Iron Man is a 2008 superhero - Better than other!!

Iron Man is a 2008 superhero film based on the Marvel Comics character of the same name. Directed by Jon Favreau, the film stars Robert Downey Jr. as Tony Stark, a billionaire industrialist and master engineer who is captured by terrorists in Afghanistan. Ordered by them to build a missile, Stark instead builds a powered exoskeleton and escapes. He then returns to the United States where he improves his armor and becomes the technologically advanced superhero, Iron Man. Gwyneth Paltrow plays his personal assistant Pepper Potts, Terrence Howard plays jet pilot James Rhodes and Jeff Bridges plays the villainous Obadiah Stane.


User Review-
Worthy Experience (Spoiler-free)
Let me get it out of the way, first. My favourite super-hero movie is Batman Begins, and a far second is the first Spider-man (2nd was okay, 3rd was mediocre).

For me, the key, the ultimate enjoyment in a super-hero tale isn't the spectacle, the marvel, the powers, nor the villains. No, it's the person behind the mask, behind the glasses, the person him/herself. That's what drives the story and grabs my interest. The superhero aspect is an avenue for the expression of the person's desires, morals and willingness to sacrifice under great difficulty.

Here, Iron Man reaches a height that all over, and I mean each and every superhero movie, watches in envy.

Tony Stark is a multi-layered character. He's an unbelievable genius, a pampered playboy, an extremely likeable character, with great wit and eccentricities, and when things get difficult, yes, Tony Stark has a heart.

Unlike most superheroes, where it's merely a rush in the story to get to the part where the hero puts on the suit, Iron Man slowly undergoes this process. It's not concerned with the usual path. Instead, we concentrate on Tony, as he experiences tough circumstances which leads him to look deeply into himself.

Iron Man isn't about how a good person gets bit and seeks a way to 'save' people, which is the usual staple in superhero movies. Instead, it's about the change in a man's perspectives and thoughts, as he sees the world is not in reality as simplistic as he's convinced himself for years.

Which leads me to the acting, which is by far the strongest part of this movie.

The idea to grab Robert Downey Jnr. for this was an amazing stroke of ingenuity. He takes the character completely, and there's no actor who can give witty, quick-thinking dialogue like Downey. I've always, always admired him (thought he was brilliant in Wonder Boys) every time I've seen him, and I was frankly intrigued at them getting Downey as a superhero protagonist. Through Downey's brilliant acting, you understand Tony, and everything he says and does is entirely believeable.

Paltrow was another eye-brow raiser, but she also hits this out of the park. She provides a fantastic amount of sweetness to her character, yet she's more than the generic other girl. She displays the unsureness, hurt, desire, confusion remarkably with the slightest movement of her face.

Terrence Howard is a very good actor, and does well here. I do wish there was a bit more shown between Rhodes and Stark, so I could see more of how they interacted or how they got to know one another.

Bridges is a good one, too.

If you like superhero movies, then I wonder why you're reading. Go on, already, watch this movie!

If you always liked some special effects, but didn't like the overblown visual effects with thin dialogue, I suggest you give this movie a chance. It's a superhero movie for people with brains. Chances are great you'll like it.

I came to the theatre wanting to watch this movie as a good starter for the summer season (with the Dark Knight, Incredible Hulk etc...). I was stunned at my experience.

Iron Man is the best superhero movie I've ever seen. Yes, it's better than Spider-man 1. Yes, shockingly, it's better than Batman Begins. It is a superhero movie tailored to my love of knowing who is under the mask and what makes them tick. Downey is wonderful, simply wonderful.

I can't wait to see the next one. Hurry up Favreau!

Aside, I must say I knew absolutely nothing about Iron Man prior to watching this movie (I was raised more in the mythologies of Superman, Spider-man and Batman). I wonder how this movie rates to Iron Man fans and fanatics. I suspect they'll like it (and they'll watch this movie without reading reviews, too), but I am curious.

Go on. Watch this movie if you like your taste of blockbusters. What was supposed to be a starter for the summer movie season might very well be the best of what the summer (and many years) could offer. The Dark Knight has alot to do if it wants to be my best superhero movie.

Love Film eva -Film Review: Romeo and Juliet

United States, 1996

U.S. Release Date: 11/1/96 (wide)
Running Length: 2:00
MPAA Classification: PG-13 (Mature themes, violence)
Theatrical Aspect Ratio: 2.35:1

Cast: Leonardo DiCaprio, Claire Danes, Brian Dennehy, John Leguizamo, Pete Postlethwaite, Paul Sorvino, Miriam Margolyes, Diane Venora, Harold Perrineau
Director: Baz Luhrmann
Producer: Gabriella Martinelli and Baz Luhrmann
Screenplay: Craig Pearce and Baz Luhrmann based on the play by William Shakespeare
Cinematography: Donald M. McAlpine
Music: Nellee Hooper
U.S. Distributor: Twentieth Century Fox

In Looking for Richard, actor/director Al Pacino expresses his great hope for his film -- to extend his enthusiasm for the Bard's plays to a broader audience. In a very different way, that's what Baz Luhrmann (Strictly Ballroom) is attempting to do with this radical approach to "Romeo and Juliet". Luhrmann hasn't fashioned this motion picture with the stodgy, elitist Shakespeare "purist" in mind. Instead, by incorporating lively, modern imagery with a throbbing rock soundtrack and hip actors, he has taken aim at an audience that would normally regard Shakespeare as a chore to be endured in school, not a passionate drama to ignite the screen.

Make no mistake, this Romeo and Juliet isn't the match of Franco Zeffirelli's unforgettable 1968 classic. While Leonardo DiCaprio and Claire Danes make an effective couple, their romance doesn't burn with the white-hot intensity of Leonard Whiting and Olivia Hussey's. Nevertheless, this interpretation is so fundamentally different from anything to have come before it that there's no danger of repetition. By the same token, there have been two different "Richard III"s in the past twelve months, and no one is complaining.

For those who aren't aware, "Romeo and Juliet" tells the tale of two "star-cross'd" teenage lovers who secretly fall for each other and marry. Their families, the Montagues and Capulets, have been fierce enemies for decades, and, even as Romeo and Juliet say their wedding vows, new violence breaks out between the clans. In the end, their love is doomed. When Romeo mistakenly believes Juliet is dead, he poisons himself. And, when Juliet discovers that he is dead, she too commits suicide.

Luhrmann's Romeo and Juliet (properly titled William Shakespeare's Romeo and Juliet) takes the play and deposits it in a modern Verona Beach that is part decaying Miami and part Mexico City. By the director's own admission, this is a created world, borrowing aspects of its unique visual style from such diverse periods as the 1940s, 1970s, and 1990s, and using a variety of classic films (most notably Rebel Without a Cause) for inspiration. Fast cars with roaring engines replace horses. Guns stand in for swords and daggers. The resulting hybrid background is startling.

Romeo and Juliet's camera is restless, always moving. There are times when the rapid cuts and raging soundtrack might cause understandable confusion between the movie and a rock video. Indeed, with all the camera tricks, special effects (such as a roiling storm), and riotous splashes of color, it's easy to lose the story in the style. Luhrmann's intent was never to drown Shakespeare's dialogue in technique, but it happens, especially early in the film. In the process, the more subtle intangibles of the romance are irretrievably lost.

The movie settles down when Romeo (DiCaprio) and Juliet (Danes) first come face-to-face, gazing at each other through the transparent panes of an aquarium while a love ballad plays in the background. It's a delicately romantic moment whose magic is never quite matched by any other scene in the film. Danes makes a breathtaking Juliet, merging strength and fragility into one. DiCaprio isn't quite as successful as Romeo; there are times when his delivery of Shakespeare's dialogue sounds forced, and, on at least one occasion (when he learns about Juliet's supposed death), he goes way over-the-top.

The supporting cast has its share of successes and failures. John Leguizamo plays a particularly effective Tybalt, Juliet's Latino cousin. Despite a terrible accent, Miriam Margolyes gives a delightful interpretation of Juliet's nurse. In a daring move that works, Harold Perrineau's Mercutio is presented as a high-energy drag queen who gets a chance to strut his stuff to a disco tune with Shakespearean lyrics. Pete Postlethwaite (as Father Laurence) and Vondie Curtis-Hall (Captain Prince) are both at ease in their roles. Brian Dennehy's presence is, as always, imposing, but, as Lord Montague, he doesn't have more than a handful of lines. Less successful are Paul Sorvino's cartoon-like portrayal of Lord Capulet and Diane Verona's Blanche DuBois-flavored version of his wife. And a pair of characters, Paul Rudd's Paris and Jesse Bradford's Balthasar, are so ineffectual that they're virtually invisible.

There are moments of comedy in Shakespeare's play, and Luhrmann tries to transfer some of these over, in addition to adding a few of his own. One in particular, with Romeo ineptly scaling a trellis for the famous balcony sequence, is ill-placed. Also, there are times when the director gets a little too cute. A run-down theater in Verona is called "The Globe" (the name of the locale where Shakespeare's plays were originally performed), and the astute viewer will catch visual references to "The Merchant of Verona Beach", "Rozencranzky's", "Wherefore L'Amour", and "Out, Out Damn Spot Cleaners".

Ultimately, no matter how many innovative and unconventional flourishes it applies, the success of any adaptation of a Shakespeare play is determined by two factors: the competence of the director and the ability of the main cast members. Luhrmann, Danes, and DiCaprio place this Romeo and Juliet in capable hands. And, while such a loud, brash interpretation may not go down in cinematic history as the definitive version of the play, hopefully it will open a few eyes and widen the audience willing to venture into any movie bearing the credit "based on the play by William Shakespeare."

Find A love Film - Do you think Romeo and Juliet is one of the top love film???

Romeo and Juliet 'is top love film'

The movie version of Romeo and Juliet starring Leonardo DiCaprio has been voted the greatest love film of all time.

Australian director Baz Luhrmann's adaptation of the Shakespeare play beat the 1940s classic Casablanca, starring Humphrey Bogart and Ingrid Bergman, into second place in the poll.

Feel-good romantic comedy Sleepless in Seattle, starring Meg Ryan and Tom Hanks, was third, followed by the weepie Titanic, another movie with DiCaprio in the lead role.

Dirty Dancing, Moulin Rouge!, the musical film also directed by Luhrmann, and When Harry Met Sally, featuring Ryan's famous restaurant scene, are next.

The only British film to make the top 10, Brief Encounter, is eighth, followed by Pretty Woman, starring Julia Roberts, and Ghost, with Demi Moore, in the poll for HMV.

The top 20 is completed by Love Actually, Breakfast at Tiffany's, the BBC TV production of Sense and Sensibility, Notting Hill, An Officer and a Gentleman, Gone with the Wind, Jerry Maguire, Bafta-winning film Atonement, Brokeback Mountain, and 1950s film An Affair to Remember.
The list was voted for by DVD buyers and staff around the UK working at HMV stores.