When Marvel Studios released Thor in 2011, they entered into a different realm with their productions. Iron Man II and Incredible Hulk had begun laying the groundwork for The Avengers but the tone of those films were very similar. They were scientifically based superheroes, if you want to use that word, operating on a very heightened level of reality. With Thor, Marvel pushed the limit and blurred the lines between fantasy and sci-fi in a way that was very impressive, considering that had it failed to connect, the Avengers as a project may never have come together the way it did.
Thor – The Dark World, the sequel to 2011’s Thor is very much another example of Marvel pushing boundaries with how they want to test the public’s acceptance of genre-bending comic adaptations. Which is why Thor – The Dark World is basically the best Star Wars movie to come out in the last two decades. Looking at parts of it, Thor – The Dark World seems like a space opera in a fantasy setting more than anything else. Truly, it is astounding how fearless they were in putting this whole thing together. Moreso than the first Thor film, The Dark World asks a lot of the audience in terms of world building and genremashing filmmaking.
Of course, The Dark World is as much a sequel to The Avengers as it is the first Thor Film. They have much more leeway to play with themes and story-lines here than they otherwise might. The fallout regarding Loki is paid off here, and the second and third acts of the film are very much Loki-centric. Tom Hiddleston continues to shine as the darker foil to Hemsworth’s Thor, but their chemistry together here cannot be understated. Chris Hemsworth’s role as straight man to Hiddleston’s charming rogue is as just as deserving of praise, if not more. If Marvel has done anything right in their movies at all, it has been casting actors for these roles that play off against each other magnificently. Downey Jr. and Ruffalo, Hemsworth and Hiddleston, etc. All of these actors elevate the material in ways lesser actors could not.
The Dark World is definately a step up from 2011’s Thor, if only because the scope is intensified tenfold. We get more of Asgard here, more witty interplay between our central characters, and action that while not as grand as the climax as the Avengers, is perfectly in line with a sequel of this nature. The only shortfall that I can find with the film is that Christopher Eccleston is mostly wasted in his role as Malekith. Eccleston is a fine actor and his role in G.I. Joe – The Rise of Cobra had more meat on its bones than he is able to display here. I think much of that may stem from the fact that he is speaking an alien tongue for 90% of the runtime, but also his motivations and reasons for being the central antagonist do not get developed beyond rudimentary exposition dumps.
I think they truly nailed this one. Not many will find fault with this entry. They take risks that pay off well in the end. Those who so strongly opposed Iron Man III‘s narrative twists will not find anything similarly enraging here. This is the Marvel Phase II film that folks have been waiting for.
Youtube has partnered with Marvel to show us some new goodies for their newly branded “Geek Week.” In this second trailer for Marvel’s Thor : The Dark World, it becomes very clear how different a film we can expect from the first installment. Alan Taylor’s stint on Game of Thrones seems to have heavily influenced the look and tone of the film. The real question is if the number of Dutch angles will be reduced this go-around.
Thor, the Mighty Avenger, returns to the big screen in Marvel’s “Thor: The Dark World” on November 8, and here is the official trailer, presented first on YouTube for Geek Week! See Thor, Loki, Jane Foster, Malekith and more in this epic trailer for the film!
Did you guys see Jurassic Park III? You know the guy who directed that also helmed this. He was also responsible for The Wolfman last year. Though that won an Academy Award, so I won’t be cruel to that one. Plus, much like Captain America, the best part of that film was Hugo Weaving straight up chewin’ scenery. My point is that Joe Johnston was a bold choice to direct what would be the final piece in Marvel’s film-puzzle before The Avengers hits next may. At the same time, much as Kenneth Branaugh was an inspired choice to take up Thor Johnston is one of those directors who, when on his game, would be perfect for something like Captain America. The number one reason that people have been giving since the day he signed on the dotted line was the fact that he directed The Rocketeer which shares some similar themes as well as the “period piece” setting. Well, Captain America is decidedly better than The Rocketeer. Though to be honest I’d love to see Timothy Dalton hamming it up against Hugo Weaving. That would be golden.
The film begins in the present day, where a team of scientists drilling in the arctic find something unusual. The story is familiar to anyone who has a basic knowledge of Captain America beyond “he fights Nazis.” From there we fade back to World War II, where we meet up with Hugo Weaving’s Johann Schmidt laying siege to a village in Norway hoping to obtain some ancient Norse artifact supposedly taken from Odin’s throne-room. At this point we must accept that if you’re not seeing every Marvel Studios film you’re not getting the full experience. The item in question is of course the Tesseract, or the cosmic cube, which was actually glimpsed by keen eyed viewers in Thor earlier this year. We’ve finally reached the point where everything has come together and while if you missed Thor you can still enjoy Captain America, the sense of connectivity will be an added bonus for fans who have been following the buildup since Iron Man.
I have to say that this is probably the best origin story comic adaptation to date. Only Iron Man really comes close. There have been some complaints that Steve Rogers doesn’t really have a character arc, he just has a physical transformation. Those people clearly missed the point of the film. Steve was always a good man. His discussion with why he was chosen to be a super-soldier with Stanley Tucci’s Abe Erskine (another standout among many) touches on this quite effectively. Steve’s real arc doesn’t get a chance to begin until he reaches the future. With this being a true origin story, we don’t get to deal with that yet. A good portion of that will be dealt with in The Avengers I would assume. And that is the only downside to Marvel’s interconnected universe. There will always be things that get lost in the shuffle. In a movie like this you can’t get everything in a two hour time-span.
But they do manage to work in a good number of things that work, a truly epic villain who isn’t afraid to go big in a way that most villains have been lacking for a while on screen now for one. Hugo Weaving is perfect as the Red Skull and it’s good to see a true, and pardon the term, “comic-bookey” villain on screen and done well. He’s what the scenery chewing villains of the 90’s Batman franchise aimed for but missed entirely. Much credit must be given for making a character that could have been hokey and downright lame into a memorable character.
Chris Evans also does a good job portraying Steve Rogers. He’s almost too likeable. He brings that sense of honor and duty that Steve Rogers has always had as well as a truly great degree of charm. After seeing him in the role I’m not sure if any of the other names on the shortlist to play the character would have worked out near as well. This is the first time where I watched Chris Evans and didn’t see Chris Evans. I saw Captain effing America. As much as I enjoyed him in Fantastic Four, his Johnny Storm was much like the wise-cracking characters he had played in other films. In Scott Pilgrim, I got a feeling he was mostly just Chris Evans making fun of Chris Evans trying not to be Chris Evans. Here, he was Steve Rogers. The earliest parts of the movie where they used all the CGI left in the universe to make him a skinny little runt seemed to distract from the fact that this was an actor playing a part. I was greatly impressed.
But one of the things that truly stunned me, especially coming off of something like Thor, is that the romance element of the story was handled organically and sincerely. Hayley Atwell, who will likely become a lot of young men’s new celebrity crush after this film, plays a fully developed character in her own right whose relationship with Rogers is given time to shift and grow in a way that feels very real and genuine. Compare this to Chris Helmsworth’s attraction to Natalie Portman in Thor that was basically boiled down to “She’s Pretty, He Has Muscles.” Granted sometimes that’s how real relationships do happen but it doesn’t make for the most satisfying cinematic experience. The Rogers/Carter romance is definitely more interesting. Steve’s jealousy of the attention Tony Stark’s dad keeps throwing her way over the course of the film is one of the more entertaining aspects and shows that even though Steve is a good man at heart, he’s just like you. He hates it when good lookin’ dudes start eyeballin’ your girl.
Personally, this is my favorite of the Marvel Studios entries. I’m a big Cap fan and I feel they nailed it with this one. Iron Man comes very very close. But there was something about this film that just felt more like a Marvel comic come to life than any of the previous entries. Iron Man II attempted that feeling but in the wrong manner. Cameos out the wazoo do nothing. But capture the tone and feel of the page and translate it to screen, and you’ll get something truly special, which Captain America is. I plan on seeing it again very very soon.
This is probably the first legitimite comics related article I’ve written in a while since I’ve been unable to get my books in a timely manner that is conductive to reviewing the actual comics. I guess the film adaptation of a comic is about as close to comics reviews as I can manage for the moment. I’m sorry. I may start reviewing books about a month after they hit stands just to make sure I get my opinion out there but I’m not sure I will even bother.
But the focus today will be the adaptation of Thor.
I am happy to report that it’s the best Marvel film they’ve made since Iron Man. I don’t know if it’s as good as that film, as I remember being dazzled by how entertaining it was but Thor does an admirable job of capturing the same sort of magic that Iron Man did. They also avoided the pitfalls of Iron Man 2 simply by virtue of not having the time to shoehorn an obtrusive amount of *wink wink* side characters into the story. There’s the obligatory cameo of a character who’ll play a major role in the Avengers. You probably already know who I’m talking about. But he isn’t mentioned by his hero moniker and if you aren’t familiar with the character you’ll wonder who the hell he is, what he’s doing and why the hell he chose that as a weapon when there was a perfectly good sniper rifle available.
The biggest achievement that Thor really grabbed was taking the source material and making it manageable in a way that it never felt hokey. The Asgardian elements could have been laughable but Branagh handles them in a way that seems reverent and respectful while tossing aside the needless “thou’s” and “thee’s” in exchange for dialogue that could have felt perfectly at home in the Lord of the Rings. Basically, the bombastic elements never felt overwhelming.
I have to say that Marvel is on a roll with their casting. Chris Hemsworth is charming as the God of Thunder and his natural charisma allows us to like the character when at times we have to agree with Odin’s belief that he is a petulant child with a rash attitude. Natalie Portman is a perfectly acceptable Jane Foster by way of her adoreable sweetness. Kat Dennings could have been cut from the film and nobody would have noticed but I still have a crush on her. I’m not going to lie, that chick’s busom is mesmerizing. Shamefully it’s not on display here and for that I will give the producers a disapproving shake of my head. Thor’s comrades are given a surprising amount of screentime and while I wished that Volstagg were more festively plump, Ray Stevenson plays him as you would imagine Volstagg should be. But the true revelation of the film was Tom Hiddleston as Loki. The man reminded me of a young William Fitchner who himself would have made a fine Loki were he about fifteen years younger.
It has its share of flaws, the somewhat abrupt ending being one of them, but it’s a step above Iron Man 2 or The Incredible Hulk due to the sheer enjoyment factor. The film does a great job of sucking the viewer into this world and not just sucking.
I went into this one very apprehensive. I love me some James Franco, and I’m one of the few people who can find redeeming quality in Foot Fist Way, because Danny McBride can make even the shittiest character come off with a slight degree of charm. But my faith in Natalie Portman being able to not take herself seriously for two seconds was wavering at best. She’s been on a tear since the end of the Star Wars franchise to remind people that she’s a serious actress and she doesn’t care how many Family Guy cast members she has to make out with to prove it. But when you realize that this film was produced before she even began production on Black Swan it’s clear that she probably wouldn’t have appeared in the movie otherwise. Also she plays the part fairly straight-faced, with the humor of her character being that she’s essentially the only one who isn’t a joke. The joke is that she isn’t a joke, and before I start rambling about the Inception level layers of comedic theory in regard to why the straight man is usually the funniest in situations like these, I’ll just move on.
I think that Your Highness is a good film. It’s actually one of the best sword and sorcery adventure films we’ve had in recent years. I mean, it’s not like there’s much competition in that particular genre, as Lord of the Rings pretty much came through and said that nobody could hope to do it so well without a budget the size of our current deficit. It’s a shame that this film made me feel as nostalgic as it did with it’s constant references to the fantasy films I grew up with like Willow, Labrinyth, or Conan the Barbarian. Those films had an element of sheer fun and adventure to them that doesn’t really wind up on screens much anymore. Everything has gone in a more serious direction leaving a significant amount of fantasy out of the fantasy genre. Despite being a comedy on paper, Your Highness has the distinction of really nailing the action sequences. The carriage chase at the beginning of the quest is quite well done and director David Gordon Green really knows how to stage an adventure film. This shouldn’t come as a surprise as Pineapple Express, while also being a comedy on paper nailed the gunfight scenes just as well as any serious action film would. I think underestimating Green is what leads to making his films so impressive. The fact that we keep doing so when we should know better by now is a testament to his skill.
The film is fun as hell. And vulgar as hell. A woman brought her kids into this film, who couldn’t have been more than eight or nine years old and luckily they left after the first fifteen minutes because if they had made it to the third act I’m sure a nasty letter would have been written to somebody about the prominant minotaur cock. Nevermind that the dumb bitch brought her kids to an R-rated movie in the first place, someone would have to pay damnit.
What really works is the chemistry between Franco and McBride. They play off of each other in superb fashion. Franco is hard not to like, and I say that having watched the Oscar broadcast. I bring it up only because I know it angers him and I like to troll. So what? I’m human. The film would have sunk hard if the leads weren’t so endearing and I think they should be proud of that. It’s nice to see James Franco having fun, as you can tell when he feels out of his element. Like at the Oscars. Here he seems to be right where he wants to be and it’s quite entertaining.
If you’re looking for a fun movie, you really don’t have to go much further than this.
I know that a good chunk of the population who see Black Swan during its theatrical release are doing so because they want to see Meg Griffin and Padme Amidala make out lezzie style. They’ll probably be dissapointed as that scene is fairly short and not overly graphic if you really think about it. The film that they’ll see however is a slow burn piece that feels like what would happen if Dario Argento directed a ballet version of Showgirls.
First and foremost the film is a character piece. The acting on Natalie Portman’s part is sure to win an Oscar. It’s got that same quality that forces you to leave the theater sure that someone is getting an award. The last time I had that feeling it was for Cristolph Waltz. This time around I get the feeling that the same love will get heaped upon Natalie Portman, especially considering that she is probably best remembered for her less than stellar acting in the Star Wars films. But then again, those movies sucked the acting talent out of everybody not named Liam Neeson. Want proof? Ask Ewan MacGregor.
But back to the film at hand.
Black Swan isn’t the best film Darren Aronofsky ever made. I still say The Wrestler is his best work. This film has similar thematic elements but is too surreal to connect on the same level that his last film did. A good portion of the audience will find fault with the film for not explaining why certain elements of the film even exist. We get that there’s a spiraling-into-dementia plotline here, but we’re never really told what the trigger is directly, and this sort of subtlety angers the modern mainstream audience more often than not.
It’s definitely a fine piece of cinema, but I get the feeling more people will watch the clips of Natalie Portman masturbating or the makeout session on Mr. Skin than will see the film in its entirety and that’s a shame.