The Tomatometer rating – based on the published opinions of hundreds of film and television critics – is a trusted measurement of movie and TV programming quality for millions of moviegoers. It represents the percentage of professional critic reviews that are positive for a given film or television show.
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The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or higher after a set amount of reviews (80 for wide-release movies, 40 for limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
It's faithful to the comic origins without being slavish, draws ideas from the entire run of the series, and stirs a self-aware sense of humor through the action while still taking the enterprise seriously.
His well-honed acting chops aside, a big reason the casting of Downey as Stark works so darn well is that incorrigible streak, which he somehow always has been able to balance with an irrepressible likability and which he uses to full effect here.
Led by Downey's career-resurrecting performance as billionaire weapons peddler Tony Stark, it proves just as indispensable to the movie's giddy escapist appeal as the seamless CGI effects and eye-popping pyrotechnics.
Neither the message nor the sparingly used special effects get in the way of entertainment, proving Iron Man really is a throwback to a kinder, gentler and decidedly more fun era of subversive filmmaking.
Ultimately the inspired casting, snappy humour and whizz-bang technology are the equivalent of giving your old car a new coat of paint. Iron Man is entertaining, but it still runs on the same old superhero formula.
Iron Man manages to be both a lot of fun, and quite possibly the most effective commentary on the war on terror that Hollywood has produced so far -- not the best argued or the most committed, but the one that most people will see, and think about.
He's slyly funny and charmingly despicable in the early stretches of the film, which seem to good-naturedly spoof Downey's wild-child image. He also manages to make Stark's (literal) change of heart thoroughly convincing.
Despite the crisis-of-conscience theme, all of this could have been pretty standard fare. But Favreau had the sense to cast Downey, who does for this potential franchise what Johnny Depp did for Pirates of the Caribbean.
Director Jon Favreau builds a sturdy foundation for a franchise, an origins story that isn't as familiar as Batman's or Spider-Man's and unburdened by the angst of murdered relatives and messianic guilt.