Tag Archives | Thor

Movie Review: Thor: Ragnarok

With several credited writers, campy Cate Blanchett (Carol, Truth, Cinderella) in smeared black eyeshadow, full gothic gear and Maleficent-like antlers to match, butch lesbian warriors, scads of Marvel Comics characters and tie-ins, cameos and one gigantic Phallic symbol — even Jesus Christ and Moses if you know where to look — Thor: Ragnarok runs more than a bit amok. Pardon the kitchen sink analogy, but this Disney movie, directed by Taika Waititi (Hunt for the Wilderpeople), is almost a full-blown camp comedy, with action and a high body count.

With Chris Hemsworth (Thor, Snow White and the Huntsman) returning in the title role, Thor: Ragnarok starts flaming early on, with flying embers coming over the opening credits to Thor’s heavy metal musical theme. The Norse god of thunder narrates his own situation. Ragnarok is quickly explained (think the Rapture) and the movie’s off on its wild runs. Light, silly and depleted of the original Thor movie‘s mythology and sense of honor, in comes brother Loki (Tom Hiddleston, Thor, I Saw the Light, Kong: Skull Island) and their dad Odin (Anthony Hopkins) and a first-born child, Hela, played by Blanchett as a veiny goddess of death with black hair, black eyeliner and black bodysuit like she stepped out of an X-Men movie.

“This you must face alone”, Odin tells his son Thor about the new dilemma of the long-lost sister’s return to their mythical world. With shades of Terminator, Mad Max and Willy Wonka films, complete with a glitzier version of Thunderdome, the action comes in spurts while the comedy keeps the lines coming in crisp flamboyance. Blanchett’s Hela sashays around swinging her hips and dripping her lines such as: “You don’t know who I am?”

But Thor: Ragnarok, with Hemsworth gamely and amazingly staying in character the whole time, has more glitz and schmaltz in store with another planet’s grandmaster in gold lamé played by Jeff Goldblum (Jurassic Park) in a gray-haired pompadour with blue fingernail polish and face paint. Idris Elba (Star Trek Beyond, Zootopia, The Jungle Book) returns in the same role. Karl Urban (Pete’s Dragon, Bones in Star Trek Beyond), Tessa Thompson (Selma, Creed) and Mark Ruffalo (Hulk, Spotlight) are fine and look for an appearance by the director and, of course, Marvel and Thor creator Stan Lee. It’s all in good fun and games and the film feels and looks like a gaming play, complete with heavy use of automatic weapons and artificial scenes.

For instance, Hulk changes proportion. Hela is inexplicably regenerative while Thor is not. Others will probably notice an array of tricks, Avengers series nods and gimmicks, though it borders on exhausting and I opted to see Thor: Ragnarok in a two dimensional screening, not in 3D. Eye strain and fatigue may creep in but thematically interesting resistance, extermination and something called “obedience disks” gives the ensemble-driven, meandering plot a second wind. At root, Thor: Ragnarok is a comedy with action, not the other way around, though it is too long and I could have done without the Hulk and his subplot. Hemsworth’s Thor gets the best quip when he puts Bruce Banner in a bind to go somewhere else and says: “Use one of your Ph.Ds”. Fans of the original will want more of Thor’s mythology.

Movie Review: Avengers: Age of Ultron

AAOUHollywood whiz kid and libertarian folk figure Joss Whedon (Firefly) finally grinds Marvel’s creative engine to a halt with the flat, overwrought Avengers 2 picture, Avengers: Age of Ultron. It sputters and spins.

With a generic, meaningless title as generic and meaningless as its Ready for Hillary arrow logo movie poster, this mediocrity exploits the past, flaps its lips and signifies nothing. After years of defending and enjoying these comics films, such as Thor, Iron Man and Captain America, including last year’s sequel, Captain America: The Winter Soldier, which is among 2014’s best movies, I found Avengers 2 to be the amalgamation of every negative stereotype about geek-gamer-fanboy subculture; a hyperactive, meaningless mess. If you loved Whedon’s other overrated, overstuffed fare, from one cancelled TV series to another and every bloated thing in between, you’ll love this monster mash, too.

However, if, like me, you were drawn into his blank worlds of TV’s Dollhouse and whatever else and came away utterly unimpressed, this, too, will deflate the dollars and senses. I deliberately braced and lowered expectations before the show just to loosen up in case Marvel let Whedon have his way with this one. I was bored within five minutes.

It takes an effort to waste Robert Downey, Jr. (The Judge), Chris Evans (Snowpiercer), Chris Hemsworth (Thor) and secondary players such as Samuel L. Jackson (Pulp Fiction), Anthony Mackie (Black or White) and Jeremy Renner (The Hurt Locker). But writer and director Whedon makes them all look bad, though Evans fares best, with atrocious lines that are supposed to be snappy but instead come off as a half-formed Forties rehash. Everything is too fast, too forced and totally counterfeit. The plot never develops. The characters never develop. The theme, which involves some sort of indictment of German superman philosophy and propagates the Bush-Obama foreign policy directive to elevate not killing civilians to the highest moral purpose at the expense of letting madmen who’ll destroy everyone go. The Avengers sequel reduces the avenger—the hero—to a sacrificial soldier in a thankless drudgery of duty. More than once, someone shrugs that it’s been a long, bad day.

More than once, I felt this as a long, bad movie. Aside from nitpicks, including that Scarlett Johansson’s character has miraculously lost any trace of an accent that I could have sworn her Black Widow character once had or that James Spader sounds like the National Car Rental ad guy as the voice of evil biotech villain Ultron (not like James Spader), too many characters are shoved into too little plot with no real point.

The result is an arbitrary kitchen sink movie with some of the worst dialogue written for the screen.

“They scratch the surface and never think to look within,” a character says of human beings, for instance. This comes after multiple one-liners, smash-ups and explosions and no exposition. Characters change allegiances for no coherent reason. What usually makes Downey’s caustic Iron Man appealing falls flat without context. I never did figure out why Renner’s bow-and-arrow character was doing in a subplot as deep as a country music video. Throwing in derivations of Silver Streak (1976) or Spider-Man (2002) and a collapsing skyscraper, mega-earthquake and a subplot pairing Johansson (Her) and Mark Ruffalo’s Hulk, with the romantic chemistry that suggests, and any remaining action heroism is strung out in long-winded riddles, belabored contrivances and sight gags. I think Disney’s John Carter made more sense.

Add dream sequences, inner turmoil and an anti-climactic showdown in the air between the avengers and Ultron and Avengers: Age of Ultron is at best an action movie with psychobabble and badly written banter.

Three years ago, almost to the day, I wrote about a publicity piece in one of those promotional publications on The Avengers that gave me pause and made me wary of Joss Whedon’s anti-heroism. This weekend, Avengers: Age of Ultron, underestimating its cast, audience and studios and taking its fans for granted, adds nothing to Marvel’s universe and further detracts from the series. Disney’s Thor director, Kenneth Branagh, delivered what may be this year’s best picture, Cinderella. By contrast, Disney’s Avengers director, Joss Whedon, delivers a manic mixture of incomprehensible plot points that minimize Marvel’s iconic heroes in the worst new movie I’ve seen in some time.