By Zack Gill
Staff Writer
Marvel Studios’ latest comic book adaptation, “Thor,” substitutes many of the usual action film tropes for a feeling more Shakespearean, with brotherly betrayal, political intrigue and hubris in abundance.
Renowned Shakespearian actor and director Kenneth Branagh is at the reins of “Thor,” bringing a keen visual eye as well as extensive experience and skill working with actors. However, in its attempt to inflect standard popcorn fare with higher-brow theatrics, “Thor” fails to provide either exceptional action or drama.
Thor the god of thunder (Chris Hemsworth) is about to take the throne of mystical realm Asgard from his father Odin (Anthony Hopkins) until his brother Loki (Tom Riddleston) tricks him into an act of aggression against the rival race of frost giants.
Odin strips Thor of his god-like powers and banishes him to Earth, where he is taken in by a kindly astrophysicist (Natalie Portman). A cliched relationship ensues, while Loki attempts to steal Odin’s throne and ensure that Thor stays on Earth.
The performances are of a caliber much higher than the average action movie. Newcomer Hemsworth (previously seen as Kirk’s dad in the first five minutes of JJ Abram’s “Star Trek”) portrays Thor as gleefully energetic and believably arrogant. His gradual transformation into a kinder, more patient hero feels organic.
Hopkins portrays Odin with much of the power that has propelled him to stardom. Not a stranger to genre films, just last year Hopkins called in a dismal performance in Universal’s “Wolfman.”
That’s not that case here. The Hopkins in “Thor” is passionate, yet restrained, in what is easily his best performance since 2005’s “The World’s Fastest Indian.”
There are a lot more peripheral characters, including Rene Russo who portrays Thor’s mother. It’s wonderful to see Russo in a film role again, but a viewer must wonder why she took “Thor.” Her character is dreadfully underwritten, receiving only about 10 lines.
Increasingly reliable Idris Elba puts in a scene-stealing performance as stoic Heimdahl, a sort of omniscient watchman and friend to Thor and his allies. Natalie Portman is around, too, as Thor’s romantic interest. She isn’t annoying but any somewhat competent actress could portray the barely-written role.
Loki is one of the more interesting movie villains from Hollywood in the last few years, and Riddleston’s unnerving performance definitely helps. Loki is driven by self-loathing and ambition, traits with which any viewer can safely identify.
Scenes with Loki, Thor and Odin pay greater homage to “King Lear” than “Superman.” Perhaps this is intentional with Branagh helming the film, and nevertheless, the dynamics between Loki and his kin provide the most compelling scenes of the film.
However, the film’s visual style is inconsistent. “Thor”’s prolific production designer Bo Welch has created some incredible, fantastic worlds throughout his career. About half of the film takes place in Asgard, which looks incredible; everything is shiny and sparkly.
Scenes on Earth are a little bit more drab. The crew built an entire town in New Mexico as a set for “Thor,” and while it looks pretty interesting, it just can’t compete to the visually arresting spectacle of Asgard. Perhaps that’s the point, but dull is dull.
Viewers will be entertained by “Thor,” but the film certainly isn’t life-changing. In fact, the near-absurdist “Fast Five” has better action sequences and is probably more fun overall. With such an over-saturated summer, only comic book devotees need to go out of their way to give this film a view.
“Thor” is rated PG-13 and is playing in theatres nationwide in 3D, 2D and Imax 3D formats.
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