Review for Thor

For comic book geeks, the horizon looks very bright as comic book adaptations are beginning to be taken a bit more seriously after the recent success. With the unknowing success of Jon Favreau’s two Iron Man movies, Marvel Studio’s are heading to bigger names with both the Thor and Captain America movies lined up for this summer. The first of this summer is Kenneth Branagh’s high anti superhero flick before we get to experience Captain America: The First Avenger this June.

As the movie begins we meet Jane Foster (Natilie Portman) an enthusiastic (to say the least ) astrophysicist with her mentor Erik (Stellan Skarsgård) and the ironically unfunny comic relief Darcey (Kat Dennings) as they are searching for a cosmic occurrence which is unlike anything they’ve seen. What soon follows in the wake of it all is the discovery of a mysterious man they hit with their truck. The movie then truly begins at Oden (Anthony Hopkins) gets the audience up to day on a brewing war between Asgard and the Ice Giants. At first we see Thor as a war hungry warrior with little regard for life but between the squabbling with brother Loki (Tom Hiddleston) and the arrogant behaviour, Oden is finally left with banishing Thor to Earth in order to prove himself.

First thing to say about Thor is that you get everything you wanted (which I don’t mean in a good way). It is another dumb comic book movie with little real characters and very little staying power. Unlike The Dark Knight or Road to Perdition, which had a lot of character even though it was adapted material, Thor feels very safe and family friendly. It is understandable seeing how the budget was through the roof, however Branagh original vision was for Thor to be an art movie and it is hard to imagine what a movie like Thor would have been like in an art house cinema.

Whilst being completely stupid one moment, the movie is actually enjoyable in parts. Despite the heavy expository dialogue which is needed to keep the audience up to speed, when the movie is set on Earth everything feels very dumbed down. One moment we see an interesting story set in a fairly interesting world of Asgard only to be ironically disappointed like Thor himself when sent to Earth. It almost becomes a tease after we see impressive sets such as God-like halls and beautiful (but artificial) vistas only to going to middles of Arizona with annoying mortals. This is a problem when all the Earth sections equal up to roughly forty percent of the movie, and during that time the audience is left wondering what is happening in Asgard rather than the action on screen.

The story on Earth does potter along and grow more appealing towards the end after some unsurprising twists and turns as the two world merge. With the odd unfunny joke and a un-amusing racist remark (you’ll know it when you hear it) the film does take itself a little too seriously as S.H.E.I.L.D, who look like a bunch of idiots, attempt to look ‘cool’ in front of the superheroes. And with the comic book references and nods to The Avengers movie, fans of the source material will enjoy looking out for all the little secrets which does make the movie more appealing.

It is strange seeing a now prestigious actress such as Natalie Portman (after the recent award season) take a role so easy as Jane the one dimensional character but it is her co-star Kat Dennings who takes the award for being one of the most truly annoying on screen appearance in cinema this year (and after Nick & Noah’s Infinite Playlist she is turning out to be an very obnoxious actress). Chris Hemsworth (who was last seen in Star Trek) does a believable job as the God of Thunder and appears to have fun with it. Along with him Tom Hiddleston as Loki and Idris Elba as Heimdall the movie is redeemed and pulled together.

Apart from some stupid set scenes and boring action sequences, the scenes in Asgard do revive the movie and make it worth a watch. Marvel fans will go on multiply viewings but they will be alone with a lot of the children audiences as the movie only asks for the one viewing before Marvel Studio’s next summer blow up Captain America: The First Avenger.

Trailer

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Review for Black Swan

Natalie Portman has always had an up and down career, sometime she chooses her roles carefully (for example Garden State) but other times not she’s chooses the odd questionable job (Star War trilogy). After exploding on the scene in 1994 in Luc Besson’s phenomenal Leon it has taken her almost fifteen years until she has given a perfect performance in the form of Darren Aronofsky’s Black Swan. After playing at the Venice Film festivals and several other film festivals the film has gradually built up momentum until it has finally been realised to the general public, however it definitely is a movie not suited for a lot of audiences despite the BBFC giving it a mere 15 certificate.

The story follows perfectionist ballerina Nine (Natalie Portman) who becomes obsessed with gaining the role of the Swan Princess in the latest performance of Swan Lake for a highly acclaimed ballet company. With an over baring and controlling mother (Barbara Hershey) and an eccentric director Thomas (Vincent Cassel) the pressure on Nina becomes a heavy burden. After being told time after time that she’s a perfect Swan Queen however lacks the power to play the swans evil twin the Black Swan, Nina begins to descend into madness and the line between what is reality and what’s in her head are drastically blurred. On top of that new competition in the form of free spirited girl Lily (Mila Kunis) comes in to wreak Nina’s new found fame. Or is she?

For a film in which it’s themes of oppression, obsession and perfection have become common ground, Aronofsky handles them excellently as they feel new and fresh. The dark material is handled excellently as the movie becomes unpredictable as we see Nina’s fractured state. It is also hard to pin point a specific genre for the movie, is it a horror? A dancing movie? A psychological thriller? Who knows? Aronofsky rehashes the same themes he showed with The Wrestler (2008) but moves beyond it in almost every way. The stark black and white feel to the movie is both beautiful but at some points menacing. Aronofsky’s themes of self destructions which are see in all his films such as Requiem for a Dream and The Wrestler are once again back as well as his very dark nature which is present towards the end as the horrific third act plays out. The handheld direction is far from Paul Greengrass territory as it reflects Nina’s state of mind and clever camera techniques make the camera invisible around the ballet studios. This is an artistic movie where the director has used modern technology to tell a story rather then avoid one.

It is easy to see how the movie have been compared to The Red Shoes (1948) mixed with the work of David Cronenberg and Dario Argento as Aronofsky shows the beauty but hardships of pursuing your love. The rituals which Randy the Ram religiously went though in The Wrestler are echoed as we see Nina crack bones and modify her ballet shoes like a professional. Portman in fact even took a year out to train in Ballet and is it clearly apparent here as she moves as if she’s being dancing for years,

It has to be said that Portman’s near flawless performance as the fragile performer is incomparable to any female performances in the past year. However she’s doesn’t just steal the show as Vincent Cassel, Mila Kunis and even Wynona Ryder all play significant roles. All the performances are moving and horrifyingly believable.

Black Swan is definitely a movie for certain audiences who can stomach certain scenes which I couldn’t begin to describe without spoiling plot points. It will have anyone turning away at the graphic images which have an artistic beauty to them. And the movies crescendo will leave you emotionally drained and make you doubt your shadow. This definitely won’t be Aronofsky’s swan song however he has set a bar for himself which will be hard to follow.

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