• Pages

  • Categories

  • Archives

  • Enter your email address to subscribe to this blog and receive notifications of new posts by email.

    Join 42 other followers

  • Top Posts

“Thor” a welcome addition to character-driven Marvel canon

Thor (Chris Hemsworth) learns the pain and value in being humbled in Kenneth Branagh's "Thor."

Natalie Portman was so astonished that Kenneth Branagh signed on to direct “Thor” she decided she had to be involved with the production. How many people, I wonder, saw the movie for that very same reason? Because let’s call a spade a spade and say that idea of a “serious actor” like Branagh directing a Marvel film is wacky and weird (or just weird). But in taking that unexpected leap, he’s joined other directors (Jon Favreau, Sam Raimi) who made Marvel adaptations about more than special effects and fight scenes. “Thor” takes a strutting peacock (Chris Hemsworth) and strips off his feathers to see what he’s really made of.

“Thor” doesn’t match the emotional depth of “Spider-Man 2” or possess the crackling wit of “Iron Man,” but the film has enough heart and dazzling visuals (a bit of advice: see them in 2D) to make it feel right at home alongside its Marvel predecessors. Branagh, just as fans might suspect, has more in mind for Thor than a blonde beefcake who wields a big hammer. While the director never skimps on the scenery (particularly the Bifröst Bridge, the stunning, resplendent gateway between Asgard and the other eight realms, including Earth), he makes sure Thor emerges from his trial a changed man. It’s the muscle-bound Hemsworth who makes the transition believable, even poignant. He may look like Australia’s answer to Fabio, but Hemsworth is not light on talent. He demonstrates a level of vulnerability that wouldn’t seem possible in a man with such meticulously sculpted abdominal muscles. 

Hemsworth, of course, is Thor — son of Odin (Anthony Hopkins), king of Asgar, and Queen Frigga (Rene Russo). Arrogant and short-tempered, he seems less suited to take the throne than his quieter adopted brother Loki (Tom Hiddleston). Odin’s doubts about his eldest son’s leadership capability are confirmed when Thor ends a long-standing truce between Asgard and the Frost Giants of Jotunheim, led by the malevolent Laufey (Colm Feore). Stripped of his hammer, Mjolnir, Thor is exiled to Earth, landing in the New Mexico desert and in the lives of scientist Jane (Portman), her bumbling assistant Darcy (Kat Dennings) and fellow researcher Erik (Stellan Skarsgård). With his bizarre manners and formal speech, Thor seems like a certifiable kook; however, Jane wonders if he knows something about the interdimensional wormholes she’s researching. When Thor tries to reclaim Mjolnir, he catches the attention of S.H.I.E.L.D. agent Coulson (Clark Gregg, droll as ever). Back in Asgar, Thor’s band of Warriors Three — Volstagg (Ray Stevenson), Fandral (Joshua Dallas) and Hogun (Tadanobu Asano) — and longtime friend Sif (Jaime Alexander) begin to suspect that Loki isn’t as harmless as he appears. 

As origin stories go, Thor’s fall from grace is more interesting than most purely because of the costumes (kudos to costume designer Alexandra Byrne) and stellar design and effects. “Thor” rivals “TRON: Legacy” in terms of scenes that inspire awe and wonder — it’s marked by a terrific use of fluorescent colors and lighting that render Asgar the kind of mythical kingdom told of in Norse mythology books. The sinister Frost Giants and Heimdall (Idris Elba, for once correctly cast), the gruff gatekeeper of Bifröst Bridge, are striking as well. There’s something emblematic about the image of Heimdall, with his piercing yellow eyes, horned helmet and formidable staff, presiding over a bridge that connects the worlds. Heimdall, even more than Odin, seems possessed of a calm certainty in his purpose that Thor is unable or unwilling to seek out.

Herein lies the rub, where Branagh aligns “Thor” with other comics-based movies that don’t skimp on development. That extends to secondary characters. Portman gets to step away from her tortured “Black Swan” persona, and Skarsgård brings his trademark low-key humor (though it’s Dennings and Hemsworth’s stranger-in-a-strange-land antics that provide most of the comic relief). Hiddleston is subtle but effective as the diabolical and tortured Loki, chameleon-like in his ability to assess his circumstances and change accordingly. His devolution makes him a fitting foil for Hemsworth. Hiddleston is the stronger actor; Hemsworth, though, provides more perceptiveness than he has to. He lets us see the flaws behind the beauty.

Grade: B+

Quick Picks: “Nick and Norah,” “Nights in Rodanthe”

“Nick and Norah’s Infinite Playlist” (Michael Cera, Kat Dennings, Ari Graynor, Alexis Dziena)

“I will not be a goody bag at your pity party,” Norah (a quirk-perfect Dennings) curtly informs heartsick Nick (the awkwardly hilarious Cera) in the self-consciously hip but pithy “Nick and Norah’s Infinite Playlist,” and so begins one of the most smart, sweet and satisfying big-screen teen couplings to date. The meet cute unfolds thusly: Newly dumped by his sexpot ex Tris (Dziena), Nick and his queercore band The Jerk-Offs set out for a gig at a dive Big Apple bar. He meets Norah, who’s babysitting her perpetually smashed pal (Graynor), and various hijinks – some funny, a few contrived, one disgusting – ensue. But the disconnected plot matters little: the dialogue is snappy yet believable (take that, “Juno”), the soundtrack is indie perfection and the chemistry crackles between Cera, Jedi master of the bashful zinger, and a sarcastic, smokin’ Dennings. Here’s a pity party worth crashing.

Grade: B-

“Nights in Rodanthe” (Diane Lane, Richard Gere, Viola Davis)

Nothing ruins a pair of subtle but heart-wrenching performances – here delivered by Lane, faultlessly vulnerable as always, and a surprisingly poignant Gere – like schmaltz. And too many scenes in “Nights in Rodanthe” are littered with big, steaming piles of the stuff. That’s hardly surprising – nobody does gag-me melodrama like Nicholas Sparks – but it’s disheartening to those of us itching for a fresh Lane-Gere romance. (Remember “Unfaithful”? Chemistry doesn’t get hotter.) Still, these big-screen vets manage to develop characters that transcend the so-bad-Hallmark-wouldn’t-print-it dialogue. Lane is Adrienne Willis, a wife and mother with a crumbling marriage who escapes to Outer Banks, N.C., to tend to a friend’s (Davis) seaside inn. She finds a kindred spirit in the visibly damaged Dr. Paul Flanner (Gere), and the two stumble into a tentative, life-changing mid-life romance. The manipulative ending’s over-the-top horrible, but it doesn’t get better than Gere and Lane. Prepare to watch your heart melt into your popcorn.

Grade: C+