MCU Retrospective: Avengers: Age of Ultron

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. Avengers, assem— oh, sorry, still not yet.

65/100

You know the old adage that sequels are never as good as the original?

Yeah.

Avengers: Age of Ultron has the benefit of familiarity; our titular Avengers are already acquainted, so we waste no time with introductions but get right back in the fray as the they go about cleaning up the Hydra facilities unearthed from the fall of S.H.I.E.L.D. in Captain America: The Winter Soldier. It’s comfortable: we’re back to Joss Whedon’s old quippy dialogue that worked so well in The Avengers, but this time around everyone is more at ease with each other and work as a well-oiled machine. Robert Downey Jr.’s Tony Stark, Mark Ruffalo’s Bruce Banner, Jeremy Renner’s Clint Barton, Chris Hemsworth’s Thor, Chris Evans’ Steve Rogers, and Scarlett Johansson’s Natasha Romanoff, all back together again, their skillsets showcased in several of Whedon’s favored long, uncut takes as he opens the movie with style and pizzazz to spare. (We’re also back to Whedon’s frumpy old geezer Steve, who now gets offended when Tony says, “shit,” but it’s a bit less egregious this time around.)

Unfortunately, Age of Ultron gets rather unfocused after its tight opening, branching out into several different plots, some of which won’t pay off until later installments, and shoving some characters where they ought not to be shoved. It’s ambitious to a fault, and while watching it you can feel the Herculean effort it must have taken from Whedon to put this together. Alas, Whedon is not quite a demigod, and so the result is a grand but uneven tale with some truly weird character developments.

At one of these Hydra facilities, the gang runs into Pietro (Aaron Taylor-Johnson) and Wanda Maximoff (Elizabeth Olsen), citizens of the fictional Sokovia who volunteered to undergo experiments using Loki’s scepter from The Avengers, which contains the Mind Stone. The results left Pietro a speed demon and Wanda a… well, as Maria Hill (Cobie Smulders) puts it, “He’s fast and she’s weird.” 

In the comics, Wanda and Pietro—codenames Scarlet Witch and Quicksilver—have been a part of both the X-Men and Avengers teams, making their film rights a bit fuzzy: while Marvel sold the rights to the X-Men to 20th Century Fox, they kept the rights to the Avengers, meaning that Wanda and Pietro could appear in both Fox’s X-Men movies and the MCU. In fact, a year before Age of Ultron, the world was introduced to Evan Peters’ Quicksilver in X-Men: Days of Future Past, who quickly became a fan favorite due to his now-iconic “Time in a Bottle” scene. (Wanda, meanwhile, is only hinted at in the Fox franchise.)

With how beloved Peters’ version quickly became, Joss Whedon had a tall task in front of him. He and Taylor-Johnson opt for a more serious take, one without big slow-mo set pieces. Barred from saying the word “mutant” as those rights belonged to Fox, Wanda and Pietro came to their powers not by their lineage (in the comics, they are the children of powerful mutant Magneto) but through illegal human experimentation. They’re “enhanced,” and neither get codenames; in fact, it takes until WandaVision for “Scarlet Witch” to be uttered aloud, and no one ever calls Pietro “Quicksilver.”

The two had volunteered for Hydra’s experiments due to fierce anti-American sentiment in Sokovia; this sentiment is bolstered by the fact that Wanda and Pietro’s parents were killed by a Stark Industries shell when they were young (and Tony was still being irresponsible and inadvertently causing war crimes), and the twins were almost killed themselves, saved only because the shell that landed by them was faulty. Staring at the Stark Industries logo for days and days as they waited to be rescued, it’s easy to understand why that grudge fueled them to try and gain enough power to topple the Avengers.

The turmoil and unrest that led Wanda and Pietro to volunteer has the potential to be an interesting thread—after all, the Avengers are a largely American group constantly trespassing in international territory and shooting a bunch of people, seemingly with no (or very little) government oversight. Surely that’s a bit murky, legally-speaking, and this unchecked American group running amok would no doubt cause tensions to flare. Yet Whedon only obliquely acknowledges this by showing a couple scenes of angry protests, which somehow seems worse than ignoring the issue altogether: why bring it up at all if you’re just going to gloss over it?

It’s a problem that Marvel has largely avoided by staging their conflicts either in America or in outer space, but here the logic of the MCU begins to buckle a bit under its own weight. Marvel will only commit so much to exploring the geopolitical consequences of the Avengers’ existence; a movie dedicated to unraveling the American exceptionalism that bubbles beneath the team might alienate some of their audience, and so Marvel continually tiptoes around the subject.

Read More of Anna’s Ongoing Marvel Retrospective Series Here

After retrieving the Mind Stone, Tony and Bruce begin to experiment with it to create an artificial intelligence. As Dr. Frankenstein found out all those years ago, playing god usually doesn’t end well. In this case, it results in the creation of Ultron (James Spader), who was meant to be a global defense program but decides that the best way to achieve “peace in our time” is to eliminate humanity. 

It’s a shame that Tony had a wonderful arc in his last movie that ended with him blowing up all of his suits only to relapse in Age of Ultron and create a bunch more. “A suit of armor around the world,” as he says. The weapons manufacturer turned protector. It fits that Tony would do something like this, that his fear, guilt, and ego would mix together and create a murderbot, but it fits poorly after the events of Iron Man 3 and makes that film seem simply like a bump in the road for Tony’s character arc, though it certainly frames itself as the end. But what would be the point of a movie featuring Iron Man that doesn’t actually have an iron man in it? So here we are, not back quite at square one but at about square… well, not where we should be. (Thor will also run into similar problems with his characterization; it all depends on what the directors and screenwriters need his character to accomplish in their respective movies, and so he bounces all over the place.)

Fan response to Ultron himself was generally tepid, and coming off the heels of Loki’s malicious turn in The Avengers, he had big shoes to fill. There were complaints that Ultron wasn’t strong enough, that he was too quippy (though that is to be expected with a Whedon film; besides, Tony Stark made him, and Tony is the quip king), but he’s certainly not a terrible villain as these things go. He just fades a bit into the background and offers nothing particularly interesting, and his fondness for religious settings and divine metaphors never goes anywhere. (Are Tony, Ultron, and Vision the Father, Son, and Holy Ghost? Each progenitor tries to get usurped by their offspring… Very Oedipal, though there’s no mother to speak of. I might be on to something.) James Spader gives a great vocal performance, but the interesting philosophical doors that Ultron’s A.I. existence could have opened remain shut.

In their attempt to defeat Ultron, the Avengers run into Wanda and Pietro, who have begun working for the A.I. Wanda uses her powers to get into the Avengers’ heads and toy with their brains, sending everyone into a spiral; Hulk spirals so much that he destroys a large swath of Johannesburg. Fearing international retribution, the team retreats to a safehouse, which turns out to be Clint’s family’s home. However, Thor doesn’t stay long, instead spurred by the vision Wanda gave him to go on some mythic quest with Erik Selvig (Stellan Skarsgård) to discover more about the Infinity Stones.

Hawkeye’s secret family—two kids and pregnant wife Laura (Linda Cardellini), who apparently waits in an isolated house twiddling her thumbs until her husband drops by—proved to be an enormous point of contention between Marvel and Joss Whedon. It’s not hard to understand why the studio raised issues, as this revelation comes out of nowhere, but the conflict also showcases much of the studio meddling that defined Phases One and Two, and how it so often drove Marvel’s creatives away from the studio.

Much of this meddling came at the hands of the so-called “Creative Committee,” a group consisting of Ike Perlmutter, whom I’ve previously railed about (reminder: he said Black people look the same, he didn’t want Black Widow toys made because he thought they wouldn’t make money, he didn’t want a female villain in Iron Man 3, etc.), and various others ranging from executive Alan Fine to comics writer Brian Michael Bendis. The group had caused issues on Iron Man 2, pushed back against the use of Awesome Mix Vol. 1 in Guardians of the Galaxy, and wrested creative control away from Marvel’s employees, leaving everyone from Alan Taylor to Mickey Rourke burnt out. Their meddling came to a head in Age of Ultron, and the compromises that Whedon and the Committee arrived at resulted in a messier movie and an unpleasant production. They wanted to nix the farm scenes, Whedon wanted to nix Thor’s Stone visions he receives with Dr. Selvig, and so ultimately we got a truncated version of both, stretching the movie to its breaking point as it juggles too much at once.

The Committee was dissolved in 2015, the year Ultron was released, as Marvel was restructured and Kevin Feige began to report directly to Disney CEO Bob Iger instead of Perlmutter. Feige and Perlmutter had reportedly butt heads repeatedly, to the point where Feige almost quit, but eventually Iger shuffled things around, freeing Feige from Perlmutter’s tight leash. It’s no coincidence that the MCU produced their most creative crop of movies after the disbanding of the Committee, or that no Phase Three and Four directors have been vocal about lack of creative autonomy. With the Committee off the creatives’ back, everyone can breathe a little easier and think a little more freely, but unfortunately that came too late for Whedon.

While studio interference has done more harm than good with the MCU, there is one thing their interference would have been welcome on in this case: One of the most glaring issues with Age of Ultron, and one that really kicks into gear at the Barton home, is the absolutely nonsensical romantic subplot between Natasha and Bruce. Marvel has been very hit-or-miss with its romances, but even its misses (namely Thor and Jane) have some buildup and at least a sliver of believability. This, however, comes out of absolutely nowhere—Bruce and Natasha had barely shared screen time in The Avengers except when the Hulk tried to smash Natasha (and not in the sexy way), and, what’s more, it largely reduces Natasha to the stereotypical female caregiver role. She, with her soft and feminine energy, is the only one who can calm down Bruce when he Hulks out, and the best thing to come out of that whole ridiculous lullaby nonsense is Thor: Ragnarok’s parody of it. 

It’s uncomfortable to watch the sole female member of the team be the one to soothe the Hulk, to be the only one with enough empathy towards him to bring him back from the edge; it feels as though Natasha has become a housewife from sixty years ago, waiting patiently for her stressed out husband to return from work so she can fasten a napkin around his neck and feed him a nice cut of steak. It’s disturbing to see that the task of emotional labor has fallen to the woman (the! only! woman!), who must soothe her turmoil-filled man. It’s… well, it’s not great, Bob

Even removing the gross stereotypes the relationship imposes on Natasha, it’s written terribly. It starts with some atrocious, overly sexy flirting at a bar, continues with Bruce falling onto Natasha’s breasts (an absolutely hilarious “joke”—ha ha I am laughing so much ha ha—Whedon will repeat in Justice League), includes a nice family planning scene despite the fact they haven’t kissed by this point, and ends with the Hulk flying away in a quinjet and resurfacing in Thor: Ragnarok as a galactic gladiator. It feels wildly out of character for both of these people to act the way they do in this movie—Natasha even discusses running away with Bruce, and when has she ever been one to run from a fight, even if she has some self-doubt? In a different world, maybe the characters could work out a relationship, with both of them facing their inner demons together, but as it is, it stuffs a poorly written, out-of-nowhere plot line into an already crowded movie. 

Seriously, where the hell did this come from? Was this Joss Whedon’s self-insert fanfiction, with the sexy hot girl falling in love with the nerdy awkward man? (To say nothing of the 17-year age gap between Mark Ruffalo and Scarlett Johansson, though that is about par for the course with Hollywood.) The depth that Natasha was given in Captain America: The Winter Soldier flies out the window, and she becomes some bizarre mashup of caring mother figure and flirty Bond girl ripoff. It’s wholly unnecessary for both the characters and the plot. It’s not just another mediocre romance from Marvel, but a development so out of left field that it ends up damaging an already-overloaded movie.

(Luckily for all the unwitting denizens this relationship was inflicted upon, it was so poorly received that subsequent directors will drop the matter entirely, save for a few offhand references that mostly play as humorous.)

Other than the bizarreness happening with Bruce and Natasha, the Barton family home gives the movie a welcome chance to breathe a little bit, though Clint’s family life remains a bit of a puzzle. Seriously, does Laura just do nothing but wait for her husband? Does she have a job? Does she have a personality outside being “wife”? Again we have a woman assigned to the emotional support role, and while Cardellini is lovely, the whole situation rests uneasily in the stomach. It’s good to have an Avenger with their boots firmly on the ground, less good for this revelation to feel so strange (especially after many fans believed Clint and Natasha were bound for romance after the events of The Avengers—“Is this love?” Loki hisses at Natasha as she bargains for Clint’s life—and they have a romantic history in the comics, something that Bruce and Natasha do not). But the farm gives everyone a chance to recoup and take a break before the second half of the movie.

Over in Seoul, Ultron uses Loki’s scepter to put Avengers ally Dr. Helen Cho (Claudia Kim) under his control so he can utilize her lab to create a synthetic body for himself. During this sojourn, Wanda looks into Ultron’s mind as he uploads himself and discovers his plans for human extinction, so she and Pietro flee and join up with the Avengers, who seize Ultron’s wannabe future body; Thor remembers some of his trippy cave visions (prompted by some “Water of Sight” that gets mentioned only right before it appears on screen, and then never again—it’s not hard to understand why Whedon didn’t like this clunky sidequest) and activates the Mind Stone in the body’s head, and thus the Vision (Paul Bettany) is birthed. 

Bettany, initially booked just for a voice gig as J.A.R.V.I.S., Tony’s personal robotic assistant, proves to be an excellent Vision; he has the knowledge of J.A.R.V.I.S., Ultron, and the Mind Stone, yet still retains the naïveté of a child. Vision and Wanda give each other a couple knowing looks, but neither will get the development their Avenging peers do until WandaVision, though it’s off to a smooth enough start here. (For the record, I would like to add that while everyone started thinking Vision was hot in WandaVision, I was on that train from the start. Thanks.)

With Vision, Wanda, and Pietro in tow, the team heads back to Sokovia to stop the impending destruction of the world. Ultron’s plan involves sending out smaller robot Ultrons to wreak havoc while he literally raises Sokovia into the air so he can let it drop like a meteor and raze life on earth, letting his metal children reign supreme. It’s one of the more absurd villainous plans from Marvel, and Ultron’s robot army is thoroughly uninspiring after so many movies before it (including The Avengers) have dealt with hordes of interchangeable baddies, and sloppy editing doesn’t help matters.

Things seem to be looking dire for our team until Fury shows up with a S.H.I.E.L.D. helicarrier full of S.H.I.E.L.D. employees like nothing ever happened in The Winter Soldier. The implication is that Phil Coulson (Clark Gregg, here only in spirit) and the gang helped dust the helicarrier off, as the MCU had not completely abandoned Agents of S.H.I.E.L.D. at this point, but it still feels weird, especially considering that Fury had previously told the team they would only have their wits in this fight as no backup could come. 

One of the most frustrating parts of this battle, however, is the death of a certain speedster. How did all those bullets kill him when he could have easily outrun them? Or, taking a cue from a different Quicksilver, couldn’t Pietro have simply pushed the bullets away so they shot harmlessly into the air? His death lacks emotional resonance as well, though it’s framed as a big moment: alas, Pietro, we barely knew ye, though what we got seemed promising and it still stings that this is how Whedon chose to off you. Logistically, it’s hard to present tangible threats to a speedster (as evidence, see The Flash’s increasingly absurd justifications for their villains’ successes), so Pietro would be tough to write for; furthermore, confusion with the wildly popular X-Men version would no doubt have abounded had our silver-haired friend lived. However, these excuses don’t make Pietro’s death any better. It’s still cheap, illogical, and a waste of a good performer. (Seriously, the fastest man in the MCU was killed by bullets?)

His death does spur Wanda (and Vision) to finally kill Ultron, though Ultron’s ultimate demise feels as though Joss Whedon was trying to achieve two opposing goals: have a big superhero beatdown required in Marvel movies, and also have the defeat of the bad guy be a bit more sad and poetic, showing that not every showdown needs to end with a bang—sometimes it’s a sad whimper. However, it’s nigh impossible to have both of those things, and the shift from a world-ending city-meteorite infested with robots to a quiet execution on a hillside is jarring.

It’s a problem that Age of Ultron seems to run into repeatedly: it wants to let its characters breathe, but what the characters say and do during this downtime can often be incongruous to not only the rest of the film, but the MCU at large. If it can get bigger than its britches sometimes and fail to keep all its balls juggling, it’s admirable that Ultron at least tries to get introspective (and indeed is more subdued in places than its sequels). If only that introspection were filled with something other than Natasha flirting with Bruce, or Steve rebelling against change (“the most adaptive man on the planet,” Winter Soldier screenwriter Christopher Markus called him—he’s got the gist of Steve more than Whedon does, although perhaps Markus should have paid more attention to this Whedon line of Steve’s, “Family, stability… The guy who wanted all that went in the ice seventy-five years ago. I think someone else came out,” when writing Avengers: Endgame). 

Not all of it’s bad: Tony and Bruce get some excellent dialogue together, and Tony, still full of that potent mixture of self-loathing and narcissism, gets an extra heaping of guilt from this film that will fuel his future actions. Steve rips a log in half with his bare hands, and Thor steps on a LEGO set. The good aspects of this film, and how easily The Avengers seemed to flow, make Age of Ultron’s misfires that much more baffling; its glaring mistakes are few but so obvious that they threaten to derail the entire thing. 

It’s flawed but garners points for its very grand ambitions; it’s a tale of legacy, fear gone haywire, the dangers of acting preemptively, the follies of humanity, the dangers of playing god (for both Tony and Ultron). Ultimately, Age of Ultron simply gets too big, so it’s a good thing the next movie goes so small… 

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:

  • More Thanos and Infinity Stone teases, look at that.
  • Steve lifted Thor’s hammer a little bit, that seems like it could be cool down the line.
  • “That up there, that’s the endgame.” Sounds kinda familiar, doesn’t it?
  • This is the first mention of Wakanda, and the first appearance of Andy Serkis’ Ulysses Klaue, who will appear in Black Panther.
  • Hulk’s quinjet goes into space at some point, seeing as it’s present in Thor: Ragnarok, but here it’s said that the signal is lost over the Banda Sea. Initially, the plan was for the signal to be lost in space, but in order to dispel rumors that Marvel was adapting Planet Hulk, Feige had Whedon change this. Of course, Marvel did end up adapting part of Planet Hulk in Ragnarok.
  • Holding off on Steve actually saying, “Avengers, assemble” until Endgame will pay dividends.

Anna’s Favorite Scene: That little dinner party scene before things go south is nice, except for the god-awful flirting between Natasha and Bruce, and so is the bit with Tony and Fury in Clint’s barn. “I watched my friends die. You’d think that’d be as bad as it gets, right? Nope. Wasn’t the worst part,” Tony says. To which Fury responds, “The worst part is that you didn’t.” Tony, I am begging you to get a therapist even though your guilt makes for an interesting character. Or Wanda and Clint having a heart-to-heart that inspires her to mess up some bad guys and allows for some self-reflection on Clint’s part.

MCU Ranking: 1. Captain America: The Winter Soldier, 2. Guardians of the Galaxy, 3. The Avengers, 4. Captain America: The First Avenger, 5. Iron Man 3, 6. Iron Man, 7. Thor, 8. Avengers: Age of Ultron, 9. Thor: The Dark World, 10. Iron Man 2, 11. The Incredible Hulk

Avengers: Age of Ultron Trailer

Avengers: Age of Ultron 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.

MCU Retrospective: 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+.

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