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Creating a shared saga was only Phase One. Phase Two is all about testing how far audiences are willing to allow Marvel to drift from the safety and security of standard superhero fare.
And ye gods be praised, the masses are, at least for the moment, more than eager to follow Hollywood's hottest subsidiary studio wherever it leads.
For those complaining that every superhero movie is the same as the last, prepare yourselves for the weird, wild reaches of the Marvel Universe.
But peace is once again threatened when Dr. Jane Foster Natalie Portman is possessed by a sinister energy weapon called the Aether, a vindictive Dark Elf named Malekith Christopher Eccleston is roused from deep space hibernation, attacks the Asgardian capital and leaves nothing but death and heartache in his wake.
Determined to save Jane from the Aether and stop Malekith at all costs, Thor elicits the help of Sif, the Warriors Three and Bifrost guardian Heimdall Idris Elba , recruits and frees his disgraced brother Loki, and gives chase.
Elsewhere, on Earth, Dr. The trouble with Thor , much as I enjoy it, is that so much time is devoted to mythos justification and superpower-stripped moping.
The film establishes a world of far-flung realms well worth exploring and a terrific and terrifically assembled cast of characters, and what's one of the first things it does?
Spend the better part of its runtime with a powerless hero stranded on Earth who passes time yanking on a hammer that's stuck in the ground.
In their defense, Marvel and Kenneth Branagh weren't exactly sure anyone would buy into a flick about ancient Norse space-gods wielding magic weapons against ice giants and fire-spewing Destroyer droids.
And despite all its shortcomings, Thor is still a great little film; one that rather thanklessly laid crucial groundwork for everything that came after.
The Dark World , though, isn't mired in such necessary spoon-feeding evils. Taylor's sequel charges into battle boldly and valiantly, brandishing Dark Elves, space ships, dimensional portals, fiery berserkers, Asgardian campaigns, stone behemoths, intergalactic prisons and castle sieges.
All in the first forty-five minutes, no less. Taylor doesn't waste any time waiting for newcomers to catch up, much less keep up.
It's also a more rewarding successor to The Avengers than Iron Man 3 , as it more directly and effectively deals with the aftermath of Loki's invasion of New York.
Marvel could have shelved the series' resident Trickster or, worse, made him the primary antagonist of a third film. But the studio that Jack and Stan built is much smarter than that.
Taking the path least chosen, Marvel introduces additional complexity and duality to Loki's character; a move typically attributed to more "serious cinema.
Hiddleston's Loki is infinitely more interesting than before, and he was already one of the MCU's biggest scene stealers.
Hemsworth ups his game as well with a more three-dimensional, slightly less humorless Thor than we've seen, complementing Hiddleston's colorful flourishes and outbursts grimace for grimace and grin for grin.
Together -- or in the company of Hopkins' Odin, Elba's Heimdall, Russo's Frigga, Alexander's Sif, Stevenson's Volstagg or Eccleston's Malekith, all of whom turn in excellent performances -- the brothers are simultaneously a perfectly compatible and perfectly disastrous odd couple, and the implied history they share is more palpable than ever.
Make no mistake: whenever the film drifts from Thor and Loki's sides, it does so at its own peril. If the sequel errs it's in its ever-fluctuating tone.
Marvel remains intent on keeping things relatively light in the MCU and avoiding the oppressive darkness of series like Christopher Nolan's Dark Knight trilogy.
And more power to 'em. Even if the irony of the film's title won't escape anyone. I'll be the first to admit it's nice to have fun with a superhero movie every now and again rather than being dragged along behind a quasi-realistic adaptation of a wholly unrealistic story.
Engrossing and masterfully made as Nolan's films are, they're intentionally heavy and joyless. Still, Thor 's second go-round is a bit too erratic, bounding between tragedy and comedy with something resembling a disregard for emotional resonance.
It occasionally even feels as if several key transitional scenes were left on the cutting room floor. Pacing and storytelling receive a boost in the breakneck department, sure, but it isn't always for the best.
One particularly devastating blow in Asgard and its subsequent fallout are immediately followed by scenes of comic relief in a British mental hospital.
The shift is jarring and could have easily been alleviated had Taylor and editors Dan Lebental and Wyatt Smith simply added a few brief minutes between such disparate beats.
That said, any ensuing whiplash is more a product of Marvel over-exerting its control than of Taylor's original vision going awry.
Lest ye forget, the studio ordered last-minute re-shoots to inject more humor into the mix after determining The Dark World was, erm, too dark.
Bleed over from Taylor's work with Game of Thrones no doubt. Fortunately, Taylor is absolved of any sins the second he hurries back to Asgard and the Nine Realms, returning the focus of the story where it belongs: on Thor and Loki rather than Erik and Darcy.
He's overshadowed -- and rightly so -- by Helmsworth, but carries enough gravitas to convincingly play a character of such great stature simply by dressing up in the costume and delivering his lines with the precision and command expected of him.
Tom Hiddleston seems to channel Alan Cumming in both look and style throughout and to the point that viewers will be doing double-takes and checking the billing a second and maybe even third time to verify the identity of the actor portraying Loki.
Certainly their characters are somewhat integral to the plot, but none of them break free from the shadow of Chris Helmsworth or make much of an impression thanks to a script that seems to have put them into the movie more for the sake of having them rather than because the story couldn't work without them.
Lastly, there's the problem of a readily-identifiable unoriginality that runs through the movie. Thor works best in a vacuum, and one that dictates audiences enjoy the ride -- in this case, the special effects and action -- and not worry about the relatively weak story, overwhelmed secondary characters, and similarities to other Fantasy stories.
On that note, Thor sometimes feels like a grand re-imagining of the Dolph Lundgren vehicle Masters of the Universe.
The similarities between the two are striking, really, and not just the whole "musclebound blonde alpha male from another world arrives on Earth" angle.
No, Thor so often looks like Masters of the Universe -- a much bigger budget Masters of the Universe to be sure -- that one can't help but wonder if Branagh and company didn't actually use the relatively obscure picture as a source of inspiration for the design of Asgard, that locale's color scheme, and various odds and ends props and costumes that pop up from time to time.
Certainly Thor is a far more serious picture than the hammy-but-fun Masters , but make no mistake that the two share more in common than the filmmakers behind Thor probably care to admit.
Second, and far more readily evident, is Thor 's allusions to Arthurian legend, particularly the "sword in the stone" fable about the inability of anyone but the most worthy to pull a powerful and prized mystical weapon from its resting place.
It just so happens that Thor's hammer, Mjolnir, is subject to an identical ritual that defines much of Thor 's second act. Lastly, the "Destroyer" fire-breathing metallic whateveritis bears an uncanny resemblance to Gort from The Day the Earth Stood Still with the whole metallic body and blast from the eyes thing.
Of course, how much of this goes back to the original comic series is best left for debate amongst those who more closely follow such things, but for the casual moviegoer there's no mistaking the film's resemblance to and nods towards other properties that don't necessarily lessen Thor , but only reinforce that notion that the movie's plot takes a backseat to its admittedly spectacular action, sets, and special effects.
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The film will be available in 3D upon its release, as well as a standard two-disc edition. Both sets will Thor 3D Blu-ray Screenshots.
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