If the sequel to 2011’s Thor had to be summed up in a single
sentence it would be “A natural progression
of what came before.” Despite the change in directors and a very different
style of script, Thor: The Dark World
proves to be a very focused continuation of the Norse god’s tale and keeps many
of the strengths and weaknesses of the original. With a few admitted tweaks.
Set following the events of Avengers and the rebuilding of the Byfrost, Thor and his allies
have been fighting to bring the nine realms back under control. Following
Asgard’s apparent isolation, marauding bands and forces of destruction have wrecked
the worlds leading to a crusade to bring them to peace once more. However, even
as they complete this task another arises before them. Jane Foster, Thor’s
lover from the original film, has stumbled upon an ancient weapon of the Dark
Elves. One which, now awakened, they will stop at nothing to reclaim…
Perhaps the most obvious change here is the near total
reversal of the roles of Thor and Foster from the original. Unlike before,
where Thor is trapped on Earth trying to reclaim his power with his enemies
wanting him to stay there, Foster spends almost the whole film off of Earth
trying to lose a power the villains want to reclaim. It’s an obvious switch
around, but one which manages to work quite well despite everything.
Unlike say the Matrix
sequels which showed so much of Zion audiences were sick of the location,
Asgard proves to be a visually fantastic setting. With clear influences of Jack
Kirby’s original drawings, it proves to be a bizarre blend of science fiction
and Norse which none the less manages to somehow work. Its brilliance not only
contrasts with the drab grey normality of the UK on Earth (of all the places to
choose naturally it just had to be the UK for that) but also
the barren wastes of the Dark Elves’ ruined homelands. The latter two being scenes
where the foe is at the height of their power, displaying a visual shift to
represent the darkening of their situation and works as a stark contrast to
Asgard’s gleaming city.
Both the fight scenes and the landscapes are captured beautifully
by Alan Taylor. While best known for his work on Game of Thrones, he proves to
be a great successor to Kenneth Branagh and definitely has an edge when it
comes to the larger set pieces. The flight sequences and battle scenes
especially are far more extensive than what came before and despite their
shorter length manage to rival some elements of Avengers’ New York battle. That said, some of his television
influence does become visible in the plot elements, especially in how the film
handles the initial response to a major attack and death.
The humour here remains a key part of the film, just as they
did with the first one. Many returning characters and figures help provide
comedic relief to the proceedings and enforce the unpretentious approach to the
subject matter. This helps especially to elevate things with Foster’s reactions
to sights on Asgard. That said, while it is appreciated some things do go too
far. Many moments are definitely handled better when they are played straight faced,
such as Thor hanging mjolnir on a coat hanger when entering Foster’s home, than
the more overt moments. This is made crystal clear with the return of Dr. Erik
Selvig. Despite previous comments by actor Stellan Skarsgard stating the impact
of Loki’s influence on him would be made clear, it only amounts to moments such
as him streaking around Stone Henge for seemingly no reason. A similar
performance which seems to have diminished is that of Antony Hopkins who seems
to have lost a degree of the conviction he had previously. This might be put
down in part to some awkward writing surrounding the war and Loki, but there’s
a definite difference in his performance from last time.
On the upside, much more is attempted to be done with the
side characters. The warriors three (at least Volstagg and Fandral, with Hogun
unfortunately being pushed out of the picture) and Sif get a little individual
more focus than before, though still
obviously minor characters. Unfortunately others such as Foster’s faux
boyfriend Richard ultimately add little to the film, and prove to be a major
waste of good talent.
The one who benefits the most from the increased scope is
definitely Frigga. The film actually gives Rene Russo something to do, allowing
her to become more of a core part of the film’s second act. Naturally the ones
who prove to be the best here are the villains. While Loki is as strongly
written and fantastically acted as ever, sans sequel bait ending, the one who
really shines is the Dark Elves. While none are especially complex nor deep,
the acting talent behind them elevates a forgettable villain into something
truly memorable. Christopher Eccleston in particular deserves every shred of
praise he is given for the minor inflections and body language used in his role
giving far more life to the character than the script alone would ever permit.
Seriously, University classes should be spent with him as an example of how the
right actor can infinitely improve a bland character.
Also, the story is predictable. However, as with the
original, this predictability is far from a bad thing. Self-aware and well-handled
for the most part, any stale or potentially derivative major plot elements are
driven off by the strong characterisation and handling of the overall tale. It
helps the film provide a subconscious link with older, now very predictable, fables of old without making an obvious clash between new and old culture.
Thor: The Dark World
has obvious errors and a few failings, some of which can even be seen as amateurish.
However, its strengths far overshadow them and the film proves to be much more
tonally consistent with its predecessor than Iron Man and its sequels. It steps up to escalating what came
before, enhancing its themes and changing focus, but doesn’t forget where its
roots are dug in. With great action, decent drama, fantastic acting, and strong
humour it’s a worthy installment into the Marvel cinematic universe. Definitely
see this one while it’s still in cinemas, you won’t regret it.
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