Anyone going a second time (I did yesterday), look for:
Something visible in the background under Tony's right arm in the armor-removal scene, just before Pepper walks in and Tony delivers the "Let's
face it, this is not the worst thing you've ever caught me doing" line (which was gutbustinly ROTFL-worthy, BTW).
The name of the town Yinsen mentions he's from -- it goes by kind of fast, but it's worth catching. And it *matters.*
The pole aboard Tony's private plane during the "dancing flight attendants" scene -- judging by the hull diameter, I'm not sure there's
*room* for that thing.
Body language: this isn't a spoiler or easter egg, but I found myself admiring all over again they way they handled the use of the palm repulsors as
flight aids -- they *don't* forget in any scenes, as far as I could tell. It's true that this isn't part of the comic canon (The original suits
never used repulsors for propulsion, but rather mini-turbines in the boots), but it *works,* and the way it's handled adds an extra layer of reality to the
scenes of the armor in motion.
The sacks that Yinsen is lying on during his death scene: reality intrudes on the movies, eh? :/
The backgammon boards: there's one on the table in Tony's living room, I think (goes by fast), open but never used on-screen. A nod to the
Tony/Yinsen scene using nuts and washers (on an incongruously new-looking backgammon board, oddly enough).
Any of Jeff Bridges' scenes, especially with RDJ -- RDJ pulls off Tony *very* well, but JB almost manages to steal their joint scenes. The man has
*chops.* The thing that saves those scenes is that both actors pull off the Tony/Obie interpersonal dynamic (very close to father/son) almost flawlessly; you
*buy into* it, it's that real.
As an aside: this movie really is all about the *little* things: it's actually kind of short on explosions and major @$$kicking for a superhero movie.
The whole film is just *packed* with little elements that flow by quickly but realistically, rendering the emotional and interpersonal landscape with a higher
resolution than you usually see in films in this sub-genre.
Something visible in the background under Tony's right arm in the armor-removal scene, just before Pepper walks in and Tony delivers the "Let's
face it, this is not the worst thing you've ever caught me doing" line (which was gutbustinly ROTFL-worthy, BTW).
The name of the town Yinsen mentions he's from -- it goes by kind of fast, but it's worth catching. And it *matters.*
The pole aboard Tony's private plane during the "dancing flight attendants" scene -- judging by the hull diameter, I'm not sure there's
*room* for that thing.
Body language: this isn't a spoiler or easter egg, but I found myself admiring all over again they way they handled the use of the palm repulsors as
flight aids -- they *don't* forget in any scenes, as far as I could tell. It's true that this isn't part of the comic canon (The original suits
never used repulsors for propulsion, but rather mini-turbines in the boots), but it *works,* and the way it's handled adds an extra layer of reality to the
scenes of the armor in motion.
The sacks that Yinsen is lying on during his death scene: reality intrudes on the movies, eh? :/
The backgammon boards: there's one on the table in Tony's living room, I think (goes by fast), open but never used on-screen. A nod to the
Tony/Yinsen scene using nuts and washers (on an incongruously new-looking backgammon board, oddly enough).
Any of Jeff Bridges' scenes, especially with RDJ -- RDJ pulls off Tony *very* well, but JB almost manages to steal their joint scenes. The man has
*chops.* The thing that saves those scenes is that both actors pull off the Tony/Obie interpersonal dynamic (very close to father/son) almost flawlessly; you
*buy into* it, it's that real.
As an aside: this movie really is all about the *little* things: it's actually kind of short on explosions and major @$$kicking for a superhero movie.
The whole film is just *packed* with little elements that flow by quickly but realistically, rendering the emotional and interpersonal landscape with a higher
resolution than you usually see in films in this sub-genre.