The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
Carl Allen (Jim Carrey) is a drag -- a recent divorcee in a dead-end job who basically has one word for everything: “No!” Then one day he is dragged to one of those super positive self-help seminars that forces him to say “Yes” to everything or face dire consequences. Thing is it works. Need Viagra? Yes. Bungee jumping? Yes. A quick hummer by his over-sexed septuagenarian neighbor (Fionnula Flanagan)? Uh … yes? Carl’s newfound agreeable self gains him more than he ever imagined. He even finds the love of his life a kooky musician/amateur photographer named Allison (Zooey Deschanel). Of course all this goodwill does have its consequences and Carl learns some valuable lessons. Sound familiar? Hey if Liar Liar worked once why not go back to the comedy well? Jim Carrey is just his best when he’s in a comedy -- even quirky comedies such as Eternal Sunshine of the Spotless Mind. He is so at home in the shoes of this kind of loveable loser who gets to live life in broad strokes. He knows how to play for big laughs without going overboard. So from now on Jim just say NO to thrillers like The Number 23. In the top notch supporting cast Sasha Alexander is a deadpan standout as the Persian wife he orders online and veteran Terence Stamp is a hoot as the self-help guru who gets Carrey into his predicament in the first place. Also very amusing are his best buddies played by Bradley Cooper and a hilarious Danny Masterson. As his bonkers New Zealand-esque boss Flight of the Concord’s Rhys Darby is a riot as Carl's boss. Deschanel is kind of the “straight man” here but she’s handles it well if not memorably. Peyton Reed is a fairly reliable comedy director with mostly hits (Bring It On The Break-Up). He knows Yes Man exists as a vehicle for the Jim Carrey brand of comedy and lets Carrey hog the spotlight. The movie lives or dies on what Carrey can deliver and on that scale Yes Man is a hit. There are some bits that fall flat and might have been cut but for all its broad humor Reed manages to keep it grounded and in simple scenes between Carrey and Deschanel the movie even borders on sweet. In a season of dark drama on screen -- and off -- the antidote could well be this dumb but fun time killer. So is a little comic relief worth the $10 in the economic downturn? We say YES!