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Re: Iron Man

Posted: Mon May 06, 2013 9:25 am
by Diabolical
vynsane wrote:
so I had absolutely no clue about the "twist" which I both loved and hated for different reasons I can go into later.
i would say i genuinely enjoyed the twist and had no problem with it. remember, we can also use the spoiler tags...
True...

The reveal that the Mandarin was just an elaborate smokescreen was an amazing use of misdirection I didn't see coming (and I'm sure most people didn't either), but at the same time I was really looking forward to the Mandarin as an epic villain - someone truly evil and sinister who wasn't superpowered in some way, but could still be a real threat to Iron Man. The mirroring of Bin Laden was a bit too heavy, but that is a minor quibble. Marvel did a great job at keeping this secret, as well as downplaying Killian as a big villain.

While the final battle was quite epic, but if Stark had remote access to his other suits, why did he spend 1/2 the flick with a semi-functional prototype?

The clusterfuck of an epilogue. "I fixed Pepper. Oh, by the way. The shrapnel is gone. You know, the reason I created an elaborate new technology so it wouldn't kill me and is the reason I had the ability to become Iron Man (and was previously implied/stated couldn't be removed)? Well, I decided to have it removed. kthxbye"

Re: Iron Man

Posted: Mon May 06, 2013 11:00 am
by vynsane
Diabolical wrote:While the final battle was quite epic, but if Stark had remote access to his other suits, why did he spend 1/2 the flick with a semi-functional prototype?
it seems to me the unmanned armors weren't terribly effective in the final battle, just enough of a distraction for tony to take on killian without the other extremizombies interfering. they were also each uniquely specialized for certain tasks, while the mk42 seems to be the next iteration of the all-purpose armor since the mk7 from Avengers. it can also be hand-waved that he couldn't connect to the JARVIS server securely enough to call another armor to him or something.
Diabolical wrote:The clusterfuck of an epilogue. "I fixed Pepper. Oh, by the way. The shrapnel is gone. You know, the reason I created an elaborate new technology so it wouldn't kill me and is the reason I had the ability to become Iron Man (and was previously implied/stated couldn't be removed)? Well, I decided to have it removed. kthxbye"
honestly, it makes no sense that they could never fix his heart. but it doesn't mean he can't still be iron man. they did this in the comics, even, where they "fixed" him and then found another reason for him to "need" the armor yet again. one story that comes to mind is when a techno-virus destroyed his central nervous system and he needed the suit in order to even move. more recently he wiped his brain clean when he was on the run from norman osborne (as iron patriot) and now the arc reactor is not only his heart, but his brain as well. also, it's been theorized that what he means by "sorted pepper out, and figured... why stop there?" meant he fixed the anomaly in extremis and used it to heal his wounds as the shrapnel was removed. of course, were that the case, they could have been a little more blatant about it, but, whatevs... maybe they're saving that reveal for a future movie.

again, just because he doesn't need the arc reactor anymore doesn't mean he won't use it in future armors. we know from in-universe examples at this point that the suits are independently powered - the war machine/iron patriot suit works without rhodey having an arc reactor embedded in his chest, as did the mk42 when it saved pepper in the mansion attack, and all the 'specialty' suits from the end of the movie. so he literally doesn't need the arc reactor in his chest in order to continue to be iron man. he says as much at the end as he throws the reactor into the ocean.

Re: Iron Man

Posted: Tue May 07, 2013 7:34 pm
by RoIIo Tomassi
Saw it. I liked it as much as the second one. But not as much as the first or as much as Avengers.

What's the reasonable expectation of Ran, JJReason, Senor Lindquist, Slicker and El Chuxter (and anyone else who still frequents here) seeing this anytime soon so we can dispense with the spoiler tags and get down to the nitty gritty of it all.

First off, I lean towards being displeased with the twist. More on that below.
And Jon Favreau is hella fat. Damn, son, a little Jenny Craig.
And I was hoping for a little more substance in the Post-Credit scene.

I'll admit I laughed in the moment during the twist reveal. But the big reason I disliked is because they advertised in the trailers something entirely different than what actually was. It's one thing to be vague in trailers. It's another to construct them deliberately in a fashion which suggests something the movie is not. And secondly, it does a disservice to the potential of what Iron Man's arch enemy could and should be. Yes, Killian turns out to be the "Mandarin" at the end, but it's not really the same. I feel like Shane Black got too focused on how the comic Mandarin got started (as a yellow peril caricature) and less on how badass he's been developed over the decades. It just felt like a rug pull.

On the plus side, I absolutely loved they gave Tony PTSD, which is a real and serious condition. It's almost like the modern equivalent of alcoholism in terms of being a hero's weakness for the character. I was very impressed with that.
I loved Killian and his henchmen as credible threats to Iron Man. Especially after the anticlimactic showdown in IM2 with Whiplash. Guy Pearce was great. As was James Badge Dale.

I agree with Diabolocal about the pat 'kthxbye' wrap up at the end. It didn't seem to fit in with the character arc of the film.

I was also slightly confused about Maya Hansen's motivation in the film. Why did she show up on Tony's doorstep moments before the attack to WARN them about the attack if her purpose was to--uhmm kidnap Pepper--I think? Other than being part of the original comic's Extremis story, her character seemed superfluous in the film. Maybe it will make more sense in subsequent viewings.

Also, why did the dead soldier's mother in Tennessee have an extensive dossier about the Extremis project, including pics of other soldiers in the program? And why would she be giving it to Savin? Wouldn't he/they (AIM) already have that info? It just seems like a convenient coincidence in the plot.

And this is a very very minor pet peeve, but no mention whatsoever of any attempt to get ahold of any other Avengers for help. Especially since this is a post-Avengers film. I know that comes off fanboyish, but even something as small as saying "Cap and Widow and Hawkeye would love to come help, but they're on an op in North Korea pantsing Kim Jong Un. Sorry" would've worked.

The reason he couldn't call up his Armor Army for half the film was because JARVIS was offline and also because his workshop was buried under tons of rubble and the cleaning crew was clearing the wreckage (as JARVIS eventually points out).

And I'm curious, the terrorist in the first film was part of "the ten rings" and the Mandarin's broadcasts were preceded by the ten ring symbol. Does this imply Aldrich Killian was behind the original terrorists in the first film? I mean, clearly Stane contracted them to kidnap Tony, but was Killian aware of that plot? Something that crossed my mind.

Re: Iron Man

Posted: Tue May 07, 2013 8:22 pm
by Ran
RoIIo Tomassi wrote: What's the reasonable expectation of Ran, JJReason, Senor Lindquist, Slicker and El Chuxter (and anyone else who still frequents here) seeing this anytime soon so we can dispense with the spoiler tags and get down to the nitty gritty of it all.
For the record, spoilers for this or any other movie or tv show don't bother me at all.

I've only seen part of one of the Iron Man movies. It was probably the first one.

Re: Iron Man

Posted: Tue May 07, 2013 8:31 pm
by anarky
I still haven't seen #2. It's one of those I bought, then Mrs. A keeps telling me to wait to watch because she wants to see it, but she never seems to be in the mood for it.

For the record, I've given up and started watching these movies anyway, but there is a bit of a backlog.

Re: Iron Man

Posted: Tue May 07, 2013 8:46 pm
by vynsane
RoIIo Tomassi wrote:I'll admit I laughed in the moment during the twist reveal. But the big reason I disliked is because they advertised in the trailers something entirely different than what actually was. It's one thing to be vague in trailers. It's another to construct them deliberately in a fashion which suggests something the movie is not.
i find it funny that you were upset about the trailer being misleading, when we have so many complaints here and elsewhere that trailers give too much away/show all the good parts.
RoIIo Tomassi wrote:And secondly, it does a disservice to the potential of what Iron Man's arch enemy could and should be.
that's more of the general sentiment, it seems, among die-hard comic/iron man fans.
Also, why did the dead soldier's mother in Tennessee have an extensive dossier about the Extremis project, including pics of other soldiers in the program? And why would she be giving it to Savin? Wouldn't he/they (AIM) already have that info? It just seems like a convenient coincidence in the plot.
good point. i'm more bothered by the fact that the kid didn't have a southern accent, though.
And this is a very very minor pet peeve, but no mention whatsoever of any attempt to get ahold of any other Avengers for help. Especially since this is a post-Avengers film. I know that comes off fanboyish, but even something as small as saying "Cap and Widow and Hawkeye would love to come help, but they're on an op in North Korea pantsing Kim Jong Un. Sorry" would've worked.
or even an aside to the helicarrier where a random SHIELD agent says something to the effect that they're trying to locate tony but aren't receiving his transponder or whatever.
And I'm curious, the terrorist in the first film was part of "the ten rings" and the Mandarin's broadcasts were preceded by the ten ring symbol. Does this imply Aldrich Killian was behind the original terrorists in the first film? I mean, clearly Stane contracted them to kidnap Tony, but was Killian aware of that plot? Something that crossed my mind.
he was either in on it or was just using their iconography in this plan to make it more personal to tony.

Re: Iron Man

Posted: Tue May 07, 2013 9:30 pm
by Tom Foolery
I can sympathize with the hardcore fans who are more than upset. Consider that fans had been expecting a Mandarin/Iron Man throwdown since the first film, so expectations had risen in five years. When the first one came out and Stane was the villain, everyone was like 'cool, but hopefully Mandarin will be in the sequel.' Then the weird Crimson Dynamo/Whiplash amalgam was in the sequel and everyone was like 'aw shit yo! They're saving Mandarin for the third one!' Then we find out Mandarin is in part 3 and Ben Kingsley is playing him and he looks and acts totally badasss in every trailer. And then....Pbbbbblllltt.....Psyche!!!

And somebody else pointed out that if you did that with any other comic nemesis pairing
Like Joker/Batman or Captain America/Red Skull or Spider-Man/Green Goblin etc there would be superfly TNT Guns of Navarone type bitching going on. Moreso than even what's going on here.


One of the guys on CBR made a comment about Pepper Potts being Red She Hulk and I laughed because I literally thought the EXACT same thing at that scene.

Re: Iron Man

Posted: Tue May 07, 2013 10:40 pm
by anarky
Iron Man is gayballs.
Sometimes I dream about Aquaman licking me.
Iron Man is gayballs.

A giant penis followed
me to work and then it
followed me to the
dentist and then it tried posing as my
dentist and pulling one
of my teeth but I was
too clever.
But let me tell you about my Aquaman dream because Aquaman is cool as ice. I want to marry Aquaman and have his little aqua babies that are like whales with human faces and lion manes and peacock feathers and smell like strudel. We would all live in Santa Barbara in a ranch style bungalow and....

Names for my Anus
1 Buttstuff
1.1 The Captain
1.2 The Swedish Pincushion
2 Crappy
3 Dumps
3.1 Cornholio
4 Flatu-1
5 A Bit of Business in the Trousers
Can you smell eggs?

[edit]Early life
As a child, Knight was deeply interested in nature and animals, and spent many hours copying the illustrations from his father’s natural history books. Though legally blind because of astigmatism and a subsequent injury to his right eye, Knight pursued his artistic talents with the help of specially-designed glasses, and at the age of twelve, he enrolled at the Metropolitan Art School to become a commercial artist. In 1890, he was hired by a church-decorating firm to design stained-glass windows, and after two years with them, became a freelance illustrator for books and magazines, specializing in nature scenes.


Entelodon (then known as Elotherium), the first commissioned restoration of an extinct animal by Charles R. Knight[1]
In his free time, Knight visited the American Museum of Natural History, attracting the attention of Dr. Jacob Wortman, who asked Knight to paint a restoration of a prehistoric pig, Elotherium, whose fossilized bones were on display. Knight applied his knowledge of modern pig anatomy, and used his imagination to fill in any gaps. Wortman was thrilled with the final result, and the museum soon commissioned Knight to produce an entire series of watercolors to grace their fossil halls. His paintings were hugely popular among visitors, and Knight continued to work with the museum well until the 1930s, painting what would become some of the world’s most celebrated images of dinosaurs, prehistoric mammals, and prehistoric humans.


Leaping Laelaps by Charles R. Knight, 1897
One of Knight's best-known pieces for the American Museum of Natural History is 1897’s Leaping Laelaps, which was one of the few pre-1960s images to present dinosaurs as active, fast-moving creatures (thus anticipating the theories of modern paleontologists like Robert Bakker). Other familiar American Museum paintings include Knight’s portrayals of Agathaumas, Allosaurus, Brontosaurus, Smilodon, and the Woolly Mammoth. All of these have been reproduced in numerous places and have inspired many imitations.
Knight’s work for the museum was not without critics, however: many curators argued that his work was more artistic than scientific, and protested that he did not have sufficient scientific expertise to render prehistoric animals as precisely as he did. While Knight himself agreed with that his murals for the Hall of the Age of Man were “primarily a work of art,” he insisted that he had as much paleontological knowledge as the museum’s own curators.[2]
[edit]Nationwide attention


Smilodon from 1905
After Knight established a reputation at the American Museum of Natural History, other natural history museums began requesting paintings for their own fossil exhibits. In 1925, for example, Knight produced an elaborate mural for the Natural History Museum of Los Angeles County which portrayed some of the birds and mammals whose remains had been found in the nearby La Brea Tar Pits. The following year, Knight began a 28-mural series for Chicago’s Field Museum of Natural History, a project which chronicled the history of life on earth and took four years to complete. At the Field Museum, he produced one of his best-known pieces, a mural featuring Tyrannosaurus and Triceratops. This confrontation scene between a predator and its prey would inspire a huge number of imitations, establishing the two dinosaurs as “mortal enemies” in the popular consciousness. The Field Museum’s Alexander Sherman says, “It is so well-loved that it has become the standard encounter for portraying the age of dinosaurs”.[3]


Tylosaurus from 1899
Knight’s work also found its way to the Carnegie Museums in Pittsburgh the Smithsonian Institution, and Yale's Peabody Museum of Natural History, among others. Several zoos, such as the Bronx Zoo, the Lincoln Park Zoo, and the Brookfield Zoo, also approached Knight to paint murals of their living animals, and Knight enthusiastically complied. Knight was actually the only person in America allowed to paint Su Lin, a giant panda that lived at Brookfield Zoo during the 1930s.[4]
While making murals for museums and zoos, Knight continued illustrating books and magazines, and became a frequent contributor to National Geographic. He also wrote and illustrated several books of his own, such as Before the Dawn of History (Knight, 1935), Life Through the Ages (1946), Animal Drawing: Anatomy and Action for Artists (1947), and Prehistoric Man: The Great Adventure (1949). Additionally, Knight became a popular lecturer, describing prehistoric life to audiences across the country.
Eventually, Knight began to retire from the public sphere to spend more time with his grandchildren, who shared his passion for animals and prehistoric life. In 1951, he painted his last work, a mural for the Everhart Museum in Scranton, Pennsylvania. Two years later, he died peacefully in Manhattan.
[edit]Legacy



Brontosaurus by Charles R. Knight, 1897
Examples of Knight's work frequently appeared in dinosaur books published in the US during the first half of the twentieth century.[5] Many works released since then also include examples of Knight’s paintings; for example, Stephen Jay Gould used one of Knight’s paintings for the cover of his 1991 book Bully for Brontosaurus and another in his 1996 book Dinosaur in a Haystack. Though many other paleoartists have succeeded Knight (most notably Zdeněk Burian) Knight’s paintings still remain very popular among paleontology enthusiasts. A commemorative edition of Knight’s 1946 book Life Through the Ages [ISBN 0-253-33928-6] was recently published by Indiana University Press, and a 2007 calendar [ISBN 0-7649-3622-0] of Knight’s paintings is also currently available. Additionally, fantasy artist William Stout has compiled a series of Charles Knight Sketchbooks, which contain many rare and previously unpublished drawings and studies by Knight.


Knight's restoration of Agathaumas from 1897, which was later used as basis for a model Agathaumas used in the 1925 film The Lost World.[6]
Because Knight worked in an era when new and often fragmentary fossils were coming out of the American west in quantity, not all of his creations were based on solid evidence; dinosaurs such as his improbably-adorned Agathaumas (1897: left) for example, were somewhat speculative. His depictions of better-known ceratopsians as solitary animals inhabiting lush grassy landscapes were largely imaginative (the grasslands that feature in many of his paintings didn't appear until the Cenozoic). Although Knight sometimes made musculoskeletal studies of living animals, he did not do so for his dinosaur restorations, and he restored many dinosaurs with typical reptilian-like limbs and narrow hips (Paul, 1996). In the 1920s, studies by the celebrated palaeontologists Alfred Romer and Gerhard Heilmann (Heilmann, 1926) had confirmed that dinosaurs had broad avian-like hips rather than those of a typical reptile. Knight often restored extinct mammals, birds and marine reptiles in very dynamic action poses, but his depictions of large dinosaurs as ponderous swamp-dwellers destined for extinction reflected more traditional concepts (Paul, 1996). In his catalogue to Life through the Ages (1946), he reiterated views that he had written earlier (Knight, 1935), describing the great beasts as "slow-moving dunces" that were "unadaptable and unprogressive" while conceding that small dinosaurs had been more active.


Knight working on Stegosaurus in 1899
The late Stephen Jay Gould was one of Knight’s most well-known fans, notably refusing to refer to Brontosaurus as “Apatosaurus” because Knight had always referred to the creature with the former name.[4] Gould writes in his 1989 book Wonderful Life, “Not since the Lord himself showed his stuff to Ezekiel in the valley of dry bones had anyone shown such grace and skill in the reconstruction of animals from disarticulated skeletons. Charles R. Knight, the most celebrated of artists in the reanimation of fossils, painted all the canonical figures of dinosaurs that fire our fear and imagination to this day”.[7] Other admirers have included special effects artist Ray Harryhausen, who writes in his autobiography An Animated Life, “Long before Obie (Willis O'Brien), myself, and Steven Spielberg, he put flesh on creatures that no human had ever seen. […] At the L.A. County Museum I vividly remember a beautiful Knight mural on one of the walls depicting the way the tar pits would have looked in ancient times. This, plus a picture book about Knight’s work my mother gave me, were my first encounters with a man who was to prove an enormous help when the time came for me to make three-dimensional models of these extinct beings”.[7] Paleoartist Gregory S. Paul has also mentioned Knight as a big influence on him.[8][9]
In 2012 a book about Knight and his art written by Richard Milner titled Charles R. Knight The Artist Who Saw Through Time was published.[10]
An homage to the painter was also made in the IMAX feature film, T-Rex: Back to the Cretaceous, in which he was portrayed by actor Tuck Milligan.
[edit]Works



Mural at the AMNH, showing the fauna of the La Brea Tar Pits. This image was adapted as the cover illustration for the book The Mythical Man-Month.


Bison on the United States ten-dollar bill, drawn by Knight


Tiger holding Hunters at bay, 1917


1922 New Year's Card by Charles R. Knight
Knight’s works are currently included as part of the permanent collections of these colleges, libraries, museums, and zoos:
Academy of Natural Sciences (Philadelphia, Pennsylvania)
American Museum of Natural History (New York, New York)
Bethune-Cookman College (Daytona Beach, Florida)
Bronx Zoo (Bronx, New York)
Carnegie Museum of Natural History (Pittsburgh, Pennsylvania)
The Dinosaur Museum (Blanding, Utah)
Everhart Museum (Scranton, Pennsylvania)
Field Museum of Natural History (Chicago, Illinois)
Florida Museum of Natural History (Gainesville, Florida)
Illinois State Museum (Springfield, Illinois)
Mesa Southwest Museum (Mesa, Arizona)
Museum of the Earth (Ithaca, New York)
National Museum of Natural History (Washington, DC)
National Zoo (Washington, DC)
Natural History Museum of Los Angeles County (Los Angeles, California)
Princeton University (Princeton, New Jersey)
Science Museum of Minnesota (Saint Paul, Minnesota)
Sebring Public Library (Sebring, Florida)
Yale Peabody Museum of Natural History (New Haven, Connecticut)
In addition, a touring exhibit, Honoring the Life of Charles R. Knight, was launched in 2003 and has visited several locations throughout the United States.
[edit]Publications
Before the Dawn of History, 1935
Life Through the Ages, 1946
Animal Drawing: Anatomy and Action for Artists, 1947
Prehistoric Man: The Great Adventure, 1949
Charles R. Knight, Autobiography of an Artist, 2005
[edit]Notes

^ First Knight's life restoration of a prehistoric animal, Elotherium, as mentioned by William Stout in the introduction of Knight's autobiography.
^ Cain, Victoria. “‘The Direct Medium of the Vision’: Visual Education, Virtual Witnessing and the Prehistoric Past at the American Museum of Natural History, 1890-1923." Journal of Visual Culture, 2010, 9: 284, pp. 292-298.
^ “Charles Knight: Prehistoric Visions of a Beloved Muralist” 2002 Field Museum, In the Field article by Alexander Sherman
^ a b Interview with Rhoda Knight Kalt by Emily Butler at Geospectrum.
^ The World of Charles Knight.
^ http://silentmoviemonsters.tripod.com/T ... LGADO.html
^ a b qtd. at The World of Charles Knight.
^ http://gspauldino.com/pdfs/PTinterview2006.pdf
^ http://gspauldino.com/pdfs/PTinterview1999.pdf
^ Parrish, M. A. (2012). "Grand Master of Reconstruction". Science 335 (6071): 921. doi:10.1126/science.1220073. edit
Wikimedia Commons has media related to: Charles R. Knight
[edit]External links and references

The World of Charles Knight, a website maintained by Knight’s granddaughter Rhoda Knight Kalt (includes most of his paintings)
Charles R. Knight biography at Field Museum website
Charles R. Knight biography at American Museum of Natural History website
Interview with Rhoda Knight Kalt at Geospectrum (newsletter of the American Geological Institute)
Heilmann, G. (1926). The Origin of Birds. London, H.F. & G. Witherby.
Knight, C.R. (1935). Before the Dawn of History. New York, McGraw-Hill Book Company.
Paul, G.S. (1996). The art of Charles R. Knight. Scientific American 274 (6): 74-81.
Cain, V. (2010) “‘The Direct Medium of the Vision’: Visual Education, Virtual Witnessing and the Prehistoric Past at the American Museum of Natural History, 1890-1923.” Journal of Visual Culture, 9: 284, pp. 284-303.

Re: Iron Man

Posted: Wed May 08, 2013 3:16 pm
by Senor JabbaJohnL
RoIIo Tomassi wrote:What's the reasonable expectation of Ran, JJReason, Senor Lindquist, Slicker and El Chuxter (and anyone else who still frequents here) seeing this anytime soon so we can dispense with the spoiler tags and get down to the nitty gritty of it all.
I've wanted to see it but have been busy - hopefully Friday evening I'll see it. Semi-spoiler from someone who hasn't seen it and doesn't know much: I do know people nerds are pissed off at a twist that involves the Mandarin, but don't know what it is. Other than that, I've heard both good and mediocre things about it so far.

Re: Iron Man

Posted: Sun May 12, 2013 3:02 pm
by jjreason
It was no screaming hell. Having never been an avid reader of Iron Man I was "ho hum" about the twist. The only awesome in the whole movie was the suits in action, as you might hope when you spend money to see any Iron Man movie. My ability to suspend disbelief was completely worn out & long left behind by the time the initialattack on Tony's place with the attack helicopters was taking place and folks were surviving. :roll:

Scarcely, by the barest of bare margins, worth the money.

Re: Iron Man

Posted: Sun May 12, 2013 3:09 pm
by anarky
So, no Mandarin? What a fucking cop-out.

Re: Iron Man

Posted: Sun May 12, 2013 3:13 pm
by RoIIo Tomassi
anarky wrote:So, no Mandarin? What a fucking cop-out.

Technically, there was. It ended up being Aldrich Killian. But the entire Trailer Campaign to get people in the theaters was a giant "Fuck You" in the end.

Re: Iron Man

Posted: Sun May 12, 2013 6:27 pm
by jjreason
Is it too soon to start making movie villains North Korean instead of middle eastern? Would have helped the name Mandarin at least have some vague form of relevance.

Re: Iron Man

Posted: Mon May 27, 2013 12:53 am
by Senor JabbaJohnL
jjreason wrote:Is it too soon to start making movie villains North Korean instead of middle eastern? Would have helped the name Mandarin at least have some vague form of relevance.
Eh, is anyone actually afraid of the North Koreans? At least Middle Easterners have actually done harm to us - repeatedly. The North Koreans are basically just waving their tiny little dicks at us.

I saw it yesterday and really enjoyed it. My biggest complaints were that I wish there was more Rhodey as the Iron Patriot, since that design is pretty fucking awesome, and a better glimpse of the many, many suits that show up for the final battle, since they kind of just show up, some of them do some cool stuff, and then they all get destroyed before you can even tell what color they are. I mean, it's called IRON MAN, I want to see some damn Iron Man suits! Other than those points, I liked it. The action scenes otherwise were very well done - I thought the airplane sequence was pretty nerve-wracking, even though it seems every movie is required by law to have an airplane sequence these days. I think the funniest part was the henchman telling Tony he wanted to quit anyway. :P

The design of the Mark 42 did seem to be weirdly flesh colored in the promotional images, but it looked fine onscreen.

As for the Mandarin, I didn't mind the twist, but I also didn't have a prior attachment to or even much knowledge of the character. Ben Kingsley was entertaining at both the creepy and goofy sides of the role, so whatever.

Oh, and I figured that Tony's anxiety about New York was a good enough reason not to have the other Avengers here. Though I did appreciate the final scene, as if he's opening back up to joining them again.