IRONHEART (2025) Review

Review

Three years after first being introduced in Black Panther: Wakanda Forever, Riri Williams (Dominique Thorne) finally returns to the MCU for her own series. First announced in 2020, the series has had a long journey to the screen. Arriving on Disney+ in the UK this three episodes this week and a further three episodes on July 2 (July 1 in the US). Ironheart is another prime example of a top notch, streaming Marvel Studios production which deserves to find an audience but may struggle in a crowded landscape.

Set long after the events of Wakanda Forever, the series picks up with Riri Williams as she is let go from her placement at M.I.T. Unable to secure the funds to stay in school, Riri is forced back home to Chicago. Having moved back in with her mother (Anji White), Riri is given little choice but to face up to traumas from their past. To make ends meet she signs up with a local gang fronted by Parker Robbins (Anthony Ramos), a conflicted character with connections to Marvel’s mystical side. Searching for purpose and a way to move from her past becomes the reluctant mission Riri never expected. But that may hold the key to her future.

The series has everything going for it. A cool cast. An enticing mix of technology and magic which blends the worlds of Iron Man and Doctor Strange. Plus a production which feels truly cinematic in its approach. But there’s an unshakable sense that Ironheart should be a film rather than a series. The spectre of a tighter, theatrical edit looms large as its neat, three act structure, plays out over six 40-50 minute episodes.

The problem isn’t the series storylines. It’s that, at times, those storylines as stretched in order to meet its six episode order. Parts of this week’s first half plod along to fill time and do a disservice to what is actually a great concept. Having already established Riri in Wakanda Forever theres no need for a full origin story. Instead showrunner Chinaka Hodge uses this as the time to test Riri on her journey to becoming a hero. This is a rare occasion of a Marvel hero breaking bad in order to make ends meet. Tonally it feels like an MCU property searching for deeper meaning but struggling to overcome conventions of the genre.

We follow Riri as she journeys towards rock bottom. Running away from events which led to the death of her stepfather Gary (LaRoyce Hawkins) and best friend Natalie (Lyric Ross). Events which have impacted every relationship in her life. This naturally leads in to an exploration of the strained relationship she has with her mother, Ronnie. Riri’s characterisation really benefits from the extra time made available by the series format. As well as from Dominique Thorne’s mighty performance. But spending so much time focussed on character comes at a price and that price is a fully-formed, rewarding, traditional Marvel plot.

There’s a sense that Ironheart really wants to be a character portrait fully focussed on Riri’s emotional arc. It’s the most well formed plot in series, giving audiences a real insight in to what makes her tick. There’s a rewarding arc to the story which is only curtailed by the season’s cliffhanger finale. None of that is a problem. But then the series also works to develop Anthony Ramos’ as Parker in to a threatening villain. Eventually remembering in its second half that it’s a Marvel property and pivoting to instigate a rushed hero versus villain plot in time for a big finale showdown.

Though some time in early episodes is spent introducing Parker and his gang. His motives remain a relative mystery until the series penultimate episode. Ramos puts in a strong performance. Bringing a strength and iciness to Parker which makes him a mystery which is crying out to be unravelled. But alongside him Ironheart also tries to make well-rounded characters of Sonia Denis as pyrotechnics specialist Clown; Shakira Barrera and Zoe Terakes as siblings Ros and Jeri Blood; Shea Couleé as Slug, a hacker and former drag queen and Eric André as tech specialist Rampage. Together this group makes for a strong ensemble with great chemistry. But individually their characters have little time for more than face value observations.

There’s also the distraction of “Joe” (Alden Ehrenreich), a supporting character who gets caught up in Riri’s duplicitous shenanigans. Ehrenreich Is a brilliant addition to the cast with “Joe” (there’s a reason for the “”) ending up a more compelling character than Parker. But he’s also one conflicted character too many in a series which is overflowing with conflicted characters. His connections to the wider MCU may provide an insight as to why Marvel Studios held Ironheart back for now. Beyond Riri’s suit there are plenty of reminders that the MCU has lost Tony Stark just in time for Robert Downey Jnr to make a triumphant return in 2026.

Adding to the confusion is the strength of Ironheart’s cast. The ensemble is excellent. The familial bond between Riri and Ronnie is a source of great emotion in the series. It also instigates some of the series more comedic moments. Likewise Riri builds strong bonds with her team mates that either of the gang’s heists becomes the kind of cool caper which really strives to work within the episodic structure. In these moments, with the cast bouncing off each other’s energy, Ironheart is at its best and most compelling. But when it turns its focus to attempting to drive forwards a traditional comic book plot it loses inertia more quickly than a super suit running low on battery.

The release schedule of three episodes per week is another experiment by Marvel Studios. We’ve seen plenty of weekly releases from Marvel. Then there was Echo, Marvel’s only binge release to-date. With Ironheart we’re in a strange hybrid position which encourages short-term binging whilst offering a brief reprieve at the midway point. But in splitting the season in two like this they may have also exposed some of its inherent flaws. The second half of Ironheart is infinitely stronger than its first. Offering up compelling characters mixed with strong action and finally a plot which drives Riri forwards. Ultimately the biggest test will be whether viewers stick around for week two. I only hope that they do.

But whilst its plotting may leave a little to be desired, the same can’t be said of its production. Ironheart is expertly shot. Easily standing with the best of Marvel’s theatrical releases. The image is rich and cinematic. Leagues ahead of The Marvels which offered up visuals from a network TV pilot. Given that the series reaches deep in to both the technological and the mystical there’s plenty of VFX work across each episode. Again the series delivers a gut punch of visual flare. Riri’s suit looks great whether it’s in flight or combat. Whilst fight sequences are well choreographed and have no issue integrating visual and practical effects with the cast physically on set.

Verdict

For those willing to invest their time Marvel Studios’ Ironheart has a lot to offer. Strong performances from Dominique Thorne and the ensemble cast make Riri Williams’ world one that I would love to return to. But it’s uneven plot and tone mean the series is ultimately a little unsatisfying, offering a glimpse at something stronger which is buried within.

⭐⭐⭐