Abso-****ing-lutely Perfect

Sex and the City: The Movie
Written & Directed by Michael Patrick King
New Line Cinema



At the end of the pilot episode for the HBO series Sex and the City, Carrie Bradshaw (Sarah Jessica Parker) asks Mr. Big (Chris Noth) if he's ever been in love. With a wicked grin, he responds, "Abso-****ing-lutely." and drives away. Ten years ago, we were introduced to Carrie and we were as hooked as she was on Mr. Big's smile. Over the course of six seasons, audiences tuned in every Sunday evening to revel in the lives of characters created originally by columnist-turned-author Candace Bushnell and brought to life by writer-producer Michael Patrick King. We hung on every word and every relationship; we grew to love Carrie, Samantha (Kim Cattrall), Miranda (Cynthia Nixon), and Charlotte (Kristin Davis) as if they were our own friends; we fell in love with each of their great loves and our hearts ached and broke when theirs did. My apologies to those who think I've lost my mind to the world of chick-flickdom, but this is one of my few girly indulgences. I also apologize to those who may have been offended by the show reference in my review title - those who know the show and love it as I do knew instantly what I was saying, and I couldn't think of a better way to begin.

The point is, after four years of syndicated re-runs and a number of stalled attempts, Sex and the City: The Movie has finally arrived in theaters. Women everywhere are strapping on their Manolo Blahniks and heading out to theaters to reacquaint ourselves with four old friends. While I was probably the least fashion-conscious gal there, I was pleased to find that King has not let us down. The lights went down and the opening notes of Fergie's re-imagining of the show's theme song filled the room...as did the audience's appaluse. Obviously, I wasn't the only person excited for the great reveal of a film with a plot so tightly kept under wraps that the cast had taken to the refrain "Dream sequence!" to keep the masses at bay.

Fittingly, the film begins a few years after the series left off -- Carrie and Big are together and happy; Miranda and Steve (David Eigenberg) live in Brooklyn with their son Brady (Joseph Pupo) and the ever-present Magda (Lynn Cohen); Samantha and Smith Jerrod (Jason Lewis) have moved to Los Angeles and are giving monogomy a try (!); Charlotte is still living in happily-ever-after with her husband Harry (Evan Handler) and their adopted daughter, Lily (Alexandra and Parker Fong). Big and Carrie are apartment shopping and find real estate heaven - a penthouse with a terrace across the way from nirvana. The apartment has been vacated due to a nasty divorce, and Carrie, wit in tact, discovers the reason for the nastiness -- too-small closets. Her knight in shining black limousine tells her he will build her a proper closet. It's obvious that Mr. Big - John, as we found out in the series finale - has truly stuck to his word, that Carrie is the one and she's all he wants. Any fan of the show knows that he is truly all she has wanted, as well.



As a result of a visit to an auction of personal effects held by a woman jilted by her boyfriend, Carrie discusses security with Big and they decide to get married. This decision gets the plot rolling and it becomes intertwined with the lives of Carrie's best friends. Samantha visits New York far too often for Smith's liking, but she feels she has lost herself somehow in their relationship -- both personal and business. Miranda is feeling the pressure of her job and caring for her family and has begun to slip into her old critical ways - she's pushing Steve away again and their marriage is suffering a dry spell as a result. Charlotte, however, is living her lifelong dream - she is married, a mother, and blissfully happy. Interestingly, this seems to put her in the background as far as the movie plot goes, but there is no shortage of drama in this film, trust me.

As a devoted fan to the series, I refuse to give anything away here regarding plot details. Suffice it to say that there's a wedding, a trip to Mexico, a new personal assistant for Carrie, a surprise pregnancy, lots and lots of fashion - of the standard - everyday and also of the wedding-dress variety, and relationship heartaches and mending. The girls are definitely back in their primes, as the original cast seems to have picked up right where they left off. The boys are just as wonderful and you see why these are the men with whom our fabulous foursome have chosen to spend their lives. New to the world is personal assistant Louise (Jennifer Hudson) whose eager, wide-eyed search for love in New York reminds Carrie of herself as a 20-something. Louise knows her labels, however, and even reveals to Carrie that you can rent designer bags on the internet! (Who knew? We can be sure that people are trying to find out at this point, though, that's for sure!) Hudson is a perfect fit for this role and you grow to love her in 2 hrs and 20min as much as we've loved our girls for six seasons.



With a movie like this, audience reaction is everything. When and if HBO produces a Sopranos movie, they would be smart to take notes from Michael Patrick King. He knows how to reel us into the lives of his characters as if they had never left us and how to string us along the truths of lives, love, and labels to a resolution everyone will be satisfied by...at least I was. There's a lovely undertone of Cinderella in Sex and the City, one that's been around for ages, considering Carrie's obsession with shoes. It's tied in very well in the film, as a bedtime story for Lily and for us as well. Sure, chick flicks perpetuate the idea of happily-ever-after from our girlhoods, but maybe there's some truth in it. I'm willing to put some stock into it. I guess that means I'm a Charlotte. I'm sure you know which of our gals you are, too...just make sure that if you can identify yourself with one of these characters that you make it to the theater as soon as you can to enjoy this wonderful final hurrah from one of HBO's greatest original series.


Sex and the City: The Movie is now playing in theaters.

Indiana Jones and the Surprisingly Good, Though Separated by 19 Years, Fourth Installment

Indiana Jones and the Kingdom of the Crystal Skull

Directed by Steven Spielberg
Paramount Pictures

As we've all noticed by now, the summer blockbuster season has officially begun. We eagerly await this time of year the way three-year-olds, and some guys I've dated, watch the calendar for Christmas. There's nothing better than a slate of movies you absolutely just can't wait to see and this summer is no different. Thank goodness there's no schoolwork hanging over our heads when we trek to the nearest cinema to partake in some of Hollywood's greatest visual pleasures on a late Thursday night to be the first to see the greatest adventure since...well, last weekend. Most of these movies are highly anticipated (and marketed) to ensure a huge opening weekend. This year, while yes, we do have a new Batman installment (July 18), a refreshed look at the Hulk (June 13), and a new-to-some hero in the form of Robert Downey, Jr. (see review below), an old favorite has returned to the silver screen with hair to match there under his iconic fedora.

In March, Andrew posted a preview of the film in trepidation. Titled "Say NO to #4," the review is clearly representative of his feelings that a fourth should not have been made. Many, many of us felt the same. There are far too many brilliant franchises that have been revived, re-awakened, and re-visited, and there are many more on the way. However, this installment was not at all disappointing. Spielberg and George Lucas return to the old Indy with grace and cinematic style - Spielberg even going so far as to have the new cinematographer, Janusz Kaminski, study the work of retired Douglas Slocombe from the previous films to get the look of the adventures just perfect.

Even though it's been 19 years since The Last Crusade, Indy (Harrison Ford) falls back into his old patterns easily. Set in 1957, Kingdom begins with the hostile takeover of a military warehouse out in the desert. The Russians have some interest in a mysterious case in the warehouse and Dr. Irina Spalko (Cate Blanchett) requires Dr. Jones's help to find it. Still the ever-wise-cracking and clever archaeologist, Indy causes trouble as only Indy can and the movie is off and running with action, wonderful stunt work, and laughter. Keep an eye out for a cameo by a favorite relic!

While traveling by rail one afternoon, Indy is lured off the train by a young greaser named Mutt Williams (Shia LaBeouf) who brings him disturbing letters sent by an old friend, Prof. Oxley. Indy learns Ox is obsessed with a crystal skull and he leads Mutt on a chase after Ox and a search for an ancient land where others worshipped the skull and its great powers. Along the way, the Russians intercept them and try to force Indy to help them once again. Indy, Mutt, the Russians, and we, the viewers, partake in an adventure that brings us to many beautiful lands and all kinds of creepy caverns and burial grounds - just as an Indiana Jones movie should.

The movie is ripe with adventure made all the more exciting with minimal CGI. While some franchise installments make the viewers pine for the good ol' days, Kingdom has all the feel of the Indys of old - sarcastic remarks made by our hero, cinematography that puts you right into the film, puzzles and mysteries galore, excting, high-paced action sequences, and creepy-crawlies to make our hero (and the audience) squrim...and squirm I did. Ick.

The casting in the film is superb - Blanchett plays Spalko masterfully and wields her rapier with determination and grace. She may not be a Nazi, but she's got strength and discipline. She is a force to be reckoned with in the jungle during a particularly exciting action sequence and it's clear she's taken her place in the echelon of Indy villians. LaBeouf's Mutt Williams is entertaining and clever - his motorcycle and switchblade skills help him out as much as his wit. Lately, LaBeouf is everywhere it seems, and it's no wonder. This actor has staying power, realism in his back pocket, and a delivery that makes you root for him. He's not going anywhere soon - perhaps the Tom Hanks of the new generation? He's likable, talented, and he can deliver drama and comedy simulatneously. We'll see.

One of the more interesting scenes is the return of Marion Ravenwood (Karen Allen) to Indy's world. She is also up to her old tricks, causing trouble and grinning that winning smile all the way. Sparks fly between these old co-stars and it's as if no time has passed at all since we last saw our favorite shot-throwing gal in Raiders. Though both return with some wear -wrinkles and all - some fires never go out completely and this one still has heart.

The skull itself and the mystery it carries are fascinating pieces of movie magic. They are also the main sources of contention with some moviegoers. You may love it or you may absolutely hate it. I think I fall somewhere in the middle. It's the one item that brings my rating down from perfect, due to the fact that I was so caught up in the visuals that I have yet to make up my mind. What any viewer will be unable to deny, however, is how brilliantly the story is told and how simple it is to be swept away by new adventure and scenery.

The mysterious crystal skull carries with it more than an ancient tribal power. It has the ability to bring us back almost 20 years to one of the most beloved adventure heroes ever - as if we never left. Granted, we're all older, but Indy is still the wiser, and perhaps so are Lucas and Spielberg. Personally, I wasn't a fan of the "new" Star Wars trilogy - I still feel it was best left alone at Jedi. Some think Lucas went off his rocker here again and may have ruined the classic Indiana Jones trilogy, which none can argue would have survived just fine as it was. While I agree the original three were spectacular, my feeling is that Indiana Jones and the Kingdom of the Crystal Skull fits in as the piece we didn't know we had room for.

Indiana Jones and the Kingdom of the Crystal Skull is now playing in theaters.

Get to the Theatre Before this Visitor is Gone

The Visitor
Written and Directed by Thomas McCarthy
Overture Films



Back in 2003, I saw a film that changed my life. It starred three marvelous character actors portraying three incredibly well written characters. The film was called The Station Agent and was written and directed by Thomas McCarthy, who has graced the world of independent cinema with a new film. In The Visitor, McCarthy has managed to, once again, hit on all cylinders by delivering strong characters and a touching story while also addressing the state of our immigration system.



The Visitor stars Richard Jenkins (Six Feet Under) as widowed college professor Walter Vale. Walter has manage to fall into a decade long rut, satisfied to teach the same course over and over again while pecking away at his latest book. When he is forced to attend a symposium in New York, he is surprised to find two illegal aliens staying in his apartment. Desperate for some sort of spontaneity in his life, he allows the squatters to stay until they are able to find somewhere else to live.

The young couple are Tarek Khalil (Haaz Sleiman from 24), a Syrian musician, and Zainab (Danai Gurira in her motion picture debut), an artist from Senegal. The two have managed to stay under the radar by avoiding encounters with the law but, in a post 9/11 America, they know that any slip up could mean deportation or worse.



Walter finds himself inspired by Tarek’s African drumming and strikes a fast friendship with the young Arab. Soon they are playing together in the apartment and Central Park drum circles. However, just as things seem to be picking up, Tarek is arrested in the subway and sent to a detention center for illegal aliens. When Tarek fails to contact his mother Mouna (Haim Abbass from The Syrian Bride) for several days, she arrives on Walter’s doorstep looking for answers.

In order to allow Zainab and Mouna to communicate with Tarek, Walter puts his life on hold to visit him daily, each time seeing the young musician’s spark weakened by desperation and depression. Zainab isn’t much better as she finds her own sense of hope extinguished as she tries to figure out where Tarek’s imprisonment leaves her.



As if things weren’t complicated enough for Walter, he finds himself falling for Mouna and the couple find comfort in one others’ arms. This is where the film finds its complex center as issues of identity, loss, fear, and outrage are explored both on screen and in the minds of the audience. We root for their romance to succeed despite the fact that the deck is stacked firmly and legally against them.

McCarthy is a master at creating characters with whom we genuinely identify. For example, as Tarek’s situation becomes more and more hopeless, I found myself experiencing the same sense of anger and despair that Walter feels. Jenkins’ subtle performance relies on facial expression and posture to express his character’s helplessness. There is pain here, and the script, directing, and acting make it real enough to draw tears from even my cynical eyes (but if you tell anyone, I will deny it!).



During a season of blockbuster epics, there’s a great gem playing at your local independent cinema. Get yourself to the theater and catch The Visitor before it goes away. If you miss it, rent The Station Agent and count the days until The Visitor's DVD release.



The Visitor is currently playing in theatres.

Fessenden's "Last Winter" is All Play and No Work.

The Last Winter
Directed By Larry Fessenden
IFC Films

This supernatural story centers around the human race's footprint on planet Earth and the soon-to-occur consequences. Mankind, or especially the U.S.A., is seeking to gain energy independence by sending a team of environmentalists into the Northern Arctic National Wildlife Refuge to determine if the area is prepared for oil drilling. Hitting a little close to home, isn't it? Well has Fessenden prepared a worthy cause and effect for you? You be the judge.



The above trailer leads you to believe many different things, which I will warn you, do not appear whatsoever in the film itself. And I doubt it was because of heavy cuts in the editing room. Its a disjointed attempt at a slanted message not striking its audience like a frying pan to the cranium, but more like a wave of chlorofluorocarbon-filled hairspray resting into someone's scalp; we know its up there but it isn't bothering us.



The latest X-Files movie is coming out this summer, so I didn't feel the need for this picture to provide a reminiscent prelude to one of my favorite television shows. And I doubt a basic audience was looking for a revision of The Shining packed with up-to-date events and controversies and Kubrickian dehumanization.



I'd like to pull out my "Ron Perlman Saved This Picture" card, but even he couldn't. I'll be saved by him in Hellboy 2: The Golden Army later this summer. James LeGros added a sincere, quasi-innocent approach to the mix A fresh cameo from the stiff-boarded Kevin Corrigan made the film bearable. I loved him from Grounded For Life, but I'll be the best to admit his performances are generated from the cookie-cutter. He's got that one performance down pat, and its provided him with steady work as of late.

This film suffered the same fate as Fessenden's Wendigo, which attempt to mix science, folklore legend and the supernatural all into one creature or situation. His message comes off as "Hey audience, you're ruining my planet. So stop or my creature will drive you crazy." I recommend driving past this exit on the movie rental superhighway. There's a smarter, more clever and certainly more polite way of getting your message to your audience - Fessenden just hasn't learned it yet.



I give this film a slate for the beautiful desolate scenics and the endless supply of white-covered helicopter shots. And an extra half-slate for the ethereal and haunting music.


The Last Winter is available on DVD on May 20th.

Bella: This Time The Winner Is... A Love Story.

Bella
Directed by Alejandro Gomez Monteverde
Lionsgate

Name me a film recently released that has so beautifully reintroduced family values, tradition and redemption to an audience all inside of two hours? No film this year has even chipped away at the emotional iceberg of Bella, a story of love that changes the lives of three people forever.



As of late, too many films have shown how far someone can go the edge of the emotional spectrum. In The Machinist, we saw Trevor Reznik go the nether regions of human guilt, while in Away From Her we witnessed a 40-year-old marriage dissolve into a distant memory on account of Alzheimer's Disease. But these characters never come back. They stay there, at the raggedy edge. There is a small element of resolve with the above-stated characters, but nothing close to the extent director Monteverde explores.



What astonishes me is the unflinching surface of the main character, Jose (Eduardo Verástegui). At the start of the film, he is clean-shaven and hopeful - but in ten minutes, his chiseled face is now bearded, setting up a barrier that only he can break down. But to watch a man punish himself on the inside is often a difficult task. Most flawed characters with skeletons in their closets have some form of visual downside; alcoholism, smoking, cussing, not paying rent; the list could go on. But Eduardo Verástegui's inner pain is felt every moment you see him.

Bella jumps here and there to build the plot through flashbacks, and does so with ease. The situation that Nina (Tammy Blanchard) has gotten herself into is one easily accepted by audiences. Her own personal journey throughout this film is one of accepting herself and learning that regrets are something you can never change.



We see a glimpse into a Latin-American family, who accept the cards they've been dealt and live life as life; not as a job, not as a hand-me-down lifestyle. It is their own life, and they run with it and with grace. Bella is another diamond in the rough film. It ran the festival circuit and has gained a lot of well-earned press. The best journey is the one you can take to your video store and pick up this gem!!




Bella is available on DVD May 6th.

Clichéd Maid...er, Made

Made of Honor
Directed by Paul Weiland
Columbia Pictures



As the leading lady of our humble filmic foursome, I find it my duty to get myself to the theater for the occasional chick flick, so as not to disappoint our feminine readers. We can't be ALL action, superheroes, and horror, now can we? Though I eagerly handed over my discount movie ticket to see Iron Man (see review below this one!) and though horror is my preferred genre, I decided to accompany my mother this afternoon to see the new Patrick Dempsey film My Best Friend's Wedding. No, wait, that had Julia Roberts. This one was The Wedding Planner. Nope. Wrong again. Have we seen this one before? Ye-ah...the understatement of the year. This go-round has been titled Made of Honor.



The film stars Dempsey as Tom, the inventor of "Coffee Collars" (those cardboard wraps around the Starbucks cups -- who knew?), who meets his best friend in college when he accidentally gets into her bed, thinking it's her roommate. It's actually not as funny as it sounds. Anyway, Hannah (Michelle Monaghan) gives him quite a few pieces of her mind and ten years later, they're spending every Sunday and each of Tom's father's weddings (6, to be exact) together as the closest of pals. When Hannah travels to Scotland for work, Tom is lost without her for six whole weeks. Being quite the womanizer (complete with rules about not seeing girls on back-to- back nights), he tries to fill their Sunday ritual with alternate pals. Quite obviously, this doesn't work and, during a few heart-to-heart chats with the boys during, what else, basketball games, he comes to realize that he loves Hannah and wants to be with her. Unfortunately, when she returns, she brings with her Colin (Kevin McKidd) who is tall, blond, and accented - Scottish, of course. They're engaged and Hannah wants Tom to be her Maid of Honor.



What follows is Tom's plan to reveal his true feelings to Hannah while balancing his MoH duties - dress alterations for the bridesmaids (a short, chubby girl wants a size 8! Hysterical!), bridal shower (predictably ruined by the entertainment), and lingerie shopping with the bride ("No, Colin will hate that."...shocking). He travels to Scotland for the wedding and for more examples of why Colin is the perfect man all the while toiling with his desicion to tell Hannah he loves her.

As a whole, the movie is fluff. The acting is simply so-so, the writing is flat, and the plot is so clichéd, even die-hard romantic comedy fans who love this stuff will be unimpressed. Michelle Monaghan really does nothing for this film; Weiland could have cast anyone off the street and the acting quality would be no different. The supporting cast, including Kadeem Hardison (of Dwayne Wayne fame!) as Felix, Tom's married buddy, and Busy Philipps as Melissa, the cousin who wanted to be MoH and tries to foil all of Tom's good intentions, is simply that - support for a film that's about to drown in a Scottish lake of predictability.



Dempsey, the reformed geek of the 80s (remember Can't Buy Me Love?) and star of Grey's Anatomy, is capitalizing on his McDreaminess in this film. I just can't buy him as a womanizer with a heart of gold. It's too far-fetched and it's just not the Dempsey we're all used to seeing. Even McDreamy doesn't act this way. In Enchanted, Dempsey seemed more real, and THAT was a DISNEY movie. Here, the role seems forced and a way to get Grey's fans to pay $10.50 for a movie ticket. As a fan of the show, and of his earlier work, I'm very disappointed in his role here - though seeing him juggle china plates was rather cool, as he studied aspired to attend Clown College as a teen.

Overall, this isn't a movie to rush off to see. There are far too many more rom-coms out there with heart that are worth the price of admission. Dare I say, P.S. I Love You ? A film I loathed due to how far-fetched it was? Unlike Made, at least you cared for the characters in that movie. It's not surprising that Iron Man made over $80 million more than this romantic comedy. Honor your men, ladies, and please don't drag them to this one. You're better off renting Julia Roberts's 1997 version instead.



Made of Honor is now playing in theaters.

Yeah, He Can Definitely Fly

Iron Man
Directed by Jon Favreau
Paramount Pictures



May’s inaugural weekend has traditionally become a staple for the first big film release of the season. Last year, it was the awfulness of Spider-Man 3 that ushered us into a mediocre summer of films. The year before that, it was Tom Cruise’s last stand in Mission Impossible 3. This year, superheroes once again rule the celluloid jungle as the Jon Favreau-helmed Iron Man blasts its way onto the screen in a big (and I do mean BIG) way.

Before I get into the review proper, I want to back up to when I first heard rumblings that this film was in the works. The first rumor that Favreau was being tapped to direct a film based on Captain America (my all time favorite hero) hit The Net about two and a half years ago. As a fan of his work as a writer (Swingers, Made), an actor (Friends, Daredevil), and a director (Elf, Zathura), I was quite curious to see what he would do with old Winghead. As we all know, that was not meant to be as he traded movies with Nick Cassavetes and took the reigns of Iron Man instead, leaving Nick to pull together The Captain’s movie for 2009.



Next came the casting as the rumors started to fly. My biggest fear was that they would resort to casting this like the travesty that was Superman Returns two years ago. Remember that? We were treated to a 24-year-old Lois Lane with a Pulitzer and 5 year old super son? Ugh, my stomach hurts just typing those lines. Fortunately, Favreau is not an idiot and signed on Robert Downey Jr., the only man in Hollywood who could possibly understand addict Tony Stark’s journey because he has taken it himself.

So here we have it, Downey and Favreau, a powerhouse duo with a legendary story to tell. How did they do? In this fanboy’s opinion, I don’t think this movie could have been more perfect.



For those not in the know, the story of Iron Man is complex, yet simple. We have Tony Stark, millionaire playboy whose money comes from the weapons company his father founded at the tail end of World War II. Stark himself took over the company on his 21st birthday and topped his old man by creating even more awesome firepower for high paying government contracts. His success has earned him the distinction of being called the “Merchant of Death.” In his off time, he is an alcoholic, gambling, womanizing, egomaniac whose only real friends are Air Force Colonel James Rhodes (Terrence Howard) and his personal assistant Pepper Potts (Gwyneth Paltrow).

Everything changes for Stark when, during a visit to Afghanistan to demonstrate his newest and most deadly weapon, he is taken hostage by the Ten Rings terrorist group who force him to beef their firepower with his expertise. To make matters worse, he has a bunch of shrapnel in his blood that is working its way to his heart and only an electromagnet connected to a car battery is keeping him from having a fatal heart attack. Talk about a bad day.



Not to worry, though, because Stark and fellow prisoner Yinsen (Shaun Toub) fake out the bad guys and build a badass metal suit instead. Stark dons the armor prototype and uses it to not only escape but take out a bunch of the terrorists and their stockpile of weapons.

His near death experience serves as a turning point for young Tony and he decides to focus his attention on peace keeping efforts instead. He builds an even more streamlined version of the armor and uses it to go around destroying Stark Industries weapons that have fallen into the hands of nasty bad men all over the world. This, of course, gets the attention of a lot of invested parties, including his own business partner Obadiah Stane (a bald, bearded Jeff Bridges), and things start to get messy.

The movie is just about perfect from top to bottom. The story is well written and just faithful enough to the original story to keep the diehards happy while allowing newcomers to understand and appreciate the hows and whys of this tin plated vigilante. My personal favorite moments occur when Tony is in the design and testing phase of his flying armor. Check it out and get back to me.

As good as the story is, a poor cast can just screw it all up, but no worries here as Downey, Paltrow, Bridges, and Howard play their parts perfectly. Favreau allows them to create the perfect mix of humor and pathos. Most notable was Stark’s change of heart which doesn’t seem contrived largely due to Downey’s subtle, honest performance.



The effects are great but not overwhelming as we get the perfect blend of CGI with live action. I also like how Favreau gets around that directorial stumbling block of superhero masks (God forbid we don’t see our star’s face for ten full minutes) by inter-cutting extreme close-ups of Downey’s face while he is inside the suit to balance the computer animated action sequences.

Top to bottom, Iron Man is about as good a superhero movie as we can expect. The director genuinely cared about his character and story, the actors put forth excellent performances, and the story brings excitement and emotion without going over the top in either respect. It’s a great start to what I am hoping will be a top notch season of blockbusters.

Oh, and by the way, here’s a note for my fellow comic book geeks out there – be sure to stay through the credits and check out the “hidden scene” that follows. You won’t be disappointed.



Iron Man is now in theatres.