Marvel movies know what they're doing: clear action, sharp performances, and intelligent screenplays. Of course, the studio is allowed their mistakes after so many successes (here's lookin' at you, Iron Man 2), but more often than not, Marvel nails it, especially in their set-up for the long awaited Avengers film. We've had Iron Man, Black Widow and The Incredible Hulk, we're getting Captain America, and now we have Thor - the god of thunder. Not just thunder, but lightening and fertility and strength (thanks, Wikipedia). And if anyone can embody fertility, strength, and inclement weather, it's Chris Hemsworth. Tall, blond, beefy - he has to be the ideal casting - and in a film racked with political intrigue, light hearted hysteria, and Shakespearean grandeur, Kenneth Branagh has to be the ideal director.
The film opens on Asgard, a powerful kingdom in another world, where the respected king Odin (Anthony Hopkins) has two boys who both want the throne: the wry and clever Loki (Tom Hiddleston) and the arrogant and brutally strong Thor (Hemsworth). Thor is a proud warrior with a group of great friends who follow him into battle against the Frost Giants, a race his father once proudly defeated. Of course, this is against his father's wishes, so Thor gets stripped of his powers and his only weapon - that famous hammer - and both he and the hammer are banished to Earth through a wormhole. He lands in New Mexico, meeting (read: getting hit by the car of) three scientists: Jane (Natalie Portman), Erik (Stellan Skarsgard), and Darcy (Kat Dennings). His hammer lands shortly thereafter, and the hunt is on for him to get it back, with the help of the scientists. Meanwhile, a war begins to brew on Asgard between the kingdom and the Frost Giants in retaliation for Thor's invasion.
It's interesting watching Thor adapt to his mortal form and get used to life on Earth. What's even more interesting is Branagh's tonal choices for the film - it's an incredibly light-hearted take, with beautifully designed special effects and 3D, and Branagh knows how to balance the humor (of which there's a lot) and the drama (which is heavy). Even when directing Hamlet back in '96, he had a strong grasp on finding humor in tragedy, and vice-versa. For a glimpse at the very dark side of his humor, and a better look at his directorial talents, check out Sleuth (2007) with Michael Caine and Jude Law. Most impressive, regarding the effects, was the use of the 3D format. I know my readers; they're thinking "Wait... he actually liked 3D?" And yes, I did. It served its purpose, this time; the film was dimly light, but the 3D action was clear and didn't distract from what was going on. 3D usually just makes a film darker, and this wasn't the case here.
The film opens on Asgard, a powerful kingdom in another world, where the respected king Odin (Anthony Hopkins) has two boys who both want the throne: the wry and clever Loki (Tom Hiddleston) and the arrogant and brutally strong Thor (Hemsworth). Thor is a proud warrior with a group of great friends who follow him into battle against the Frost Giants, a race his father once proudly defeated. Of course, this is against his father's wishes, so Thor gets stripped of his powers and his only weapon - that famous hammer - and both he and the hammer are banished to Earth through a wormhole. He lands in New Mexico, meeting (read: getting hit by the car of) three scientists: Jane (Natalie Portman), Erik (Stellan Skarsgard), and Darcy (Kat Dennings). His hammer lands shortly thereafter, and the hunt is on for him to get it back, with the help of the scientists. Meanwhile, a war begins to brew on Asgard between the kingdom and the Frost Giants in retaliation for Thor's invasion.
It's interesting watching Thor adapt to his mortal form and get used to life on Earth. What's even more interesting is Branagh's tonal choices for the film - it's an incredibly light-hearted take, with beautifully designed special effects and 3D, and Branagh knows how to balance the humor (of which there's a lot) and the drama (which is heavy). Even when directing Hamlet back in '96, he had a strong grasp on finding humor in tragedy, and vice-versa. For a glimpse at the very dark side of his humor, and a better look at his directorial talents, check out Sleuth (2007) with Michael Caine and Jude Law. Most impressive, regarding the effects, was the use of the 3D format. I know my readers; they're thinking "Wait... he actually liked 3D?" And yes, I did. It served its purpose, this time; the film was dimly light, but the 3D action was clear and didn't distract from what was going on. 3D usually just makes a film darker, and this wasn't the case here.
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