As opposed to earlier Wu-Tang solo projects, in which the performers involved were believed to be infallible, Ghostface is somewhat vulnerable on several of the album's songs.

However, the rest of the album contains many street oriented, and organized crime topics, similar to Only Built 4 Cuban Linx..., in which Ghostface was heavily involved.

In his book The Tao of Wu, producer RZA points out that Ghostface's voice sounds noticeably different on Ironman from previous Wu-Tang releases.

[7] In a positive review for The Village Voice, music critic Robert Christgau said that despite morally questionable actions in Ghostface Killah's narratives, "the detail is so vivid and complex that for once we get the gripping blaxploitation flick gangsta [rap] promises rather than the dull or murky one it delivers ...

"[18] Jon Pareles, the chief music critic for The New York Times, wrote in his review of the album, "Anger is just a stimulant for Ghostface Killah.

On Ironman he raps about male bonding, the mating game and the violent ups and downs of the drug trade, in a voice raised just above the tone of conversation.

"[6] In Spin magazine, Chris Norris wrote "Ghostface wreaks havoc with meaning and narrator reliability, flitting from gangster-film intrigue to grimly prosaic reality."

"[17] The Source took note of the album's "intense emotional moments" and stated, "The RZA does another masterful job, topping himself in terms of sonic diversity.

[20] In a retrospective review for AllMusic, senior editor Stephen Thomas Erlewine wrote that "the mood of the album can switch tones at the drop of the hat.