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.
Only mildly titillating and not especially thrilling the wannabe erotic thriller In the Cut isn't able to rise to the occasion so to speak. This yawner stars Meg Ryan as Frannie a depressed creative writing teacher in New York who keeps mostly to herself unless it's to get together with her slutty half-sister Pauline (Jennifer Jason Leigh). Wary about love Frannie's seen how messed up relationships can get. The last guy Frannie dated an mentally unstable med student (Kevin Bacon) is stalking her while crazy sis Pauline is currently stalking a married man who has a restraining order against her. These people have serious issues and dour Frannie figures its easier just to fantasize about men and masturbate (hey don't we all?). Then she meets Det. James Malloy (Mark Ruffalo) an aggressive yet charismatic cop who questions her about the brutal murder of a woman in the neighborhood. Things get all screwy (in more ways than one) when the attraction between Frannie and Malloy grows and the slick detective ends up taking Frannie to some new sexual heights while at the same time strange occurrences are making her suspect Malloy is the murderer. Aw she's just so negative. It all comes to a head so to speak as the real murderer comes to light blah blah blah--but all we want to know is will Frannie finally find a good anti-depressant?
Along with so many actresses Meg Ryan apparently believes dying her hair brown wearing no makeup and sporting a sour and we suspect surgically enhanced face (she looks more nauseated than anything) gives her dramatic heft. And what about that gutsy move of showing a little frontal? Stop the presses--America's sweetheart bares her soul and her breasts! Unfortunately it all backfires. The usually perky Ryan can't dig deep enough to inhabit Frannie's miserable persona even though she's had practice (remember When a Man Loves a Woman and Courage Under Fire) and with In the Cut she comes off looking worse than ever literally and figuratively with a wrist-slitting performance that only proves comedies will forever be her forte (where's Sally when you need her?) As the skanky cop Ruffalo (You Can Count on Me) fares a bit better but still telling a woman all the things you want do to her in bed in a flat emotionless voice doesn't help his case as a sexually provocative leading man. If Ryan's Frannie was not so lifeless maybe she and Malloy could have sizzled but they never connect. The always-good Leigh would have made a much better Frannie. As disturbed Pauline she turns in the most interesting performance of the film.
Director Jane Campion (The Piano) admits she was going for a specific look and feel with In the Cut that of the emotionally charged '70s dramas and thrillers such as the classic 1971 erotic thriller Klute about an emotionally distant prostitute who helps a detective solve a string of murders. In the Cut tries to be Klute--sans Jane Fonda's Oscar-winning performance as the prostitute and Donald Sutherland's superb turn as the smitten detective. Campion's film lacks both stellar performances and the street grit that made those older films so powerful though she does give the film the same drab grimy look of a '70s indie film to match the mood of her main characters (and what fun that is). Plus the way she annoyingly films scenes out of focus makes you think you've got myopia--the periphery is constantly out of focus. Rather than being artsy all this does is trigger a headache.