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.
Crystal Lake. Dumb kids in the woods. Sex drugs booze. A hulking maniac in a hockey mask wielding a machete. Yeah that about sums it up.
Are you kidding? The new Jason Derek Mears probably fares best among the actors because he doesn’t have a single word of dialogue. Everyone else unfortunate enough to stumble in front of the camera – Jared Padalecki Amanda Righetti Danielle Panabaker Travis Van Winkle – is basically fodder for the slaughter. Some of them get naked. Most of them get dead. Some die more gorily than others. No one dies quickly enough. Having previously (and woefully) directed the 2003 remake of The Texas Chainsaw Massacre helmer Marcus Nispel does his best – and worst – to resurrect yet another popular horror franchise from the past. He also adds absolutely nothing new to the formula. Quite frankly anyone could’ve directed this film. Judging by the results anyone did. This is the 12th Friday the 13th film for those keeping score at home and with any luck it’ll be the last. Of course it won’t be. But we can always hope.
Based on the best-selling book of the same name Fast Food Nation has three intertwined stories revolving around the fast food industry. Don Anderson (Greg Kinnear) is a corporate marketing guy assigned to put a positive spin on the bad news that fecal traces has been found in the meat. He goes to the meat factory to investigate and doesn’t like what he sees but no one offers him a viable solution. Then there’s Raul (Wilmer Valderrama) and Sylvia (Catalina Sandino Moreno) Mexican immigrants who cross the border illegally. The only job they can get is in the meat factory. She bears with demeaning sexual advances while he faces the unhealthy and dangerous conditions to try for the American Dream. Finally we meet Amber (Ashley Johnson) who works in a local franchise. She’s just a high school girl trying to pay for her car insurance. This isn’t her future but it dominates her present. The corporate story is a comedy about ineffective management and media spin. The immigrants’ story is a hard drama about a bad life. Amber’s story straddles both lines--a slacker teen comedy but also introspective about what the job is doing to her soul. It may be no secret these days but it’s still fascinating. There is plenty of juicy dialogue for actors to sink their teeth into (pun intended). Kinnear plays the corporate suit as lovably as possible. He’s the put-upon business cog similar to his characters in The Matador and Little Miss Sunshine but funnier because it’s the system that’s futile not his own dreams. Valderrama has a smaller part just supporting his wife going through a horrible life with noble determination. Moreno is as heartbreaking as she was in her Oscar-nominated performance in Maria Full of Grace. You sense so much potential in her and she’s stuck in the factory demeaned by sexual harassment and unable to save her sister from succumbing to it. She adds new colors of despair to the immigrant experience. Johnson is careful not to make her character too wise beyond her years. She really is just a normal kid. High school sucks so do counter jobs. It’s not about being unique just relatable. Cameos stand out too. Ethan Hawke plays the coolest uncle ever. He comes to town for two scenes spouts off his cool-uncle advice and then leaves. Even though he’s a self-confessed loser he’s convincing. And he buys her beer. Bruce Willis gives a speech on the meat industry with his David Addison smirk while chomping into a burger. We’re sold. Director Richard Linklater does a good job keeping the comedy and drama balanced. He cuts back and forth between stories at sensible intervals. Towards the end Greg Kinnear disappears for a long time but Ashley Johnson’s story beefs up to compensate. Showing the inner workings of the meat factory is pretty powerful. Cow guts falling out and bodies mangled by machinery are not fun things to watch but they are important to remember. It’s all up there on the screen but not gratuitous—and doesn’t have to ruin meat forever. Just think how all foods have processes that we don’t see and still taste good. There are plenty of scenes in which the characters are talking a real Linklater specialty (Before Sunset Before Sunrise for example). Whether they’re talking about meat or minimum wage jobs or life ambitions the conversations have a catchy flow. The satire of corporate America and slacker lifestyles juxtaposed against the drama of immigrant life makes Fast Food Nation both ridiculously funny and appropriately uncomfortable.