But unlike this summer's "Iron Man 3," it hasn't been met with absolute love. An A- Cinemascore suggests that Joe Public is having fun with it, but critical responses are more muted: we called it "the most deeply flawed Marvel movie since 'Iron Man 2' " and the film holds the lowest Rotten Tomatoes and Metacritic score of any Marvel film to date. With the film now in release pretty much everywhere, we wanted to dig a little deeper into it, so as we've done with many major movies before, we've laid out what we think worked (or was Thor-some) and what we think didn't (Thor-ful) about the movie. Take a look below... and duh, spoilers ahead.
Hemsworth & Hiddleston
For all the flaws of the first "Thor" movie (let's say we weren't missing the Dutch angles this time around), there's one thing, on reflection, that Kenneth Branagh absolutely nailed the first time around, and that was the casting of his leads. When they starred in the first "Thor," Chris Hemsworth and Tom Hiddleston were, for all intents and purposes, unknowns: two-and-a-bit years later, they're two of the fastest rising stars around, and with good reason. Here, Hemsworth again proves that he's at least as important a casting coup as Robert Downey Jr. was for "Iron Man"—no part in these movies so far has as potentially ridiculous as a six-foot-something space Viking, but Hemsworth makes him a real figure, leavening the heroics with humor and honor. And while we'd question the necessity of Loki's involvement in the film at all (see below), Tom Hiddleston's far-from-unwelcome in the film. The character is by far the most complex and compelling villain in the Marvel movie universe, and gets his best showcase as of yet here: true to the nature of the character, he works best as a trickster, an unknown quantity who could tip either way, and Hiddleston walks that tightrope of ambivalence nicely. He also gets some of the biggest laughs in the movie, and even proves oddly sympathetic; no mean feat, given that he was last seen attempting to commit genocide in "The Avengers." As long as these films feature these two together (and they have strong chemistry together, which always helps), they're likely to be at least a little watchable.
It's weird to think that in a $100 million + fantasy blockbuster with alternate worlds and zooming spaceships that destroy large swaths of England that the greatest moments are also the quieter ones: Darcy (Kat Dennings) asking Thor how space is; our hero hanging up his hammer on a coat rack; and, best of all, Thor riding the subway in London (though we have to note here that to get from Charing Cross to Greenwich, you need to go south two stops on the Northern line to Waterloo, then take the Jubilee line east to Greenwich: perhaps it was meant to be part of the long tradition of Londoners deliberately giving the wrong directions to tourists for their own amusement). As we said, Loki provides many of the laughs too, and has one of the very best moments as well, a humorous interlude when he transforms into Captain America (Chris Evans), complete with a bit of Alan Silvestri's theme music playing over the soundtrack, and even Chris O'Dowd's extended cameo works nicely, even if it's rather tacked on (to be honest, we were left with the feeling that a film told from his point-of-view—the ordinary guy who falls in love, but can't get past his inadequacy over his new love's superheroic ex—would be way more interesting). The humor in "Thor: The Dark World" is the obvious highlight in a sequel that often aims for glowering darkness but instead comes across as a kind of camp blandness. Many of these moments were undoubtedly engineered by an un-credited Joss Whedon, which is probably for the best; in unifying the Marvel Cinematic Universe, he hasn't forgotten that they are often based on comic books.
Stands Alone Reasonably Well
As we know at this point, the Marvel movies are continually interlocking with each other, with the various films generally leading up to an "Avengers" installment every few years. At times, Marvel have misstepped a bit when it comes to the interlocking and the Easter Eggs—"Iron Man 2" felt like it was treading water to get the pieces ready for "The Avengers," and even "Thor" had Jeremy Renner's Hawkeye awkwardly pasted in after the fact via a reshoot. But Phase Two suggests that the studio have the mix about right: "Iron Man 3" neatly dealt with the aftermath of "The Avengers," but told its own story, without obvious set up for where it was going next. "Thor" isn't quite as successful on that front (the cliffhanger ending might as well feature Hiddleston looking into camera and saying "see you in summer 2016, kids."), but it does at least pick up Thor and Loki having grown and changed from the events of "The Avengers," references earlier films without bringing things to a grinding halt, and, the conclusion aside, doesn't spend too much time foreshadowing or hinting at future installments. We don't resent the mid-credit easter eggs: if you're going to trail future movies, that's the place to do it, and while we hope "Guardians Of The Galaxy" has better production value than the brief clip we saw, it was still fun to get a glimpse of Benicio Del Toro in character.
Thomwhere In The Middle
The female characters
Recently, Natalie Portman brought up the fact that "Thor: The Dark World" passes the Bechdel Test and, on the whole, has a number of seriously strong female characters. Portman's Jane has more to do this time around, even though she frequently looks bored and for the second half of the movie is possessed by some evil goop from another galaxy. Kat Dennings fares better; she gets all the best lines and has a hunky love interest in the form of her sub-intern. One thing that holds seemingly limitless potential, but doesn't get developed nearly enough, is a potential love triangle between Thor, Jane and Sif (Jaimie Alexander), an Asgardian warrior who is also super adorable. Having the "office wife" idea transposed to mythological proportions is a brilliant one, and giving the two female leads some conflict and tension is more than necessary; it's downright ideal. But there were clearly a few threads of "Thor: The Dark World's" storyline that had to be shaved down, and this relationship was one of them. Yes, "Thor: The Dark World" passes the Bechdel Test, with some of the better female characters in the Marvel Cinematic Universe, but if the Sif/Jane/Thor love triangle could have been developed further, it would have made this superhero saga truly super.
It’s never great to get sloppy seconds on a villain, so there’s something a bit tiresome about having Christopher Eccleston as the Dark Elf Malekith after having threatened the heroes of “28 Days Later” and “G.I. Joe: The Rise Of Cobra.” But the design and makeup on this baddie ensures that the “Dr. Who” actor didn’t have to worry about not casting an imposing shadow (or, for that matter, being recognizable). No, it’s the writing that turns Malekith into less a character and more of a blunt object, an obstacle for Thor to punch in between trading wits with Loki and kisses with Jane. The Dark Elves are said to seek vengeance after having ruled during a dark period, and with light they find themselves as outsiders, borderline minorities. But it’s an abstract concept to hang on such an openly dopey movie that owes more to “Yor: Hunter From The Future” than it does any nihilist’s handbook. Worse yet, we’re not sure how many “Thor” movies the public is going to want to see, but he’s certainly got a deeper bench than one that sends Malekith up right after Loki. Why not the Enchantress, the Executioner, the Absorbing Man, The Wrecking Crew or even Fin Fang Foom? Why not a baddie that actually makes Thor break a sweat? Better yet, hey Marvel: you could try deviating from the comics and actually inventing a character for the screen. Believe it or not, there’s an entire history of movies made that aren’t based on a comic book.
Read more of the good and bad points about "Thor: The Dark World" at the ( SOURCE )
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