Good comic book movies, like the comic books from which they have their genesis, understand their audience needs to relate to the fantastical and outrageous worlds and characters. Humanistic flaws and real-world dilemmas must plague anyone with superhero powers since, unlike these characters, we cannot relate to the problems of other-worldly strength and special powers.

For two-thirds of its time, Iron Man understands this concept very, very well. The film, like the Marvel Comics series, focuses on Tony Stark as played by Robert Downey, Jr. in the film. Like Bruce Wayne of Batman, Stark is a super-rich dude whose family business builds and trades military weaponry. Unlike the revenge-driven Wayne , we meet a self-absorbed and self-important Stark as he drowns himself in too much Scotch, too many women, and a lot of indulgences.

While displaying Stark Industry’s latest shock-and-awe device in the Afghan desert, he is kidnapped and held captive by a group of terrorists. (The film, in its attempt to be contemporaneous yet milquetoast, refuses to deploy the terms “Taliban” or “al-Qaeda” to describe Stark’s captors). They want him to re-build his weapon for their use. As a gadget mastermind, putting Stark in a run full of materials and technology seems to be a bad idea. Sure enough, he develops an outfit that allows him to leave among the explosions and gun-fire that transpire. Upon his return to the states, Stark surprises every one – from his business partner Obadiah Stane (Jeff Brides, surprisingly effective as the is-he-the-bad-guy-or-not role) and girl Friday Pepper Potts (Gwyneth Paltrow, reminding us why we fell in love with her in the first place) – that he no longer wants to make utensils of mass destruction but rather focus on his secret project of using technology for good. One can imagine this decision doesn’t sit well with everyone.

For a good chunk of its time, Iron Man does a good job of looking at this morally-confused man in a morally-confusing profession. While director Jon Favreau (Elf, Zathura) has trouble delivering a clear message on the arguments for and against making money from war, Downey , Jr. has no trouble with using his performance to show the complexity of the issue. Sure, Stark has loathsome personal behavior but clearly believes he is doing the right thing at every point of the movie. Even if his perspective changes, the character’s personality does not. Really, any audience member who falls on one side of the issue or the other will probably feel vindicated by this performance. It may be an off-the-wall choice, but Downey , Jr. does some amazing and tricky stuff that conclusively states no one else could have pulled this role off. Lines and actions that should be completely cheesy seem almost philosophical in Downey , Jr.’s delivery Paltrow and Bridges also prove to be effective supporting roles. The only of these Oscar nominees who fares poorly (and, yes kids, there are five Oscar nominees in Iron Man) is Terrance Howard as Stark’s military buddy, Jim Rhodes. He has to shake his head a lot and shout lines of exposition. Howard deserves better.

While the characters are well-developed, the plot falls apart towards the end by becoming another CGI-driven slug-fest. Not to mention a queasy foray into humanitarianism when the newly-shaped Iron Man uses his power to save a Middle-Eastern village from some nasty bad guys. In a time when there is so much gray in this subject, the film’s perspective comes off as blindingly black-and-white. Some may argue that a summer movie shouldn’t be concerned with such things. I would argue that any film that dares to make its central character an arms-manufacturer who has his moral awakening after being kidnapped in an Afghan war zone has shouldered that responsibility.

Regardless, Iron Man snaps, crackles, and pops along with strong energy from its cast and the central dilemma of the main character. It’s a good start to the summer when it starts with an effective flick like this. And, be sure to stay AFTER the credits. One of the above-mentioned Oscar nominees doesn’t show up until then to set up an inevitable sequel. Comic book fans, either in print or in celluloid, will rejoice.

Rated PG-13 for some intense sequences of sci-fi action and violence, and brief suggestive content.

2 The Rocketeer + 1.5 Bruce Wayne = 3.5 Iron Man