Why Didn't She Wear This to the Oscars?

Daft Punked.

Click here to read my review for Tron: Legacy.

Then come back and share your neon lit thoughts!

True Grit ***

Director: Ethan Coen, Joel Coen

Cast: Jeff Bridges, Matt Damon, Josh Brolin

Barry Pepper, Dakin Matthews, Hailee Steinfeld

The Coen brothers, beacons of sophisticatedly dark humor and bleak existentialism deliver a no-frills, straightforward genre pic with True Grit, a new film adaptation of the novel by Charles Portis.

Grit centers on the story of Mattie Ross (Steinfeld) a fourteen year old girl who sets on the mission to avenge her father's dead at the hand of outlaw Tom Chaney (Brolin).

Based on recommendations around town she hires U.S. Marshal Rooster Cogburn (Bridges) as her personal tracker.

She sets off into dangerous Indian territory with Cogburn and Texas Ranger La Beouf (Damon9 who's also after Chaney.

This sets the stage for what can only be called an old fashioned Western. The film offers nothing new (except maybe some optimism from the Coens) but it's such a well told story that you can't help but think this is what fireside tales of old must've been imagined like.

The brothers show technical mastery and their every choice seems perfect just as it is. Once more teaming up with the extraordinary cinematographer Roger Deakins, they create a Wild West that's as dreamlike as it's realistic.
Deakins' camera indulges itself with vistas that go as far as the eye can see and strange camera angles that work despite their affectedness.

But fear not, this doesn't mean the film is completely devoid of the Coens' touches. Now and then they let their surrealistic touches go away with them and expertly weave them into the larger, more mainstream scheme of the plot.
In one of the film's most haunting scenes we see a bear riding a horse during a storm (you'll have to see this to believe it) and during the film's climax the Coens seem to have been possessed by the spirit of John Ford in a thrilling shootout.

Perhaps what makes the film feel more Coen-like are the performances. Bridges is outstanding as Cogburn, this man must be the only actor who can don an eye patch, look completely disheveled, deliver his lines with a mumble and still make it seem like the most natural thing on the planet.

Watch him epitomize coolness, yes, despite the eye patch, when everytime he moves, his coat flows and evokes a superhero's cape.

Damon and Brolin don't have much to do but they are steady supporting performers. Brolin is particularly good in the few scenes he has, completely owning the cowardly viciousness of Chaney.

Steinfeld gives a performance that's wiser beyond her years (this is her screen debut!) and she holds up beautifully against Bridges. She develops a lovely chemistry with him and by film's end, this becomes so deep that it even transcends the boundaries of different actors playing the same role (Elizabeth Marvel plays an older Mattie and it feels as if it's Steinfeld with makeup on).

True Grit may not be particularly profound in the way the Coens have used us to, it could be said in fact that if this wasn't directed by them it would surely seem more majestic.

But as an exercise in how to make a movie in the classic studio way, it feels just fine, it's also way more entertaining that it has any right to be. With the Coens flourish for quirky dialogs and melancholy it's refreshing to see how they can inject some new blood into a genre that's been pronounced dead more times than any other.

Sheet-y Saturday.

Where we take a look at posters for upcoming features.

Considering I'm one of the few people alive who think Johnny Depp and Angelina Jolie are not the most beautiful people alive, this poster makes me want to ask all of you who do, what exactly makes them so appealing?
This poster is so terribly done that it seems they aren't even in the movie together and someone made this to try out their very basic Photoshop skills.


This is how you do a teaser. Text posters used to be huge once and now everyone has become so dependent on the movie star that they have forgotten how to actually work hard to get a message across.
Notice how the font makes a statement about the setting, time and mood of the film while that bullet hole and blood are a thing of genius. Best of all? We don't get stuck with an annoying "Academy Award Winne Jeff Bridges" sort of crap.
Also that "retribution" label at the bottom is wickedly delicious. Just got excited about this movie!

What do you guys think about these?

The Bright Side.

When all is said and done the 2009 Oscars will be remembered because the best nominated movie won.
"The Hurt Locker" might not be the most popular movie ever made but popularity isn't always the best way to appraise art and Kathryn Bigelow's historic win contributed to make a night whose winners we might remember, but the ceremony already stands as one of the dullest.
Most of the winners were set in stone despite their lacking quality and the "suspenseful" race between "Avatar" and "The Hurt Locker" was over before it even began.
Apparently Adam Shankman's tactics which aimed to make the Oscar more tween friendly paid off in terms of viewers (41.3 million tuned in, compared to 39 the year before) but the show lacked coherence and respect for what might be Hollywood's most irrelevant honor but also the most respected.
When Shankman insisted on bringing out the "Twilight" kids, Miley Cyrus and that sweet natured but very random tribute to John Hughes (He gets a special tribute and Eric Rohmer barely got applauds during the In Memoriam?) it was obvious that this wasn't an Oscar ceremony meant for grownups.
Shankman might have meant well but his talents are more appropriate for a Nickelodeon awards show not the Oscars.
It all was even funnier-in a bad way-when the acting winners amounted to being one of the oldest set of winners all decade long and the youngsters- like Martin and Baldwin quipped about two young presenters-probably didn't even know who they were.

The show overall proved to be a step down from the elegant ceremony Hugh Jackman hosted a year ago. The fact that they even went back to saying "and the winner is" resulted in one of the tackiest twists the Shankman posse could've mustered, especially when some of these winners resulted so meh.

It was a year of experiments at the Oscars and with the song performances and honorary awards removed from the telecast one would've expected them to be refreshed for the best. What we got instead was an awkward ceremony filled with odd details (that sudden Tom Hanks announcement sucked! No drumrolls even?) all for the sake of rewarding more films.
Who knows if the whole ten slot thing worked? Sure it got Pixar finally nominated for Best Picture but it also got Sandra Bullock an Oscar (she won the second "The Blind Side" was nominated) so the effects might still not be win-win.
And seriously they have got to give up that "The Dark Knight" guilt, the use of it to explain the difference between the sound categories (which they seem to have to do every single year) was preposterous and more obnoxious than all the white guilt in "Precious", "District 9" and "The Blind Side".

No One Wants to Do It alone Award
Steve Martin and Alec Baldwin did a great job as hosts (if only because of how much they made the glorious Meryl Streep laugh). It's obvious that Alec was mostly there to counter Steve's zaniness (he had never been funnier!) And together they had amazing chemistry that was perfectly encompassed by Neil Patrick Harris who called them "the biggest pair since Dolly Parton".

Best Speech(es)
Mo'Nique showed them it can be achieved without the media circus and it "can be about the performance and not the politics" as she collected her Best Supporting Actress Oscar.
While Best Costume Design winner Sandy Powell dedicated her win to "the costume designers that don't do movies about dead monarchs or glittery musicals" reminding AMPAS that she already had two statuettes back home and they really should start widening their limited views.
Both smug girls showed them how it's done!

Runner-ups
Kathryn Bigelow
It was delightful to see her so surprised even when she was the favorite for the win since January.
Babs presenting the award pretty much sealed the deal and honestly it was "the moment of a lifetime indeed".

Most WTF Best Picture Presentation
To have Chris Pine introduce "District 9" when his own "Star Trek" was viciously passed over was truly uncomfortable.

Best Revenge from the Audience
When they reminded them that the honorary awards had been given last year (done to save telecast time...) and introduced recipients Lauren Bacall and Roger Corman in the audience, Eywa herself couldn't have prevented the roaring standing ovation they both got, giving us a moment Oscar almost stole from us.

Geekiest Aww Moment
When a winning art director from "Avatar" told James Cameron "this Oscar sees you".

Best Introduction
Steve Martin faked a teleprompter error but correctly introduced Tom Ford and Sarah Jessica Parker as "two world renowned clothes whores".

Least Use of Subtlety
Demi Moore was introduced with "Unchained Melody" to introduce the In Memoriam section.
Eeesh for a minute or two I thought Shankman would have zombies perform "Thriller" as well.

Best Reminder of What the Oscars Used to Be
Quentin Tarantino and Pedro Almodóvar present Best Foreign Language Film accompanied by Nino Rota's score from "Amarcord". It was an exquisite touch in a rather cheap night.

Best Sight for Sore Eyes



















The So You Think We Care About Dancing Award
Really Shankman?
Remove the Best Original Song presentations (and rob us of the opportunity to watch Marion Cotillard) but by all means bring back interpretative dancing to present Original Score.
What was up with the choreography to "The Hurt Locker"?



The "Didn't Find it Funny the First Time, Find It Sad Now" Award
When Sandra Bullock won Best Actress as expected (in what's sure to become one of the worst wins in the category's 82 years) she once ahead brought up her feud with Meryl Streep.
And really I know Streep is above all a good sport who knows she's way better than all these women who keep winning her awards but am I the only one who finds she's been losing some class with the whole making out with SaBu shtick?
I felt bad for Bullock, because even she knew she was robbing all the other nominees and in the end her speech was more of the "you really like me" variety than a great Oscar moment.

Best Use of Meryl Streep
Steve Martin referring to her record setting nominations as "most losses" was hilarious and sadly very true. When he said this I hoped every person in that theater felt guilty for not voting for her!
Also when he asked "what's up with all that Hitler memorabilia?" [Meryl supposedly collects] I thought I was going to die from laughing so hard.

For a complete list of winners go here.

Quick Oscar Predix.

I wasn't planning to sit and write mine down (not my fave Oscar year...) but my OCD won and here are my short takes on each category.

Best Picture
Will win: "The Hurt Locker"
Personal preference: "The Hurt Locker" (only because "Up" stands no chance in hell)

Best Director
Will win: Kathryn Bigelow for "The Hurt Locker"
Personal preference: Kathryn Bigelow for "The Hurt Locker"

Best Actor
Will win: Jeff Bridges for "Crazy Heart"
Personal preference: Jeremy Renner for "The Hurt Locker"

Best Actress
Will win: Sandra Bullock for "The Blind Side"
Personal preference: Carey Mulligan for "An Education"

Hey, I figured if we all predict Sandra, maybe we'll jinx her?
Probably not happening though. Meryl winning would thrill me but it's Ms. Mulligan who should have this in the bag. Best nominated performance.

Best Supporting Actor
Will win: Christoph Waltz for "Inglourious Basterds"
Personal preference: Christoph Waltz for "Inglourious Basterds"

Best Supporting Actress
Will win: Mo'Nique for "Precious"
Personal preference: Penélope Cruz for "Nine"

I'm perhaps the only person out there who isn't head over heels about Mo'Nique's performance, she sure was the best thing in the very flawed pic but something about her performance fails to transcend into the human for me.
She's merely a prop for Lee Daniels' disturbed vision of violence and consequent redemption.

Best Original Screenplay
Will win: Mark Boal for "The Hurt Locker"
Personal preference: Quentin Tarantino for "Inglourious Basterds"

Best Adapted Screenplay
Will win: Jason Reitman and Sheldon Turner for "Up in the Air"
Personal preference: Nick Hornby for "An Education"

Best Cinematography
Will win: "Avatar"
Personal preference. "The White Ribbon"

Best Editing
Will win: "The Hurt Locker"
Personal preference: "The Hurt Locker"

Best Art Direction
Will win: "Avatar"
Personal preference: "Avatar"

Best Costume Design
Will win: "The Young Victoria"
Personal preference: "Bright Star"

(although who can complain with Sandy Powell having another Oscar?)

Best Original Score
Will win: "Up"
Personal preference: "Up"

Best Original Song
Will win: "The Weary Kind" from "Crazy Heart"
Personal preference: "Take It All" from "Nine"

Apparently country=instant Oscar (unless your competition is a hip hop song about pimps) and it's a shame that AMPAS has completely forgotten about the power of showtunes.

Best Sound and Best Sound Editing
Will win: "Avatar"
Personal preference: "The Hurt Locker"

Best Documentary Feature
Will win: "The Cove"
Personal preference: "The Cove"


Best Foreign Language Film
Will win: "The Secret in Their Eyes"
Personal preference: "The White Ribbon"

Ah what a category!
Two new masterpieces of world cinema (including my favorite movie of the year), a superb genre flick, an avant garde take on Latin American history and even the usual "important" entry is better than you'd expect.
If there was any justice (read if this were the 1960s) Michael Haneke's "The White Ribbon" would have this one in the bag!
It's such a remarkable film that works as political essay, complex sociological study and even whodunit. Of course it's too heavy and intellectual for the way this category has gone in the last decades so expect Juan José Campanella's excellent "The Secret in Their Eyes" to win.
The movie isn't only fun and romantic it also includes mild political subtext that make it seem important without being harrowing. Also Campanella lost in this category and they might wanna make him justice.
I wouldn't be upset about this win, although I'd be ecstatic if "The White Ribbon" took it.

Best Documentary Short
Will win. "China's Unnatural Disaster"
Personal Preference: N/A

Best Animated Feature
Will win and Personal preference: "Up"

Best Animated Short
Will win: Logorama
Personal preference: N/A

Best Live Action Short
Will win: Kavi
Personal preference: N/A

Crazy Heart **

Director: Scott Cooper
Cast. Jeff Bridges, Maggie Gyllenhaal
Colin Farrell, Robert Duvall, Beth Grant, Jack Nation

A good performance does not a good movie make and Jeff Bridges is no exception in "Crazy Heart". He plays former country star Bad Blake whose career all but disappeared leaving him to play bowling alleys and dark bars in random towns. He's also an alcoholic and has four ex-wives but no family.
Things change for him when he meets journalist Jean Craddock (Gyllenhaal) and falls in love with her but can he really overcome all his demons and make her happy?
If you think you've heard this one before you probably have and Scott Cooper's directorial debut doesn't bring any refreshing detail to this stale story.
Bridges is of course terrific (but when isn't he?) and makes Blake's little quirks and head movements more interesting than all the dialogue Cooper can muster from Thomas Cobb's novel.
He's so lacking in selfconsciousness and camera awareness that sometimes you feel like you're intruding into his private moments.
Bridges turns almost blasé when he has to enact some redundant scenes, like his rivalry with the man he mentored (Farrell) who became a superstar or the Kodak inspired scenes where he "composes" songs.
But watch him burst into joyous life in the most unexpected moments like when he acts with Jack Nation who plays Jean's four year old son. His eyes share the sense of wonder the kid has and his longing and care say more about his character's backstory than a silly subplot-which is practically forgotten in the screenplay-regarding his own lost son.
The issue with "Crazy Heart" is that nothing feels truthful, this is the kind of movie that would've been served from that magic Robert Altman put in "Nashville"; a certain feeling of life before and after the credits roll.
Everything in this movie though is only conceived to make the story move forward, it has no sense of spontaneity other than to give Blake a rushed redemption.

SAG-ged.

How the SAG awards manage to be the dullest awards show year after year will always be a mystery to me, this year they were no different and went along with what's been going on for the whole season awards wise.

Mo'Nique, Jeff Bridges, Christoph Waltz and the cast of "Inglourious Basterds" won as expected (they both deserve all their accolades for a change) but just what the hell is going on in the minds of people who voted for Sandra Bullock?
Sure she's nice and fun and everything, but she gave the fifth best performance in her category. Since people have suddenly become so reluctant to keep on awarding Meryl Streep why not then recognize the best female performances in the category which would be Gabourey Sidibe's and Carey Mulligan's?
The only reason I can explain Bullock's win would be that the actors secretly hate Meryl Streep (considering that Mulligan and Sidibe are somehow non-factors to these dumb voters) and wish she would retire so she wouldn't make them all look so lazy and mediocre.

Moving on...a few thoughts from the ceremony.
I love how retro Simon Baker and Anna Paquin looked together.
He looked straight out of the "A Single Man" collection while she evoked Twiggy and Jane Fonda.

Say what you will of the movie, which wasn't the devil's envoy as most people say, these women were by far the best dressed cast.
Whoever advised Nicole Kidman to do some pot and think Woodstock when dressing for tonight, did her a great service as she's never looked so fresh and free.
Marion Cotillard looked straight out of a runway, that dress is spectacular and a mini! While Kate was breathtaking. Penélope somehow was the most meh of them all.
But she has me used to being all blah during these award shows and then just blowing my mind at the Oscars, so let's hope she does it again.

Sexiest male cast ever? Probably.

Now on to my favorite looks,

I've always had the notion that Lanvin can make magic on anyone.
With Carey Mulligan they gave her by far the best look she's had during this whole season. She's looked pretty before, but this time she actually made me go "wow".
Something about the draping makes Carey look like a classic screen siren, not the underfed waif she's been looking like in the past.

After last week's odd pink thingamajig, Diane Kruger is back to looking like an icon. In this stunning gown, in that risky color, she pulls off what Michelle Williams almost did at the 2006 Oscars. But she takes it to another level.

Alexander McQueen makes a vision out of Anna Paquin.

I don't love Joan Allen's look but I found it interesting that she and Nicole Kidman went for the same free spirited style, complete with free flowing tresses and hip jewelry.

Although it must be said that the huge back cleavage showed me more than I'd ever want to see from Goldie Hawn's offspring, Kate Hudson has never looked so damn good before!
Sure the dress is essentially Hilary Swank circa 2005, but the color gave her an aura of elegance, sexiness and drama no other lady achieved during the awards.

Golden Globe Winners...

or how I Learned to Stop Caring and Dislike the HFPA.

Picture, Drama: "Avatar."

I predicted it so I was more than OK with it, although "The Hurt Locker" going home empty handed is preposterous.

Picture, Musical or Comedy: "The Hangover."
To say my jaw fell to the floor when they opened the envelope would be a serious understatement. My only explanation for this, besides the lackluster quality of the category, would be that HFPA members voted for it while on a hangover of their own.
Or that they secretly merged with the People's Choice Awards.

Actor, Drama: Jeff Bridges, "Crazy Heart."
No arguments on this one.

Actress, Drama: Sandra Bullock, "The Blind Side."
I don't hate Sandra Bullock. In fact I thought she was the best thing in "Crash" (a movie I do hate) and her "Miss Congeniality" is the kind of movie that makes me chuckle even after a million viewings. But I have no idea in what world (Pandora maybe?) did she give a better performance than Carey Mulligan and Gabourey Sidibe.
I'm also really disturbed by all those "Erin Brockovich" comparisons...Steven Soderbergh's film is one of the greatest of the decade, "The Blind Side" wasn't even the best movie released in its week.
Sure they are both rom-com queens proving they have dramatic chops, but a blonde wig and an accent do not Erin Brockovich make. Bullock is a great movie star, but she's by no means a great actress. That she just became Meryl Streep's fiercest competition for the Oscar is just disturbing.

Director: James Cameron, "Avatar."
Cameron said it better: Bigelow should've won.

Actor, Musical or Comedy: Robert Downey Jr., "Sherlock Holmes."
I'm really guessing he got this for losing all the awards last year and because he's fantastic in everything he's in of course...

Actress, Musical or Comedy: Meryl Streep, "Julie & Julia."
I don't love this performance as much as award organizations do, but she better win the Oscar now.

Supporting Actor: Christoph Waltz, "Inglourious Basterds."
You just can't argue with this one.

Supporting Actress: Mo'Nique, "Precious: Based on the Novel `Push' by Sapphire."
I don't like her movie, but she gave the best supporting performance of the year as Mary Jones. To see her win, after some media members have trashed her for not participating in the bullshitty campaigns mounted during the season, was incredibly fulfilling.
Plus, I have to confess I thought she'd be the crass, loud Mo'Nique from "House of Charms", but I've been so astounded by how ladylike and eloquent she is. Can't wait to see her get the Oscar!

Foreign Language: "The White Ribbon."
The idea of Michael Haneke winning awards in America gives me little waves of pleasure that can be compared to orgasms.

Animated Film: "Up."
I'll say it again: should've won Best Picture Comedy or Musical too.

Screenplay: Jason Reitman and Sheldon Turner, "Up in the Air."
Quentin losing this to this movie is...I'm at a loss of words to convey it.

Original Score: Michael Giacchino, "Up."
One of the most pleasant wins of the night. If James Horner had won I would've imploded.

Original Song: "The Weary Kind" (theme from "Crazy Heart"), (written by Ryan Bingham, T Bone Burnett).

More about the Globes tomorrow, if I muster the energy and will to even mention them again.
Actually they were not that crappy, but G-d the Musical Comedy pic just killed my buzz.

SAG Nominations.

Outstanding Performance by a Cast in a Motion Picture
An Education
The Hurt Locker
Inglourious Basterds
Nine
Precious

Outstanding Performance by a Female Actor in a Leading Role
Sandra Bullock, The Blind Side
Helen Mirren, The Last Station
Carey Mulligan, An Education
Gabby Sidibe, Precious
Meryl Streep, Julie & Julia

Outstanding Performance by a Male Actor in a Leading Role
Jeff Bridges, Crazy Heart
George Clooney, Up in the Air
Colin Firth, A Single Man
Morgan Freeman, Invictus
Jeremy Renner, The Hurt Locker

Outstanding Performance by a Male Actor in a Supporting Role
Matt Damon, Invictus
Woody Harrelson, The Messenger
Christopher Plummer, The Last Station
Stanley Tucci, The Lovely Bones
Christoph Waltz, Inglourious Basterds

Outstanding Performance by a Female Actor in a Supporting Role
Penelope Cruz, Nine
Vera Farmiga, Up in the Air
Anna Kendrick, Up in the Air
Diane Kruger, Inglourious Basterds
Mo’Nique, Precious

Indie Kick-off.

The Spirit Awards for independent film have announced their nominees today. Thus they kick start the happiest time of the year: awards season.
Among their top nominees are:

BEST FEATURE

“(500) Days Of Summer”
“Amreeka”
“Precious”
“Sin Nombre”
“The Last Station”

BEST DIRECTOR
Ethan Coen, Joel Coen, “A Serious Man”
Lee Daniels, “Precious”
Cary Joji Fukunaga, “Sin Nombre”
James Gray, “Two Lovers”
Michael Hoffman, “The Last Station”

BEST SCREENPLAY
Alessandro Camon, Oren Moverman, “The Messenger”
Michael Hoffman, “The Last Station
Lee Toland Krieger, “The Vicious Kind”
Greg Mottola, “Adventureland”
Scott Neustadter, Michael H. Weber, “(500) Days Of Summer”

BEST FIRST SCREENPLAY
Sophie Barthes, “Cold Souls”
Scott Cooper, “Crazy Heart”
Cherien Dabis, “Amreeka”
Geoffrey Fletcher, “Precious”
Tom Ford, David Scearce, “A Single Man”

BEST FEMALE LEAD
Maria Bello, “Downloading Nancy”
Helen Mirren, “The Last Station”
Gwyneth Paltrow, “Two Lovers”
Gabourey Sidibe, “Precious: Based on the Novel Push by Sapphire”
Nisreen Faour, “Amreeka”

BEST MALE LEAD
Jeff Bridges, “Crazy Heart”
Colin Firth, “A Single Man”
Joseph Gordon-Levitt, “(500) Days Of Summer”
Souléymane Sy Savané, “Goodbye Solo”
Adam Scott, “The Vicious Kind”

BEST SUPPORTING FEMALE
Dina Korzun, “Cold Souls”
Mo’Nique, “Precious”
Samantha Morton, “The Messenger”
Natalie Press, “Fifty Dead Men Walking”
Mia Wasikowska, “That Evening Sun”

BEST SUPPORTING MALE
Jemaine Clement, “Gentleman Broncos”
Woody Harrelson, “The Messenger”
Christian McKay, “Me and Orson Welles”
Raymond McKinnon, “That Evening Sun”
Christopher Plummer, “The Last Station”

For a complete list of nominees click here.

I'm particularly thrilled about Gwyneth Paltrow and James Gray getting in for "Two Lovers", I was sure it would be one of those movies everyone forgets existed come awards season.
No Joaquin Phoenix? That's got to be a joke though...

Iron Man ***

Director: Jon Favreau

Cast: Robert Downey Jr., Gwyneth Paltrow

Terrence Howard, Jeff Bridges, Shaun Toub, Leslie Bibb

Tony Stark (Downey Jr.) builds weapons. He inherited Stark Industries from his father and has become one of the most important names in the business.

A child genius and flawless engineer he spends his free time gambling, partying and bedding beautiful women.

During a trip to Afghanistan where he's to demonstrate a new missile, his convoy is ambushed and Stark is captured by a guerrilla group who demand he builds weapons for them.

Trapped in the mountains he, and fellow captive Dr. Yinsen (Toub) tell them that they will make weapons for them, but instead forge a power armor, fueled by an arc reactor (that also helps keep Stark alive after the attack) that ends up as a prototype for what later becomes the Iron Man suit.

After his return to the States, Stark decides to stop making weapons and as Iron Man travels the world over to destroy them.

This doesn't come as good news to his business partner Obadiah Stane (Bridges) nor to the Afghan group that still wants revenge.

Favreau's film is a great introduction to one of the most unknown characters in the Marvel repertoire and one, for that matter, that does a satisfactory job in catching us up with why Stark deserves to be known as well as we do Peter Parker and Jean Grey.

Shot in a hyper realistic style that tries less to evoke the visuals of comic books and is more about how the scenes should play in your imagination, "Iron Man" provides a visual effects extravaganza that for once provides us with not more or less than we would've expected.

At the center of it all is a maniacally great performance by Downey Jr. who in a way seems to have been born to play Tony Stark.

His evolution from careless playboy into ,self, conscious superhero is one that needs the other to fully shape the man. Stark is a cocky man who you hate to love. At film's start he's shown in some mock magazine covers and when he appears on "Rolling Stone" you realize that we indeed live in a world that worships power regardless of where it comes from.

The thing about Downey is that when he realizes the truth of what his business does to the world, you believe his change completely, if only because you know that this is a man so selfish that this is the first time he's actually opening his eyes to something bigger than himself.

While a superheroe's costume is supposedly designed to keep his identity safe, Downey Jr. never completely vanishes inside his metal armor.

The animation job is obviously magnificent, because even while dashing across the skies or shooting missiles from his shoulder, Iron Man is still Tony Stark.

The supporting cast does a terrific job as well including Howard as Tony's friend Lt. Colonel James Rhodes, Clark Gregg as a nosy agent who by film's end makes you go "oh!" and the always magnificent Bridges who with a shaved head and full on beard gives a deliciously evil performance of power gone bad (in more ways than one).

Stealing every scene she's in, Gwyneth Paltrow plays Pepper Potts, Stark's loyal, and leggy, assistant who perfectly embodies damsel in distress with a twist.

She gets some of the film's best lines and often gives it a warm heart. Most dazzling of it all is the sexual chemistry between Paltrow and Downey Jr. which sometimes gives out more energy than any of the featured gadgets.

We grow up thinking that you grow up being a superhero, which is why Iron Man's midlife crisis enlightenment comes off as an invitation to change in the midst of a world that seems to be closing in on us.

It delivers the ultimate corporate wars to the baby boomers all over the world while reminding us that it's never late to make a fresh start.