Thor (2011, Kenneth Branagh)

THOR

Spoiler warning: these reviews reveal plot twists.

Banished from the heavenly realm of Asgard, god prince Thor ends up on Earth. But back home his brother has usurped the king…

This film has muscles, in more ways than one. Most noticeable are the beefed-up biceps of its lead actor but there’s also plenty of strength in the talent involved. A comic-book movie directed by Kenneth Branagh and co-starring Anthony Hopkins will have some heft behind it, not matter what else is going on. Sadly, though, the way Thor’s storyline bounces around between some very different worlds means we get a jarring clash of tones: the fish-out-of-water comedy and Dune-style space opera never quite seem to marry up. We start with a group of scientists in modern-day New Mexico, presumably to reassure casual viewers that the film won’t be too far-out, then we cut to Tønsberg, Norway, in 965 AD. Monsters called Frost Giants are doing battle with humanoid gods on a barren, cold landscape. After three films featuring American scientists dabbling in gamma-ray experiments and ergonomic, biomechanical suits, it’s clear the Marvel Cinematic Universe is doing something different this time. It’s a risk, and it shakes the series up. But as the main storyline gets underway on the heavenly world of Asgard – all golden halls, Shakespearean pomp and CGI set extensions – it’s difficult to take things seriously. Hopkins is king, an underused Rene Russo is his queen, and their two sons are engaged in a bit of sibling rivalry. Chris Hemsworth plays Thor, who is the heir apparent but recklessly goes to war with his father’s enemies. Meanwhile, Tom Hiddleston plays Loki, who aptly does start quite low-key. He slowly sneaks up on the film as its main villain, thanks to a controlled, effective performance. In this section we also meet Thor’s four friends: Volstagg (Ray Stevenson), Hogun (Tadanobu Asano), Fandral (Josh Dallas) and Sif (Jaimie Alexander), though considering how lightweight they are they may as well be called Asterix, Obelix, Dogmatix and The Token Fit Girl. Idris Elba also pops up as Helmdall, a humourless man who seemingly spends his entire life standing guard at a teleport booth. (Casting a black actor as a Nordic god led to calls for a boycott from a right-wing American pressure group. The things some people choose to care about…) There’s talk of Mjolnir, a mighty hammer that was forged in a star blah blah blah, and a cube-shaped MacGuffin that contains some kind of nebulous power. It’s all rather po-faced and staid. Things aren’t helped by the way the scenes are staged. Although shot conventionally, the film was always going to be converted to 3D for its cinema release – so we get some strange and distracting camera moves and lots of off-kilter angles. It comes as something of a relief, therefore, after half an hour when Thor is banished from his world and we finally return to the scientists from the first scene. The whole timbre of the movie switches now, and the light comedy begins. For example, having arrived on Earth, Thor is tasered while giving a self-important speech, then the same gag is repeated a few minutes later (he’s injected with a sedative this time). The lead scientist – and Thor’s love interest – is Jane Foster, played by a likeable Natalie Portman. She has two sidekicks: the worrisome Erik Selvig (played by the ever-dependable Stellan Skarsgård) and the sarcastic Darcy Lewis (played by the ever-adorable Kat Dennings). Various SHIELD agents turn up too – this is an MCU film, after all. One of them, an archer called Barton, is basically a glorified extra with a few lines: you’d never guess from this perfunctory cameo that one of the franchise’s major characters has just being introduced. But by now the film is generally very entertaining. Hemsworth and Portman are good fun, and there’s a great sequence of Thor and Erik getting drunk together. The big problem is that as we cut between New Mexico and Asgard, the momentum is stunted and the tone disrupted. If this were a 1980s film with a lower budget and no recourse to CGI, we’d be with Jane and co throughout. Thor would be a visiting outsider like the aliens in E.T. the Extra-Terrestrial (1982), Starman (1984), Howard the Duck (1986) and My Stepmother is an Alien (1988). We’d learn about his culture and background through the human characters’ eyes. But in its eagerness to show us everything the film loses something. Less would be so much more.

Seven pick-up trucks out of 10

stan-lee-thor

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