Thor: The Dark World (2013)
Loosely based off the Norse mythology, Marvel’s hammer-wielding hero isn’t exactly the easiest character to relate to even as a superhero. Thor is a god after all. Not to be outdone, the man is also royalty, next in line to be king, so he’s in a special class of privilege. And yet 2011’s Thor was a pleasant surprise, a superhero movie that didn’t take itself too seriously, had modest aims, and embraced its sci-fi fantasy mélange. It was a movie where the sillier it got the better it worked. Now Thor: The Dark World, a.k.a. Thor 2, is ready to dominate the fall box-office and prove that Joe and Jane Popcorn can cheer for a pagan god.
Following the events of The Avengers, Loki (Tom Hiddleston) is taken back to his home world of Asgard and put in prison. Loki’s brother, Thor (Chris Hemsworth), is trying to get back to Earth to reunite with his love, scientist Jane Foster (Natalie Portman). Thor is being groomed for the throne of Asgard by his father, Odin (Anthony Hopkins). Meanwhile, the nine worlds are nearing a convergence and dimensional gateways are opening, including one that infects Jane with an ancient biological weapon, the aether. The aether was used as a weapon by the dark elves, a race of creatures that was long ago defeated but its general, Malekith (Christopher Eccleston), has been dormant and in hiding. Alterted, he assembles his surviving army to attack Asgard, kidnap Jane Foster, retrieve the aether, and destroy all life in the universe.
Thor is still a second tier character when it comes to Marvel superheroes (the guy just isn’t that interesting) but his franchise has, in only two starring films, become the most interesting. The scope of the Thor movies seems infinite. Whereas the other Marvel heroes are Earthbound and straightforward, Thor transports an audience to all sorts of alien worlds/cultures/conflicts, all of which open up more tantalizing storytelling avenues. Nothing seems out of place in a setting such as this, and so the surprises are more satisfying. I thought the best parts of 2011’s Thor were the Asgard moments, less the strained fish-out-of-water comedy of Thor assimilating on Earth. Thankfully, almost all of Thor 2 takes place off Earth save for a rousing, creative, inter-dimensional hopscotch of a climax. The realm of Asgard is given suitable scope thanks to the screenwriters and first-time feature film director Alan Taylor, who worked in TV for years. Taylor’s notable work on HBO’s Game of Thrones is probably what got him this gig, and his vision with fantasy is given significant breadth here. The Thor universe is an interesting mix of fantasy and sci-fi, reminiscent of Star Wars, and Taylor provides the necessary sweeping visuals, exciting action, and glorious shirtless close-ups we come to expect from our fantasy vistas. I was consistently impressed with Taylor’s command of visuals and shot selection, particularly how the man was able to juggle the various tones and needs of the script while still keeping an exposition-heavy film fun and light.
With rainbow bridges, dark elves, and enchanted hammers, thank goodness that Thor 2 keeps a steady and welcome sense of humor, never getting too serious even with the end of existence on the line. This jovial tone is refreshing when properly executed and contributes to the overall fun of the picture. We’ve had such sturm und drang when it comes to our superhero movies, particularly last summer’s Man of Steel misfire. I appreciate a dark and gloomy superhero tale like Nolan’s Batman films, or a satirical swipe like the original Kick-Ass, but we need stories that fit with their tone. When it comes to Thor, he’s still saving the world, rescuing his damsel, but the attitude, while on its face regal and serious, is anything but. The Thor movies accept the absurdities of its setting and just shrugs, plowing along. And now with Jane on Asgard, the fish-out-of-water comedy gets a different perspective. She gets to meet Thor’s parents (awkward) and an Asgardian who has a thing for the hunky Norseman (double awkward… I’ll stop the 90s catch phrases now). Thor 2 also gives Jane Foster much more to do, placing her front and center as a person integral to the stability of the universe. During the snazzy climax, she gets to run around and contribute in a meaningful manner. The there’s the plucky Kat Dennings (TV’s 2 Broke Girls) who gets to rattle off one-liners like a pro, many of them grounding the elevated levels of silliness. Much of the humor comes from the cocksure characters and their quips, particularly Loki.
And that’s as good as any place to interject my notion that Thor isn’t truly the main character in this film, despite what the title preceding the colon may lead you to believe. That honor goes to Loki, the greatest villain in any modern Marvel movie by far. He’s got the clearest arc in the movie, going through arguably the most personal pain, coming to a crossroads, and his conclusion certainly sets up sizable ramifications down the road for the presumptive Thor 3. Played by Hiddleston (War Horse), the character draws you in, even when he’s throwing his self-aggrandized temper tantrums you want to spend more time with him. He’s far and away the most developed and interesting character onscreen, and Hiddleston has such a gleeful malevolence to him that makes the character all the more electric and unpredictable. Thor 2 is really the story of Loki coming to terms with his life’s choices, the choices his adopted parents made, his sense of self and birthright, and moving forward, becoming his own man again. This is why Thor 2 ascends another entertainment rung by tying Loki into the main story, forcing him and Thor to work together against a common enemy.
In a film dominated by a charismatic Loki, it’s no wonder that Thor 2’s real bad guy falls woefully short. Malekith is a confusing and altogether lackluster antagonist in every conceivable way. He has no personality to him; he’s simple-minded with the goal of eradicating the universe. I don’t know about you, but my bad guys better have a pretty good reason for destroying the universe since they kinda live there too. This is one of the lazier villain plot devices because it has no nuance, no shading. Apparently before there was a universe there were dark elves. I don’t want to get caught in a chicken-egg paradox here, but was there a universe before the universe, cause I look at the universe like existence’s garage. The cars inside may change but the garage was standing before it all. Anyway, Malekith wants to destroy all life because he wants to, because certainly you’d think there would be enough space in space. He’s not even that threatening or given any particular advantage beyond some firepower. It’s no wonder that Loki runs circles around this chump in the villain department. Eccleston (Unfinished Song) is not at fault. The heavy makeup he’s under smothers the actor’s ability to polish this terrible character.
The rest of the acting fares better. At this point, we know what we’re getting with Hemsworth (Snow White and the Huntsman) as the title character. He’s a sturdy leading man with just enough appeal to satisfy, though part of it is that Thor is just dull as a hero. He was more entertaining when he was cocky and irresponsible. Portman (Black Swan) holds her own though the romance between her and Thor feels more forced. Hopkins (Red 2) strikes the right mix between regal and camp. While their roles aren’t exactly integral, it’s nice having a superhero movie stuffed with great actors like Idris Elba, Ray Stevenson, Adewale Akinnuoye-Agbaje, Clive Russell, and there’s even an amusing appearance by Chris O’Dowd, who effortlessly oozes charm (take note, Thor).
This a superhero movie that separates itself by its sheer sense of fun. Thor: The Dark World takes what worked in the previous movie and provides more of it. The campy, silly Asgard stuff is given even more time, the mischievous sense of humor is renewed, the fantasy worlds given more depth and better action/effects, and fan favorite Loki gets a big starring role this time with extra brotherly bickering. It’s not the best superhero movie, nor is it the best Marvel film of recent years, but Thor 2 knows what kind of movie it wishes to be and how to best achieve this. It’s a loopy, droll, and rather imaginative big-budget superhero film, while still finding ways to be somewhat generic with its overall plotting and character turns. While the action is suitably epic, it’s the character interactions that are the most enjoyable aspect. It seems excessively lazy to say that if you enjoyed the first Thor, you’ll probably enjoy the second one as well, but there it is. Perhaps next time the storyline won’t be as convoluted and we can get even more Loki. Barring that, I’ll accept additional Chris O’Dowd screen time.
Nate’s Grade: B
Posted on November 10, 2013, in 2013 Movies and tagged action, alan taylor, anthony hopkins, chris hemsowrth, chris o'dowd, comic book, fantasy, idris elba, kat dennings, natalie portman, sci-fi, sequel, stellen skarsgard, super hero, tom hiddleston. Bookmark the permalink. Leave a comment.