Movie Review: Thor

Stop! Hammer Time!

      Like Charlie Sheen at a porn convention, I am conflicted by the glut of superhero movies right now. The kid in me never thought the day would come when Marvel characters would invade the big screen. But now that it's happening, and now that I'm an adult, I don't know how to feel. How does one evaluate the efficacy of dudes in costumes wielding fantastical powers? On the surface, these superhero films exist (like any pornstar in Sheen's voracious, party-blazed eyes) as pure eye candy. Thus, the crux of the evaluation process is whether the "fun" factor takes precedence over any "profound" pretension. 
      Well, much to my surprise, Kenneth Branagh streamlines the evaluation process. The early 90's wunderkind, famous for early Shakespearean successes, synthesizes a story that not only appeals to that always faithful childhood enthusiast, but entertains and engages the hardest believer among adults. Thor delights us old folk almost as much as it dazzles those youngsters. Bravo, Kenneth Branagh.
      Thor is a slightly tinkered with origin story. Unlike Spider-Man, for example, there is no moment of superpower transformation—scaling walls or jumping rooftops. On the contrary, Branagh instantly thrusts the audience into the superhero, superpowered world of Asgardian Warriors and Frost Giants. Expelled from the mythical Asgard, the mighty, but insolent Thor (Chris Hemsworth), now "a fish out of water" on Earth, must ascertain the meaning of humility. You see, Thor possesses a bombastic overconfidence, a trait unfit for a King. But the god of thunder, under the auspices of Odin, the ruler of Asgard and father of Thor (Anthony Hopkins), must radiate regal virtuosity. Along with an inquisitive scientist, Jane Foster (Natalie Portman), her mentor Erik Selvig (Stellan Skarsgard), little helper Darcy Lewis (Kat Dennings) and a Sword-In-The-Stone scenario, Thor resigns himself to a perfunctory life on Earth (he gets sloshed with Selvig). But a formidable old foe dispatches a destructive force, designed to cripple humanity. And, when the banished Norse God defeats the cosmic behemoth, he finally grasps (quite literally) the meaning of heroism. But this heroic identity, just-now-forged, must take arms against some familiar forces.

       Thor is crowd pleasing comic book fare primarily targeted towards kids. And, if I was still a kid (some argue I am), I would absolutely, unequivocally Love this film. And, as an adult, I still really enjoy it. Although the story lacks tension, Branagh harnesses a fun, amusing tone. Both Asgard and Earth's production designs are grand and vibrant. The action sequences—largely reliant upon a CGI bombardment—work on a conceptual level, but stumble somewhat in execution. At first, Asgard appears to be a tad kitschy. The rainbow bridge (seemingly, fresh out of Mario Kart), the gate of Bifrost (terrific aesthetic design) and its keeper Heimdall (Idris Alba), all appear silly. But Branagh offsets this overt mythological sentimentality by orchestrating new, varied camera angles and infusing a vigorous vibrancy. Thor's hammer is a great example of his exuberant style. The opening Frost battle sequence underscores the great physical wonder of the hammer, as it moves through space with such precision, such panache. In fact, the entire opening fight sequence is exhilarating. 
      These swooping CGI sequences evoke such razzle-dazzle, but at times, look cartoonish and inauthentic. For one thing, the CG Frost Giants all look identical. And the fight sequence when Thor attempts to retrieve his hammer is sort of banal (though, the imagery of him trying to pull the hammer out of the ground is friggen cool).

      Thor is a jaw-dropping spectacle....at times. There are numerous characters I care for, and earnest action sequences I look forward to. But, ultimately, there is still a disingenuous novelty to the more important action flourishes. As someone who was somewhat noobish about the intricacies of the Thor mythology going into the experience, I came away with a tempered satisfaction. Conceptually, the world is great, but the execution, at many key moments, is lackluster. Thor's battle with Loki is a prime example. And Thor's fight sequence with The Destroyer is equally underwhelming. The CGI looks fantastical, but it robs the action of any impact. Moreover, the CGI in Asgard is cool, but feels too dreamy. It leads to a mild disconnect, which renders the Frost Giants—key adversaries of Asgard—obnoxiously monotonous. 

      I do not want to come across as someone who harbors a deep frustration with the film. That is not even remotely the case. Branagh interjects the Marvel mythology with some wonderful Shakespearean touches, provoking fantastic drama. The Thor cast-out scene, for example, is stupendous. Anthony Hopkins gives it his all. Like a towering piece of literature, Odin unleashes a fiery, brooding disappointment on his biological son. In doing so, Branagh demonstrates a sharp knack for marrying tragic, classical Shakespearean artifacts with authentic, true-to-source comic book architecture. 

      The character arc of Thor is good ol' bread-and-butter fare: a mighty and regal figure is humbled and forced to acknowledge his shortcomings...and then, after overcoming these shortcomings, finds redemption. Despite its hackneyed design, Branagh infuses Thor's arc with dramatic Shakespearean flair. And in the process, Chris Hemsworth exhibits an almost Harrison Ford, leading man quality. He is a masculine, powerful sex symbol, but also a tender, unabashedly silly hero. It's a unique star quality; a quality that also suits his romantic co-star. There are problems with Portman's character. She is—ad nauseam Hollywood—a dreaded plot point known more plainly as the manipulative romantic device. But thankfully, she is extremely beautiful—so much so, her adorable smile inspires Thor to retire his Norse God suit in exchange for her company.
      The most inspired performance comes from Tom Hiddleston, who plays Fredo...I mean Loki. His spirited standoff with Odin—Anthony Hopkin's whole I'm-A-Helluva-Dramatic-Actor-Tirade—is sensational. Loki's story is the most interesting of the narrative, exceeding the conventional I'm-Thor-I'm-Arrogant trope; Loki's the brains (the Lex Luthor type) while Thor's the brawn. Tom Hiddleston brings a nuanced complexity to his character. As the one designed to be the family foil, he is a sinister, but gentle figure. His story speaks to the idea of nature versus nurture, which is conspicuously Shakespearean. And, despite any prior controversy, Idris Elba proves he is quite the talented actor, delivering a strong, but limited performance. In fact, many of the peripheral performances are quite limited, but they're mostly solid.

      Many detractors question whether these superhero movies are a mere means to an end. Are they strictly a piece of The Avengers puzzle? Can they effectively standalone? The challenge for any director captaining a superhero movie is enormous (not just in terms of budget). They must strike a fine balance between sui generis and comic book lore while also brokering an affiliation to The Avengers. Iron Man demonstrated this miraculous balancing act better than the rest...so far. But Iron Man 2 illustrated precisely what not to do. An overt and hurried adherence to S.H.I.E.L.D—symptomatic of the whole Avengers concept—does not benefit the story. But Branagh marries the dual tasks quite splendidly. I am pumped for Thor 2, but I am even more energized for The Avengers—an admission that comes from a prior cynic of superhero hysteria.
      Thor exists on its own very well. The movie introduces great characters and takes us to different places even though the numerous sets feel somewhat homogeneous and minimal: the podunk little town near the desert and the minimal scope in Asgard (the Bridge, the throne room, etc.) spring to mind. Thor is not as effective or powerful as Iron Man and is certainly not on the level of The Dark Knight, but in terms of sheer visual beauty, it is still a commendable superhero film. The juxtaposition between Earth and Asgard alludes to a stark self-containment, which may just be an attempt at anonymity. Perhaps, Branagh and company do not want to reveal Thor's presence to the rest of the world (thus maintaining a purposeful disconnection). Branagh—more likely, the studio—may be nursing the evolutionary elements of the Norse God mythology in order to expand the compelling narrative, for what will lead to an inevitable sequel. In this respect, Thor's story is very much reminiscent of Superman 2: a mundane slice of Americana. Ultimately, Thor is not without shortcomings. But in grand Shakespearean fashion, Branagh's epic fits terrifically within the marvelous Marvel universe.

7.5 out of 10

*Official trailer for Thor.