REVIEW: Thor [2011]

Rating: PG-13 | Runtime: 115 minutes
Release Date: May 6th, 2011 (USA)
Studio: Marvel Studios / Paramount Pictures
Director(s): Kenneth Branagh
Writer(s): Ashley Miller & Zack Stentz and Don Payne / J. Michael Straczynski and Mark Protosevich (story) / Stan Lee, Larry Lieber & Jack Kirby (comics/characters)

Unworthy of the loved ones you’ve betrayed.

Considering the extent of my Thor knowledge pertains to a little girl’s fantasy that Vincent D’Onofrio was the Norse God in Adventures in Babysitting, you won’t be getting any grand breakdown comparison of the film to the comics. Much like all the DC and Marvel films coming out this past decade, I just don’t know anything about the source material. So, my entry into the world of Asgard comes from this different sort of direction—one led by the Shakespearean background of director Kenneth Branagh, a man so steeped in the playwright that his offer to direct this is nothing but inspired.

To me this meant there could be some great Greek tragedy elements at play. A massive power play for control of a kingdom wherein a God is exiled to live amongst man as punishment for some unforgivable act of hubris. Surprisingly, all this was included and more as Thor’s tale unfolds in a way that’s both ingrained with Branagh’s oeuvre and the universe created on-screen that’s working to encompass the whole Avengers team. It’s largely a set-up for things to come, but, as an origin story, you also can’t ask for much more.

The filmmakers allow us to ground ourselves on Earth at the start. It’s a smart move since anyone who has been following the Marvel films might be a bit turned off to find themselves face-to-face with a veritable Mt. Olympus, both in continuity and excitement (mythology unfortunately doesn’t quite ring with the same intrigue as it did in my youth). We meet a pair of scientists in Natalie Portman’s Jane Foster and Stellan Skarsgård’s Erik Selvig with their intern Darcy (Kat Dennings) coming upon an electromagnetic aberration in the night’s sky. We are unaware of what’s happening until a man smashes into their car window.

The tornado-like action is brought to a halt as these humans investigate further. It’s here where we cut to the heavens and learn of King Odin (Anthony Hopkins) and his two sons, Thor (Chris Hemsworth) and Loki (Tom Hiddleston)—precocious boys with aspirations for the throne. We discover a past battle with the Frost Giants of Jotunheim, a truce made to end their quarrel, and a current trespass leading to the arrogant actions of a young man too stubborn for patience.

And so it is with the blatant disregard for authority that Thor takes his brother and friends to that ice world to pick a fight full of revenge. It’s a miscalculation brought on by the Prince’s short fuse and ultimately strips him of his powers and Mjölnir as his father banishes him to Earth. But the elder man had a reason for this action. You can see the wheels turning as he sends that hammer down too as a beacon of untapped potential yearning to once again find a worthy soul to wield.

Unfortunately for Thor, he’s not yet worthy. His time as a mortal must be used to eradicate his temper, clear his mind for strategy, and once and for all discover the capacity for forgiveness and selflessness necessary to rule over the Nine Realms of space. So, he must learn humility and about the preciousness of life alongside the trio of kind-hearted people who have taken him in while also battling the urge to go after S.H.I.E.L.D. once they quarantine his landing site. He must find the patience to wait and see what the future holds.

Between the magic-induced visions of Loki projecting lies to play on his brother’s trust, the arrival of his merry-men (Ray Stevenson in a fat suit as Volstagg, the most self-deprecating I’ve ever seen him; Tadanobu Asano as Hogun; Josh Dallas as Fandral; and Jaimie Alexander as Sif), and the Klaatu-esque Destroyer sent to kill them all, we watch this petulant boy become a man … perhaps too quickly. If I were to fault the film in any way, it’s that this evolution of his character happens way too fast.

Hemsworth is fantastic as Thor. A hulking giant of a man who earns respect from friend and foe alike, his initial hot-headed portrayal is so well constructed that his giving way to diplomacy and compassion is a tough sell. Who knew he only had to fail once before automatically finding the inner strength to rise above pettiness? I’ll bet Odin wished he knew he could have forgone all these hardships knowing that since his hibernation arrives at the absolute worst time. But then we may never have seen Loki morph into a formidable villain torn between two worlds with his means for approval proving too excessive to exist in either.

And this is pretty much what Thor succeeds in doing: creating characters to be used in future franchise installments and the forthcoming The Avengers. The post-credits sequence is a blatant set-up for the latter considering it was even directed by that film’s director Joss Whedon. Hemsworth is very capable as a leading action hero. Hiddleston excels at playing the misunderstood magician desperate for a place in his family as well as the antagonistically conniving side that wins out. And even a small, uncredited cameo from a certain archer is thrown in for good measure.

Clark Gregg continues to exude government agent essence with Coulson. Colm Feore rediscovers his ability for playing creepy villainous monsters via the blue and angular King Laufey of Jotunheim. And Idris Elba is a welcome supporting piece as Heimdallur, the guard of Asgard’s borders and a powerful man with great knowledge whom you can imagine might play a larger role in this continuing saga. The only weak link is perhaps Natalie Portman, miscast after flooding the scene with Oscar-worthy turns. Nonetheless, the film lays groundwork and manages to entertain with summer blockbuster action. Frankly, that’s all I was hoping for.