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.
After starting what he thinks is just another day by methodically brushing his teeth the way he always does IRS Agent Harold Crick (Will Ferrell) gets a visit from an uninvited auditory guest--Kay Eiffel (Emma Thompson) the author of his life. Little does she know while writing a book about a character named Harold Crick that the real Harold can hear her narrations loud and clear; little does Harold know that her novels don't have happy endings--that is until he hears it in her narration which states that he is to die. Luckily she's in the midst of writer's block so he has some time to find out well how much time he has to live. He immediately consults a literary professor (Dustin Hoffman) who instructs Harold to further pursue a relationship with an anarchistic baker (Maggie Gyllenhaal) he is currently auditing in order to learn more about the course the novel will take. The relationship flourishes and he’s happy for the first time in a long time but will art imitate--or end--his life? Ferrell seems to be mimicking the exact path of his direct comedic-superstar predecessor Jim Carrey even down to his first serious-ish role: Carrey’s first dramatic foray was the equally quasi-existential though much better Truman Show. Ferrell has no problem whatsoever making the transition--that’s just what abundant natural talent affords certain actors. But his crossover attempt should’ve been more subtle since audiences have come to expect at least one “streaking” scene per Ferrell film. As Ferrell’s heavily tattooed love interest the ubiquitous Gyllenhaal scores again. Fresh off roles as a stripper single mom (Sherrybaby) and a frantic pregnant 9/11 wife (World Trade Center) she proves that no matter her character’s physical appearance or mindset she can do no wrong. Ditto for Thompson who spends much of the film in pajamas and the throes of writer’s block--the "writer" prototype--much to the dismay of her publisher-appointed assistant played well by Queen Latifah. Rounding out the cast is Hoffman whose professor isn't totally unlike his answer provider in like-minded I Heart Huckabees. His character’s quirky humor is child’s play at this point for the veteran but a select few scenes between him and Ferrell are extremely satisfying. To liken Stranger Than Fiction to a Charlie Kaufman (Eternal Sunshine of the Spotless Mind Adaptation et al) script/movie is not totally without merit. Fiction captures the “vivid yet distant” essence that is common with Kaufman’s stories and subsequent movies. But whereas Kaufman doesn’t go out of his way to coddle audiences’ minds amidst his often obtuse movies writer Zach Helm and director Marc Forster seem to have audience appreciation (read: box office) on the brain. Helm’s idea is nothing short of genius in a way that’s different from the oft-mentioned screenwriters he’s compared to but somewhere en route he and/or Forster (Finding Neverland) compromised the vision. Because what starts out as a complex intriguing movie turns stale quickly especially given the inexplicable ease with which it transitions from a metaphysical story into a straightforward one. And Forster's tendency in the movie to undercomplicate is just as detrimental as the opposite extreme. The dialogue also falls somewhat flat often neither funny nor off-kilter enough buoyed only slightly by superb cinematography set direction and indie music featuring Spoon (whose frontman Britt Daniel reworked some of their best songs for the movie)--but we’ve come to expect that trifecta from similar movies.