an actor who embodies the creativity and collaborative spirit of our other talented cast members. The Avengers demands players who thrive working as part of an ensemble,” so infer from that what you will.

Looking back on Norton’s performance after five movies with Ruffalo (seven, if you count his cameos in Iron Man 3 and Captain Marvel), it’s hard not to be biased towards the latter. Ruffalo’s Banner is a bit more bumbling and awkward, a smart man who gets in over his head. Norton’s Banner is… sexy? Did they try to make him sexy in this movie? He takes his shirt off, fights people, (almost) has sex, suavely winks at Betty before getting injected with gamma radiation… It feels bizarre compared to the current Banner, who has mostly remained unsexualized. (That Age of Ultron “romance” didn’t happen.) Norton feels far too cool for the role, and furthermore fails to provide Banner with an inner life that goes beyond “sad” and “horny for Liv Tyler.” Ruffalo gives the character a certain innate lovability while portraying the inner torment with more nuance and subtlety than Norton managed.

In fact, where Iron Man soared on the strengths of its characters and performances, The Incredible Hulk falls flat. William Hurt and Tim Roth are barely given anything to do and remain hollow outlines of characters: General Ross is the stock stoic military leader determined to subdue the enemy at all costs, Blonsky is the stock ruthless soldier who wants to amass more power because… because. 

And then there’s Betty.

Betty Ross is hardly a character at all: she is a Strong Female Character because she is Smart, and therefore must be an Independent Woman. (Strong Female Characters don’t need to actually act as people, they just need to have “progressive” traits such as intelligence and spunk so the audience knows that you the screenwriter are Woke and think that women too can be Smart.) What did she think about the project she worked on with Bruce? How did she react when it turned south? Gee, I don’t know, but it doesn’t matter because Liv Tyler looks hot and sad in the rain. Betty is smart, understanding, kind, supportive, alternatingly maternal or sexy when the script calls for it, and above all, flawless. She gets angry at a bad taxi driver and that’s about it, and that anger is all in service of Bruce. In short, Betty Ross is the “cool girl” monologue from Gone Girl, a far cry from our previous MCU heroine in Pepper Potts. (Not that Iron Man—or, indeed, the MCU as a whole—is a paragon of gender equality, but at least Pepper is a character with an actual personality.)

The Incredible Hulk is still fine enough, and is an interesting glimpse into the early Marvel days before they figured out their winning formula; this movie attempts to be darker than Iron Man, lacking the humor that has become trademark for Marvel and trying to do… a psychological drama? A character study about a big green guy that goes smash? Whatever it’s attempting to be, it fails, and becomes one indistinguishable mass, its characters utterly lacking in the heart and charm that defined Iron Man and would go on to give the MCU its staying power. But it’s not bad background noise.

Groundwork: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • Obviously, Tony Stark shows up in the last few minutes of the film to discuss putting together a team. This does not happen until 2012, so this scene is just another case of Marvel throwing out something that might stick for a payoff that won’t happen for several years. (In the next Marvel movie, Iron Man 2, Tony will tell Nick Fury that he doesn’t “want to join your super secret boy band.” I guess he changed his mind from The Incredible Hulk once the writers decided to hold off on a team-up for another few years.)
  • Thunderbolt Ross shows up in Civil War, then again in Avengers: Infinity War, now Secretary of State. Betty has yet to be mentioned.
  • Tim Roth will appear as Emil Blonsky in the upcoming Disney+ show She-Hulk, along with Mark Ruffalo’s iteration of Bruce Banner. Is Marvel starting to actually recognize this movie? Seems like.
  • The super soldier serum Ross and Blonsky mention is the one that made Steve Rogers ripped in Captain America: The First Avenger and is of much discussion in The Falcon and the Winter Soldier. (If I were in charge of Marvel, I would have put a Hulk movie after the first Captain America movie so we could see the beginnings of the program first to better understand the ramifications, but I understand wanting to wait to have such a cheesy movie as The First Avenger until the MCU established itself a little more. Kevin Feige, if you read this, call me, I have ideas.)

Anna’s Favorite Scene: Bruce and Betty try to get it on (never mind her other boyfriend!) before his heart rate monitor goes off, warning him he will Hulk out if they progress any further (never mind the random hot woman he’s implied to have slept with in Brazil!). Kinda funny. 

MCU Ranking: 1. Iron Man, 2. The Incredible Hulk

The Incredible Hulk Trailer

The Incredible Hulk is currently available to rent and purchase from most major digital storefronts.

Sources: Vanity Fair, The Hollywood Reporter, Variety, my own unholy amount of Marvel knowledge

You see more of Anna’s work on LetterboxdTwitterInstagram, and her website.

Iron Man

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. We start at the very beginning (of release order, that is). 

Update, July 15, 2021: Upon reflection, and upon watching Captain America: The First Avenger, I had amended my initial score of 80 to become a 75/100; I still had my nostalgia-tinted glasses on when rating this. Iron Man holds up well, but not overly so.

80/100

“I am inevitable.”

These words, spoken by Thanos in Avengers: Endgame, seem as if they could easily be applied to the Marvel Cinematic Universe as a whole; from our viewpoint now, where Marvel has saturated nearly every corner of our lives, it can be easy to think that the MCU was a given, and that its rise was just waiting to happen, but that would be disingenuous. With Iron Man, Marvel Studios pulled off a miracle, and they kept doing so until they finally climbed to the top of the media landscape—and then they did it again with Endgame, creating a (largely) satisfying end to a 22-film saga that somehow managed to balance its ridiculous multitude of characters. Of course, your mileage may vary on how much good you think these miracles do, and how good they actually are, but inevitable? Hardly.

And it all started with 2008’s Iron Man.

Having slowly clawed its way back after filing for bankruptcy in 1996, Marvel was still on unsteady ground in the aughts, and had sold off many of its biggest characters to other film studios: Spider-Man belonged to Sony, the X-Men and Fantastic Four to 20th Century Fox. Sam Raimi’s Spider-Man movies and the X-Men trilogy performed like gangbusters, but Marvel Studios itself made little from these films, the bulk of the profits instead going to Sony or Fox.

Their solution? Take out a $525 million loan from Merrill Lynch and hire an independent director best known for the cult hit Swingers to make a largely-improvised movie around a C-list superhero played by an actor widely regarded as damaged goods. It hardly seems foolproof, and indeed, it wasn’t.

Yet against the odds, Iron Man worked, and it worked well, laying the blueprint for future MCU entries with its blend of action, humor, and heart (though Mamma Mia ended up outgrossing it that year). Much of its success rested upon the shoulders of Robert Downey Jr., who came roaring back to stardom with a pitch-perfect performance as Tony Stark, who would become the linchpin for the budding MCU. Tony would go on to undergo one of the most dynamic character arcs in the MCU, and it all starts here.

The first third of the movie could almost function as a standalone: Tony Stark, drinking and flirting his way through life, gets captured in Afghanistan after showing the US Army Stark Industry’s latest weapon design. Tony learns that his weapons have been being used for nefarious purposes by the terrorist group that captured him, dubbed the Ten Rings. (No one has ever accused Marvel of too much nuance.) The Ten Rings asks that Tony make a new weapon for them; Tony and fellow captive Yinsen (Shaun Toub) pretend to do so while secretly making a suit that will allow them to escape. From there, and after Yinsen’s inevitable death, Tony sets out to make things right and disarm his business, our perfect post-9/11 superhero out to single-handedly stop the War on Terror. (Iron Man is about the closest Marvel ever gets to critiquing the military-industrial complex, but we’ll table the discussion about Marvel’s relationship to the military for later.)

It is hard to overstate how much Downey owns Tony Stark. Here is a superhero who can’t shoot webs, who doesn’t have adamantium claws, who isn’t a nigh-undefeatable alien; hell, he doesn’t even have a six pack. He is just a man in a can, skating by on his wits (and his money, of course), by turns charming and infuriating, his every action streaked by a sense of desperation that pushes him to nearly a suicidal obsession with righting his wrongs and protecting those he initially failed. It’s a lot to juggle, but Downey does it with such ease that it’s hard to believe the studio was against his casting at first.

Director and fellow co-star Jon Favreau surrounds Downey with a talented cast of players, most notably Jeff Bridges as Obadaih Stane and Gwyneth Paltrow as Pepper Potts. While much has been said over Marvel’s forgettable villains, Bridges makes Obadaih by turns genial and menacing, leaving an impression despite the rather unremarkable third act that largely devolves into men in metal suits punching each other. But Obadaih is still fun, chomping on his cigar and yelling at this subordinates; he doesn’t want to eliminate half the population or rule over the entire galaxy, he is just a greedy corporate crony willing to gloss over human loss for a bit of money and power, and his existence serves to remind Tony of what he can never become. (Again, this is about the closest Marvel ever gets to critiquing corporate greed and capitalism run amok. But it’s fun to watch.)

Much has also been said over Marvel’s forgettable romances, though there are a few exceptions, Tony and Pepper being foremost among them. This is due in large part to Favreau’s willingness to wait a couple films before throwing them together, and also because of Gwyneth Paltrow and Robert Downey Jr.’s great chemistry. Even if you don’t buy into Goop, it’s hard to deny the charm she displays in the film. Pepper herself, of course, is a great character, and she will become increasingly important in these films.

Terrence Howard is there too, obviously, though the character of Rhodey has become Don Cheadle’s so much so that the original Rhodey feels like a placeholder (the rumor goes that Howard left over a pay dispute, having gotten more money than Robert Downey Jr. for the first Iron Man and getting upset when that trend was reversed for Iron Man 2). Still, though Howard may believe that 1×1=2, he makes a good foil to Downey, his Rhodey a bit less responsible than Cheadle’s and a bit friendlier.

Iron Man, in retrospect, does not stand out as the most daring or inventive Marvel film, though that’s easy to say when comparing it against the 20+ films that have come out since. (It does, however, have the MCU’s steamiest scene: some dry humping that lasts about thirty seconds. It seems that Paramount was a more forgiving distributor than Disney would become in 2009.) But let’s not forget that while critics might complain about the now-staid nature of the MCU, it was founded on several enormous gambles, not the least of which includes Samuel L. Jackson’s cameo as Nick Fury: with the words “I’m here to talk to you about the Avenger Initiative,” the cinematic door suddenly burst wide open in a way it never had before. This was not just going to be a standalone movie, or part of a trilogy centered around one character; as Fury puts it, “You’ve become part of a bigger universe. You just don’t know it yet.”

Ah, but that’s for another day. Let’s not get ahead of ourselves.

Groundwork: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • The Avenger Initiative, obviously, leads to the formation of the Avengers later down the line.
  • Clark Gregg’s Agent Coulson and the Strategic Homeland Intervention, Enforcement, and Logistics Division become more and more important, most especially in Captain America: The Winter Soldier (and, of course, the TV show Agents of S.H.I.E.L.D., neglected by Marvel at large but eking out its own bizarre, fun existence).
  • Rhodey says, “Next time, baby” while looking at an Iron Man suit. In Iron Man 2, he becomes Iron Patriot. Wow. Crazy!
  • The Ten Rings will appear in the upcoming Shang-Chi and the Legend of the Ten Rings, which will no doubt retrofit Tony’s backstory a little bit.
  • Yinsen mentions meeting Tony at a party several years ago, though Tony—drunk at the time of the party—cannot recollect this. In Iron Man 3, Yinsen and Tony will appear via flashback at this aforementioned party.
  • The guy to whom Obadaih yells, “Tony Stark was able to build this in a cave with a box of scraps!” pops up in Spider-Man: Far From Home
  • Who could have guessed that this voiceover gig for Paul Bettany as the artificial intelligence J.A.R.V.I.S. would eventually result in his own TV show with Elizabeth Olsen?

Anna’s Favorite Scene: Pepper switching out Tony’s arc reactors. Funny and then sweet (“I don’t have anyone but you”). I can’t help it, I’m a schmuck.

MCU Ranking: 1. Iron Man

Iron Man Trailer

Iron Man is currently available to rent and purchase on most digital storefronts, and is streamable on Disney+.

Sources: Slate, Digital Spy, my own unholy amount of Marvel knowledge

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.