CHICAGO – It is the simple, timeless stories that work best when they are mounted again on Broadway, and the musical “Pippin” stays true to that assertion. Taking the concepts and the songs from a play that debuted in 1972, and featuring one of those original cast members in a key role, the National Touring revival of “Pippin” is being performed in Chicago at the Cadillac Theatre until August 9th, 2015.
Despite Some Superfluous Story, ‘Iron Man 2’ Delivers Hollywood Oomph
CHICAGO – “Iron Man 2” with returner Robert Downey Jr. and newcomer Scarlett Johansson does what it can within the confines of what it has to do. The Hollywood machine has trained us to have certain expectations for blockbuster sequels and “Iron Man 2” neither deviates nor blazes new territory.
The first “Iron Man” film, which was released almost exactly two years ago on May 2, 2008, has profitably generated $585 million in worldwide box-office receipts on a production budget of $140 million. That Jon Favreau-directed film earned $98 million in its opening weekend.
While Favreau (“Elf”) returns to direct the sequel, Justin Theroux (“Tropic Thunder”) interestingly nabs the solo screenplay credit in “Iron Man 2”. The first film was inked by a foursome including Mark Fergus (“Children of Men”), Hawk Ostby (“Children of Men”), Art Marcum (“Punisher: War Zone”) and Matt Holloway (“Punisher: War Zone”).
“Iron Man 2” again stars Robert Downey Jr. as the title Iron Man character, but Favreau and Paramount Pictures know the No. 1 requirement of follow-up blockbuster film is kicking things up lots of notches on the bedpost.
|Read Adam Fendelman’s full review of “Iron Man 2”.|
That’s the sole reason behind the casting decision of Hollywood starlet Scarlett Johansson. Beauty and brains aside, “Iron Man 2” decides to primarily flaunt her brawn. Despite that respectable choice, the problem is they forget to actually write her into the story.
Despite a climactic, “The Matrix”-style fight scene where the character Natalie Rushman (who is doubly known as Natasha Romanoff) kicks some serious ass and takes countless names (while Jon Favreau comically dilly dallies around with a single thug), the entire Johansson sequence is pointless to the central theme of the story. It doesn’t even have a subtheme.
Image credit: Francois Duhamel