I do like this sequel. I’ve never vocalized any criticism of it because it is fun and enjoyable, but yeah, it does have some problems that should be pointed out. Probably its biggest is a few too many plot threads running through it. They never make the film incomprehensible, just a little bloated, but there is the fact that the film constantly veers off track by following the wrong story after not too long. It had promise at the start, but let’s see how exactly they dash that.
Now that Tony Stark (Robert Downey, Jr.) has revealed to the world that he is Iron Man, the entire world is now eager to get their hands on his hot technology – whether it’s the United States government, weapons contractors, or an unknown enemy. That enemy happens to be Ivan Vanko (Mickey Rourke) – the son of now deceased Anton Vanko, Howard Stark’s former partner. Stark had Vanko banished to Russia for conspiring to commit treason against the US, and now Ivan wants revenge against Tony – and he’s willing to get it at any cost. But after being humiliated in front of the Senate Armed Forces Committee, rival weapons contractor Justin Hammer (Sam Rockwell) sees Ivan as the key to upping his status against Stark Industries after an attack on the Monaco 500. All the while, an ailing Tony has to figure out a way to save himself, stop Vanko, and get Hammer before the government shows up and takes his beloved suits away.
Simply said, I think Iron Man 2 could have been a better movie if it didn’t overload itself with so many plots. The story we get with Tony dealing with a self-destructive mentality has some great stuff in it. Instead of dealing with alcoholism, which has been a major issue for Stark in the comics, it deals with his failing health due to issues with his arc reactor. What’s saving his life is also killing him is a fine idea. I do like that this ties into Ivan Vanko and Howard Stark, creating something that appears cohesive in concept. Yet, adding in all the unneeded machinations of Justin Hammer and the S.H.I.E.L.D. plot elements convolutes things, taking away the focus and poignancy of the core story.
I feel that everything directly involving Tony dealing with his father’s legacy, and rebuilding himself is excellent. It creates the weight and gravity of the film, and it is what I love about Iron Man 2. While it does seem like the filmmakers kind of took Tony back a step from the more altruistic and compassionate guy he became in the last film, I can see how Tony’s deteriorating health could alter his personality and disposition. Once Tony’s health is on the upswing, and he becomes inspired by his father’s legacy, he rises back up to being that hero we knew. Still, that kicks in for the third act, and so, for the majority of the picture, we have the more self-absorbed, self-destructive Tony Stark. Downey continues to do a fantastic job in the role bringing his charm and charisma into the fold to maintain Tony as likeable even if he’s being a belligerent ass. You know there’s a better guy underneath and he just needs a kick in the back side to open his eyes and mind again.
Obviously, I really liked Terrence Howard as Rhodey, but after a disagreement over money, Marvel replaced him with the equally talented Don Cheadle. He does a fine job following up on what Howard did, but admittedly, I can’t help but constantly think how Howard might’ve played things a little differently. That’s not a knock on Cheadle, who I love, just the unfortunate fact of having to re-cast a role. Regardless, Don Cheadle is a strong fit for this role focusing more on a character of serious candor and conviction with a few touches of humor. We still get moments of compassion from Rhodey, but he’s forced into a more conflicted role of trying to help Tony, even went it turns adversarial, while maintaining loyalty to the U.S. military. Cheadle takes the role and runs with it adding his own vibe and depth to it while not betraying what was done previously.
Scarlet Johansen is amazingly sexy and killer as Black Widow. She’s got some sharp, alluring chemistry with Downey. Natasha Romanov is able to lead Stark on while also never giving into his advances, making her a very smart and assertive character. When it comes time to kick ass, she is immensely impressive handling all the agile fighting skills beautifully. She’s a wonderful and vibrant fit for this role.
On initial viewings, I found Sam Rockwell’s Justin Hammer to be nearly insufferable and obnoxious. He came off like the lame guy at the party trying to act like the coolest guy at the party and failing. I understand that this is sort of the intention with the character. Make him seem like a second rate Tony Stark who is more lame by trying to be cool, but annoying is sort of what I got out of the performance. The film sets him up as this inferior and incompetent competitor to Stark, and he never becomes anything but incompetent and egotistical. No one in the film is really buying any of the bull he’s selling, especially Vanko, and you can see that even he views Hammer as a foolish, abrasive joke. Rockwell is a highly talented actor with many various talents, but I think this character is too much. He eats up so much scenery and screentime while being one of the least consequential characters in the movie. At times, I can enjoy him more now, finding some humor in what Hammer is doing, especially during his weapons presentation to Rhodey, but the film really would have been far better off without this character.
It’s almost sad that Hammer has so much screentime compared to Mickey Rourke. While Ivan Vanko’s story is simply revenge, it has more potential substance than Hammer’s purely ego-driven scheme. It would’ve pushed the more internal conflicts with Tony into the foreground, and have Vanko represent everything wrong and twisted with his family’s legacy. Rourke can be a fantastic actor, or in the least, a very entertaining one. There are scenes here where Rourke does very solid dramatic work, especially when Vanko and Stark meet after the Monaco incident. Rourke makes this a great, intimidating, and menacing villain that should have been the main threat throughout the movie. Yet, he quickly becomes relegated to be a minor character after he joins up with Hammer, and even the conclusion to his part of the film is very dismissive as a generic “villain in a suit” throwaway action sequence. With so many plot threads weaving through this film, it seems the filmmakers lost sight partway through of what was pertinent to the core story and what was just entertaining fluff.
The scene between Vanko and Stark after the race track incident is the best scene of the film, and it is terribly wasted. The thematic material Vanko brings up in it and the questions about the Stark family legacy are barely followed through on in the remainder of the film. This scene establishes a serious, dramatic tone that is not really revisited. Even in the trailers, this was the dramatic hook for me. If this set the tone for the remainder of the film, it would have been a tremendously solid film, but alas, that was not to be.
Again, the film is a little over bloated and a bit indulgent. Stuff about Vanko obsessing over his bird is entirely frivolous, but thankfully, doesn’t take up more than a few minutes of screentime. Yet, the film has little moments like this where it indulges in extraneous junk, such as in the Senate Committee meeting. The film gets cluttered with too much junk that it can’t see the track to stay on it. The main plot of this film deals with Tony Stark falling apart and having to rebuild himself by rediscovering his father’s legacy. That’s apparent right from the beginning, and it would have flowed very well if the film dealt mainly with Ivan Vanko’s intentions of revenge. It would all thematically tie in solidly, but again, it is the Justin Hammer aspect that disrupts that plotline of the film. The first part of the film through Vanko’s incarceration is great to me. It felt like the film was on-track, for the most part, towards a meaty story filled with emotional resonance. Unfortunately, it doesn’t maintain that because the filmmakers felt it was necessary to add a second, frivolous villain who overshadows the more superior and relevant villain. This really is my main gripe with the movie, and it is why I keep harping on it. Vanko has strong motivations based in bitter emotions that make him a formidable adversary. Hammer just has ego going for him, and that is just not very interesting. Beyond that, he’s just a lame character good merely for small jokes, not a forefront storyline.
Now, people say that this film being a setup for The Avengers is its biggest problem. Frankly, that is barely part of the movie. Yes, there are ways you could have written Nick Fury and Black Widow out of this for a tighter, less crowded movie, but let’s look at what they contribute to the film. They provide Tony with an injection that curbs the symptoms of his ailment, provide him with further knowledge into his father which leads to Tony discovering the new element to power his Arc reactor, and Black Widow helps to stop Vanko’s assault with the Hammer Drones. They don’t actually impede upon the plot, or wedge their own plot into the film, they are part of the on-going plot of the movie. They assist Stark with various aspects of it, and while they are there in order for there to be a segue into The Avengers and more concretely establish S.H.I.E.L.D., they don’t hijack the movie from Iron Man. It’s still his movie, and they just happen to be in it.
On the upside, Iron Man 2 does feature some excellent action sequences. They are all different and exciting from Vanko’s attack on the race track, which creates a sense of grave peril, to the fast-paced finale teaming Iron Man and War Machine together against the Hammer Drones. It does have less action than the first film, but what Jon Favreau and his creative team of filmmakers achieved with these sequences is still excellent. There’s enough plot going on to maintain a rhythm and pace in the film for it to survive and mostly thrive without the aid of additional action sequences. I do feel that the Hammer Drone attack is far more satisfying than when Vanko shows up in his Whiplash suit. This is mainly because the Hammer Drone segment is just an action scene with the sole intent of delivering excitement in a smart and slick fashion. Vanko’s conclusion, again, feels flat and secondary, at best.
Regardless of its problems, I still do find Iron Man 2 quite an enjoyable film with plenty of excitement, charisma, mostly great performances, and some very smart ideas for evolving Tony’s character. I do think that Marvel Studios had all the right talent and elements, but weren’t able to either trim them down for a leaner story or arrange them in the most effective order. You could have Justin Hammer be in the film without him dominating so much of the plot. He could easily be a more minor character enabling Vanko, who remains in the forefront enhancing the thematic elements of the story. In any case, many do see this film as a stumbling block in just the Iron Man franchise, but I’m far from thinking it’s terrible. I know others disagree. It’s a film that still had substance and evident talent behind it which still manages to be entertaining, in my view.
Sometimes, when you want it done right, you’ve got to do it yourself. That’s how I feel about the Marvel films. Until Iron Man, I don’t think anyone entirely handled the Marvel Comics properties correctly on a consistent basis, and so, it took until Marvel Studios was launched for a cohesive and high quality franchise of films to be created. This was the groundwork, and on every level, it was a stunning success.
Billionaire industrialist and genius inventor Tony Stark (Robert Downey, Jr.) is the CEO of the leader in military weaponry, Stark Industries. After Stark conducts a demonstration of the company’s state of the art Jericho Missile, his convoy is attacked and he is taken captive by a group of insurgents who want Stark to build him their own missile. Instead, using his intelligence and ingenuity, Tony builds a high-tech suit of armor and a means to prevent his death from the shrapnel left in his chest by the attack. Stark soon escapes captivity, and when he returns to the United States, he changes his outlook on life, and begins to dedicate himself to peace instead of war. He finds opposition and criticism from his closest confidants in business partner Obadiah Stane (Jeff Bridges), his best friend Lt. Colonel James Rhodes (Terence Howard), and his smart and affectionate secretary Peppers Potts (Gwyneth Paltrow). Yet, when he uncovers a nefarious plot with global implications, Tony Stark dons his powerful armor and vows to protect the world as Iron Man.
This is absolutely one of the best superhero origin stories ever realized on film. I had not been thoroughly impressed with any Marvel Comics movies before this since Blade. Whether it was unfaithfulness to the source material, the wrong talent involved, or the wrong tone being implemented, nothing from X-Men to Daredevil to Spider-Man ever really got it completely right in my view. Iron Man is a perfect example of handling it right. This set an excellent tone for the full Marvel Cinematic Universe, and also reflects the tone of Marvel Comics, in general. It can have good drama, but usually, Marvel Comics are meant to be largely fun and colorful. Director Jon Favreau does an exemplary job meshing those ideas together in a very cohesive and entertaining film.
It’s beautiful how Favreau sets up and establishes Tony Stark here. We get a dash of the charisma and personality followed by the awards ceremony video package detailing his history in short. It gives you all the basics right up front in an entertaining and succinct fashion. This style permeates the film being sharp, smart, and stylish. It also reflects Stark’s personality. He’s a man of sharp wit, arrogant intellect, but is irrefutably charming and fun. I can hardly imagine anyone but Robert Downey, Jr. pulling off this diverse and engaging role. The charming yet arrogant egotist is a major challenge, but it seems to come easy to Downey. It’s that sense of heart and lovability he adds in there, especially opposite Paltrow, which allows Tony Stark to come off as a charismatic joy instead of a self-important jerk. Downey is simply a vibrant, solid leading man who handles the dramatic, soul searching aspects of Tony Stark as strongly as the fun, humorous bits. He’s compelling and electric on screen. He makes that subtle, yet profound evolution from the self-important genius to the selfless, righteous hero masterfully. He doesn’t just embody Tony Stark, he launches him into excellence.
Jeff Bridges does an excellent job as Obadiah Stane. He’s an immensely diverse actor able to do the full spectrum from kind hearted hero to tough, gritty guy, and here, he gives us some taste of that whole range. We get the upbeat, friendly guy who is very close to Tony, and can work an awards ceremony audience or a press conference with charisma and spin. Then, we get the gradual transition to the intimidating, menacing villain. It’s a masterful turn towards the corrupt businessman willing to sell out his company, best friend, and country for profit. Bridges embraces all of these fascinating aspects with great zeal making Stane a very solid and smart enemy for Stark to combat. In general, he just plays an awesome heavy. And apparently, Bridges always wanted to shave his head for a role, and I think maybe that propelled his enjoyment of the character.
I also really love Terrence Howard. He’s an amazing actor that I hold in high value. As Lt. Colonel James Rhodes, he’s really a joy. The strongest qualities are his vibrant chemistry with Downey, and the sense of compassion and honor he has. Rhodey’s clearly a great character with a lot of depth and dynamics to offer, and I think Howard was wonderful in this part. It’s a performance that gives us a character of potential, and while it’s unfortunate that Howard could not negotiate a return for the sequel, the character has yet to go to waste in any actor’s hands. And of course, I’ve always loved the little tease of War Machine we get going into the third act. It’s a great moment thrown out for fans, but also works smartly for non-comic fans.
And of course, Gwyneth Paltrow is wonderful as the sweet and smart Pepper Potts. It’s great how Pepper brings out the heartfelt honesty in Tony, and Paltrow does that with some great subtlety and charm. She makes Pepper this interesting person who can be very assertive and a sharp business personality, but then, get very sweet and flustered when trying to keep up with Tony’s rapid fire wit. The chemistry between her and Downey is beautiful, and really allows for the humanity of Tony Stark to show through.
What we get here is a very strong and smart origin story that never bogs us down. So many origin stories seem to suck up a lot of time just establishing every little element methodically before we get to see the hero come into being. With Iron Man, the film unfolds at a tight rhythm always pushing the story and character forward to where you are fully invested in Tony Stark, and what he’s going through. We see the man himself evolve and change his sensibilities in order to make Iron Man what he needs to be. It is a story of redemption. Stark is reforming his ways and becoming accountable for what his company does, and how his negligent behavior has facilitated Stane’s corruption of Stark Industries. It’s qualities like this which make Stark one of the more fascinating Marvel superheroes. He has a lot of bad behavior and decisions to make up for while trying to build a better, safer future for everyone. The relationship with Pepper Potts beautifully reinforces the depth of humanity that is motivating Tony. He wants to be a better person that saves lives instead of enabling war.
I love the motivating scene where Tony is watching the newscast of the Ten Rings having ravaged Yinsen’s hometown while he is working on the Iron Man gauntlet. It’s that moment which triggers Stark into action as a protector doing what no one else can. That is the moment where his purpose and path is clear. He’s been betrayed by one of his closest friends, and sees that betrayal has lead to this level of tragedy and injustice. He will not stand for it, and that is the scene where Iron Man is solidified.
We also get those great phases as Tony goes through the Mark I, Mark II, and Mark III armors gradually refining Iron Man. Each one is excellently adapted from the pages of the comic book making them convincing as functional pieces of machinery. The visual effects married with practical elements create a cohesive and seamless result. These are top grade visual effects featured throughout this movie giving us dynamic, cinematic images that serve the story superbly.
This film has plenty of sharp, smart humor. These moments really create the fun factor of Iron Man, and maintain the entertainment value in between the scenes of action and engaging drama. They hit in just the right moments to highlight the well written and developed qualities of these characters. And the dramatic qualities of Iron Man are executed with equally great skill and care. The emotional weight and drive of this story is powerfully accentuated throughout. Excellently directed by Jon Favreau, all of this results in a movie of great thrills.
This is just filled with wonderfully done action sequences. They are never frivolous. They drive the story and characters forward each time. Stark has something to fight for each time whether it’s freedom, destruction of his back market sold weaponry, or protecting those he cares for, it all has a purpose to exist. The action climax is beautifully done. It has bombastic intensity and emotional stakes while all the while being fun and thrilling. It is exceptionally satisfying.
Needless to say, Iron Man is one of the best comic book movies ever made. The casting of Robert Downey, Jr. was brilliant and pitch perfect. There are possibly other actors that could have done a fine job with the role, but what Downey brings is that sharp wit and charisma that instantly and endlessly entertains an audience while hitting all the dramatic beats beautifully. Favreau was also ultimately a fantastic choice for a director bringing in a lot of those same elements from behind the camera. This was an exciting, successful launch to the Marvel Cinematic Universe, and that little tease after the end credits of Tony getting a visit from Nick Fury drove fans crazy at the time. What Marvel Studios has since done with this universe and franchise is an amazing achievement that is not ready to slow down anytime soon.
The marketing for Thor was real iffy. Including a very uninspired poster campaign, it was very hard to tell from trailers and TV spots if the film worked balancing out drama, humor, and action along with the stark contrasts of our world and the fantastical realm of Asgard. For me, I feel most films today are not marketed well or appropriately. It seems more like the film has to adhere to what they want to market instead of the marketing adhering to what the film is. Either that, or the advertising firm is a bunch of hacks who don’t know how to capture what’s special about the property. Regardless, the trailers and TV spots didn’t sell me enough on the film to run out to theatres. Later in the summer, Captain America: The First Avenger came along, I ran out to see it, and highly enjoy it. However, some major plot points harkened back to the mythology of Thor,and so, I got the urge to see it if only to fill in any gaps that I was not aware of. It was too late to catch it in theatres, and so, the DVD has arrived to help me out. Simply said, I very much like this movie, and was highly satisfied at the end. Of course, for those unaware, here is the obligatory synopsis.
Amongst the nine realms, the forces of Asgard, led by their king Odin (Sir Anthony Hopkins), and the icy realm of Jotunheim (pronounced Yodenheim) populated by the Frost Giants, led by Laufey (Colm Feore) have been enemies for countless ages. After a great battle in Norway, 965 A.D., Odin and his courageous warriors defeat the Frost Giants and seize the source of their power, the Casket of Ancient Winters. Many years later, Odin’s sons Thor (Chris Hemsworth) and Loki (Tom Hiddleston) grow to manhood, and while Thor is the great warrior ready to be granted the throne of Asgard, Loki is a mischievous practioners of magic and illusion. However, the Frost Giants infiltrate the palace and attempt to retrieve the Casket. They fail, but subsequent actions in retaliation of this by the impulsive and battle-hungry Thor and his warrior friends leave Odin in contempt of his oldest son. As punishment, he banishes Thor to the realm of Earth, and relieves him of his greatest weapon and source of his power, the hammer Mjolnir. From here on, the hammer and its power can only be wielded by one who is worthy of the power of Thor. Thus, Thor must go through an evolution of character to prove himself worthy of being the man he needs to become. On Earth, he comes into the graces of the young and passionate Jane Foster (Natalie Portman) and her astrophysicist team. Jane gradually forms a caring relationship with the wayward son of Odin. Meanwhile, Loki uncovers long held secrets, and plots his own rule over Asgard. Amidst this, agents of S.H.I.E.L.D. arrive to examine and quarantine the downed Mjolnir which is embedded in stone like Excalibur waiting for its future king to wield it.
There is so much I could talk about here, but perhaps the best, most apprehensive aspect, is how all these different realms of existence are handled and balanced out. Frankly, I think Kenneth Branagh succeeded in doing what very few probably could have done. The scenes in Asgard and Jotunheim are wonderful. They establish the grandeur of the society that Thor comes from. He is used to a world of honor and glory. A place ruled by gods that is magnificent in its visual spectacle. The production design is fantastic here, and the realization of it all in CGI and set design is quite remarkable. In Asgard, people speak with large, proud voices and passionate words of an extraordinary culture, and it all fits, it all works in this realm of gods. When Thor is dropped to Earth, literally, he still acts this way, but to Hemsworth’s credit, I think it’s his charm that makes it all endearing to me. It does comes off comically, but I feel Branagh and Hemsworth make it work because of that charm. They handle Thor with gallant heart and compassion instead of some dumb brute who just doesn’t get it. I, personally, did not find one joke misplaced, mistimed, or out of character. Unlike in Green Lantern where all the Earth scenes were mishandled, poorly executed dead weight, and all the CGI’d otherworldly sequences were the real juice, Thor strikes the balance correctly. This is also due to the plot being tightly crafted to keep the pace up, the emotional threads alive, and the plotline or character relationships developing throughout. Branagh and his editor kept this a lean film from beginning to end.
The only detracting element of the film, for me, and what could’ve been used to make the Earth and Asgard realms stylistically different was the camera work. The biggest gripe is the obscene, excessive use of Dutch angles throughout the film. Usually, a Dutch angle is used to give a scene or the filmed subject an off-kilter feeling. Here, it is used without an intended effect. Branagh’s audio commentary on the DVD gives insight into this choice. These are angles and compositions that were frequently used in the comics he saw and read. So, he intended to translate that onto the screen. He says that there was a concern that he may have been overdoing it, and I believe that concern was warranted. The simple fact is that it’s annoying, and has no positive effect on the shots or scenes it’s used in. There are Dutch angles used on crane shots, dolly shots, steadi-cam shots, static shots, and so on. It was very distracting to me since I am more aware of it than most people likely are due to me being a filmmaker. If Branagh used this style for just the Asgard sequences, and stuck to a more natural style of framing and composition for the Earth scenes, I think that would have enhanced the stylistic differences between the different worlds. As it is, I think it’s exceptionally distracting because it is used with no real storytelling purpose in mind.
Now, where these Marvel Studios films have mostly excelled is in the casting. Attracting some higher grade talents to fill these modern mythological roles is something that Richard Donner started with Superman: The Movie over thirty years ago. Hemsworth is a slight exception to Robert Downey, Jr. and Edward Norton in terms of high profile talent, but he inhabits the dimensional role of Thor impressively well. Again, his compassionate charm carries much of the character through, and allows an audience to connect with his personality. He starts out as a temperamental, hot headed young warrior in search of battle over wisdom, but as the film progresses, more of his heart develops to show his depth. None of us can really relate to the situation he’s in or the cosmic forces he’s battling against, and so, making the man and his emotional conflict relatable is the key. When he turns on the action hero mojo, he continues to impress. Hemsworth clearly worked out for many long months to create the physique of a god, worthy of myth and legend. Furthermore, it is not easy to hold up your end of a scene opposite Sir Anthony Hopkins, but Chris Hemsworth did so with great success. I think that says a good deal about how Branagh handles his actors, and helps them to balance their drama out. However, I will take no credit away from Hemsworth because he greatly displays his wide range, powerful screen presence, and passionate commitment to his role. And of course, Sir Anthony Hopkins really delivers well as Odin. Who else do you get to play a role filled with this breadth of wisdom, power, compassion, and fatherly weight? Hopkins brings a definite sense of history and wisdom with him. He exudes strength, commands respect, but also demonstrates the moments of Odin’s weary age well. He is also a hero of legend that does what he does because he is a good father, and knows what his son must go through to become the man he wishes to be.
The darker side of the spectrum is occupied by Tom Hiddleston as Loki. What could’ve easily been a whiny character is handled with a fine breadth of dimension and intelligence. Deceit and bitterness are what forge his character, and they live and breathe in an actor able to turn those elements back around as a weapon for Loki. As others have deceived and used him, so he does to others in order to gain the power and authority he feels entitled to. Hiddleston handles Loki’s devious nature quite well like a puppet master manipulating his pawns across a chess board to service his ultimate goals. There is also the leader of the Frost Giants, Laufey, portrayed by Colm Feore. Granted, the man is covered by a great deal of make-up and prosthetics, and his voice gets some post-production treatment. However, Feore plays the darkly evil role subtlety. A sullen, methodical villain that is not easily intimidated, and being a giant, does not back down from a challenger. He achieves a lot by doing so little. He uses the make-up to sell the character, but even without it, there would still be a chilling, memorable performance.
Natalie Portman has more than proven her worth as an exceptional acting talent over the last 15-20 years. Sometimes, it’s hard to articulate what makes a great performance. People get wrapped up in the grandiose awards show displays of performances, but great acting can be defined in many different aspects. Here, Natalie portrays a role that is more subtle and graceful to win over an audience’s heart. Maybe it’s just me being struck by how much more beautiful she has become over time, but I was very engaged by her in this movie. Likely, it’s because she can project so much genuine, honest emotion on screen that it easily ensnares me. Portman holds her ground well opposite Hemsworth, and their chemistry is very, very good. As Jane Foster, Natalie projects passion, conviction, heart, and warmth here. Jane is very enthusiastic about what she does, and the mystery around Thor is something she finds charmingly compelling. She slowly involves herself more and more in his well being, and desires to know more about this peculiar stranger. Their relationship slowly develops to a very honest and heartfelt romantic connection. Jane’s associates allow for some good dynamics to bounce off of to give the character some context. Portman really sells everything well, and at the end of the film, I truly feel hopeful for Thor and Jane Foster to reunite.
Again, I feel the production design of Thor is really great. I was in real awe of the innovation and grandeur of Asgard. There are no limits to this realm. It is fantastical beyond known logic. Branagh and his team really create a unique, colorful world worthy of legend, and the costuming reflects that creativity and detail. The film doesn’t burn any unnecessary time away showing it off either. On the flip side, there’s not much to say about the Earth scenes. It’s a small town in New Mexico, and that feeling is captured well.
The visual effects, for the most part, are very well done. There are moments or elements that don’t sell quite as well as others. When the Destroyer (a fire spewing mechanical monster from Asgard) comes to Earth, the CGI construct does feel a little too artificial at times, but it’s mostly during its interaction with its live action counterparts. I was glad that the Asgard scenes did not feel cheap. They took a lot of time and attention to detail to make them hold up strongly throughout the film. They are marvelous to behold. The effects, like the production design, service the story and characters instead of overwhelming them. That’s what visual effects are meant to do, and far too many filmmakers have forgotten that. I’m glad to know that Kenneth Branagh is not counted among those filmmakers. I’m not a supporter of 3D, and seeing this firstly on DVD, doesn’t even give me the option to watch it as such. So, all my impressions of the film’s visuals are based on the traditional 2D viewing.
I’m also glad to be reassured that Branagh never degrades the film down to shaky cam action sequences. They are shot with a good sense of geography and composition so that an audience can follow the scene competently. Really, aside from those aforementioned Dutch angles, the film is shot with a great deal of emotion and epic stature. The cinematography does have character. The shots don’t just capture the personality of the performers, but they enhance them with how they captures them. Much of the same compliments can be translated to the vibrant, powerful score by Patrick Doyle.
I feel the brightest praise I can give this film is the fact that when Thor finally reclaims his power, the thunder roars, and the lightning strikes, I was as choked up with momentous enthusiasm as I am during the helicopter rescue scene in Superman: The Movie. The ascension of Thor’s greatness has reached a level equal to that rousing moment in the first blockbuster superhero film for me. Perhaps that is only me, but I was so very entertained and engaged with this film to have that sort of emotional reaction. What that really means is that the film was successful in every storytelling aspect from direction to acting to cinematography to music and beyond. It made me feel for this hero, his journey, and his triumphs.
While the marketing left something to be desired in convincing me of the film’s quality, the actual film itself leaves no doubt behind. It’s been laborious writing this review because there’s so much to praise that I didn’t want to leave anything significant out, but I had to limit myself to not scouring every single performer or detail. Simply said, in this especially long review, is that Thor is another big win for Marvel Studios. I’ve enjoyed all these films leading up to The Avenger including Captain America: The First Avenger and The Incredible Hulk. Iron Man lit the torch, and while not every entry has been perfect, there has not been enough of a misstep to derail the cinematic plan that Marvel Studios has been carefully planning. So, with a man I have a lot of confidence in directing the picture, Joss Whedon, I feel that climactic movie will be a great achievement. I also highly look forward to what might be crafted for a direct sequel to Thor.