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.
The man turned out to be an undercover reporter working for British tabloid the News of the World.
The top secret meeting was staged to con the Duchess of York into offering access to her ex-husband Prince Andrew and her help in a Middle East business deal in return for cash.
The meeting was captured on a hidden camera and posted on the News of the World's website, turning Fergie into an international laughing stock.
But the red-faced former royal insists she had a very good reason for taking the bogus businessman's initial cash offer.
In a taped chat with U.S. TV talk show host Oprah Winfrey, Ferguson says, "The interviewer had come from a friend of mine and he had come very highly recommended from four different people... and a friend of mine needed $38,000 urgently.
"He had said, 'I will give you that $38,000...'"
The Duchess of York reveals the video footage of the meeting also featured scenes of her sobbing - but that was cut out of what was posted online.
She recalls, "I was crying and I thanked him so much for helping my friend."
At one point during the film, Fergie is seen sitting in front of a pile of money - believed to be $40,000 ($27,000) the undercover reporter handed over to her.
Ferguson insists the money has been given back to the newspaper.
WHAT’S IT ABOUT?
Carbon copying the already overly convoluted idea from the previous Final Destination movies the latest worst installment continues on the theme of one unlucky twentysomething being able to predict who’s going to die and when; this time it’s Nick. After attending a NASCAR race with his girlfriend Lori and their friends Hunt and Janet Nick has a premonition about an elaborate horrific accident that threatens everyone present. Naturally it comes true — and even though plenty of people die in the stands Death (you know the bogeyman) has only just begun. But Nick realizes that he might be able to save the survivors of that day by remembering the order in which they're supposed to die and warning them of their imminent demise. Unfortunately though not everyone believes him and they carry on with their dangerous activities ... like going to a hair salon or — gulp! — through a carwash.
WHO’S IN IT?
Up-and-coming actor Bobby Campo plays the main pretty young thing and he makes the best of what is ultimately an untenable and God-awful role to have to accept. Still fresh faces capable of pulling off his part are a dime a dozen and Destination’s past leads like Mary Elizabeth Winstead at least left us feeling their fear. Supporting actresses Shantel VanSanten as Lori and Haley Webb as Janet are there for little more than eye candy and ear-shredding screams while former MTV 'It' dude Nick Zano as the obnoxious clichéd — and obnoxiously clichéd — Hunt can’t even provide the occasional comic relief for which he was brought on. The lone bright spot comes courtesy of an evidently desperate-for-work Mykelti Williamson (aka Bubba in Forrest Gump) who plays a widowed security guard adding a shred of cred to the otherwise disposable cast (which includes a barely there Krista Allen).
Clocking in at a mercifully brisk hour and 15 minutes the makers of TFD find one way to not essentially call us stupid: They know we want our scares quickly and they deliver — except for actually scaring us. Aside from its running time the aforementioned credible performance by Williamson is literally all the movie has going for it.
Wow where to begin? Destination another in a loooong line of wholly unnecessary sequels is riddled with problems — from the are-you-kidding-me? “special” effects (even in 3-D) to the jaw-droppingly horrendous writing. Director David R. Ellis (helmer of the infinitely better Final Destination 2) should bear much of the blame. He seems uninterested in delivering anything that people go to the movies for; this Destination is nothing more than tenuously connected scenes of video-game-like deaths that try to one-up each other. And not one of the sequences is even mildly suspenseful or scary — just disturbing in the sense that some people will actually smirk in earnest at the cartoonishness of it all.
The writing though is the real culprit. Eric Bress’ (also an FD2 alum) script is incredibly unimaginative merely recycling similar but better executed scenarios from the three previous movies and swapping out the settings. With ideas so bad Bress makes it abundantly clear that there’s no inane death massacre left to explore at this point; it's basically a metaphorical surrender. And yet the dialogue is even worse — with stock stereotypical block characters muttering it to boot.
LEAST FAVORITE SCENE?
Not to completely give it away — lest we make the movie predictable! — but one of the death scenes is just so far beyond ridiculous that it transcends even sarcastic laughter. Hint: It involves water and it’s about midway through the movie … if you dare stay that long.
Even if you’re not a cinephile and you couldn’t care less about things like character depth and plot development and you’re looking for a very quick thrill The Final Destination is well beneath you. It makes recent straight-to-DVD releases look like fully coherent masterpieces. Whether in 3-D or 2-D it’s a mustn't-see!
WHAT IT’S ABOUT?
Claire is an attractive CIA operative and Ray is an M16 agent who simultaneously leave their Governmental spy activities in the dust to try and profit from a battle between two rival multi-national corporations both trying to launch a new product that will transform the world and make billions. Their goal is to secure the top-secret formula and get a patent before they are outsmarted. While their respective egomaniacal CEOs engage in an unending battle of wills and one-upmanship Claire and Ray start out conning and playing one another in a clever game of industrial espionage that is even more complicated due to their own long-term romantic relationship.
WHO’S IN IT?
Reuniting Closer co-stars Julia Roberts (as Claire) and Clive Owen (as Ray) turns out to be an inspired idea. They turn out to be the perfect pair oozing movie-star charm and electricity in this elaborate con-game that might have been the kind of thing Audrey Hepburn and Cary Grant might have made in the '60s (in fact they did in Charade). Roberts with that infamous hairstyle back the way we like it and Owen looking great in sunglasses prove they have what it takes to navigate us through this ultra-complex plot in which no one is sure who they can trust at any given moment. They play it all in high style and the wit just flows as the story skirts back and forth during the period of five years. The supporting cast is well-chosen with juicy roles for Tom Wilkinson and Paul Giamatti (out of their John Adams duds) as the two CEOs going for each other’s throats. Giamatti who sometimes has a tendency to overdo it is especially slimy here and great fun to watch.
Big-star studio movies today rarely take risks and often talk down to the audience but in Duplicity writer/director Tony Gilroy (Michael Clayton) has crafted a complicated con-comedy that requires complete attention at all times just to keep up with the dense plot’s twists and turns. It’s the cinematic equivalent of a New York Times crossword puzzle and Gilroy and his top-drawer production team deliver a glossy beautiful-looking film that’s easy on the eyes hitting locations from Dubai to Rome to New York City.
Like any good puzzle it sometimes can be frustrating putting it all together and Gilroy’s habit of taking us back in time and then inching forward gets a little confusing even with the on-screen chyron pointing out where we are at any given moment. Stick with it though and you will be well-rewarded.
A scene near the end where the formula must be found scanned and faxed in a matter of minutes is sweat-inducing edge-of-your-seat moviemaking and it provides the ultimate opportunity for Roberts and Owen to take the “con” to the next level. Another where Roberts uses a thong to try and trick Owen into admitting an affair he never had is also priceless and gets right to the heart of the game-playing.
GO OUT AND GET POPCORN WHEN ...
Never. Stock up during the coming attractions. If you miss a moment of this entertaining romp you might never figure it all out.