Neither Shakespearean top superhero movies nor the disaster that some had hoped and wanted to see. Thor is a remarkable adventure movie, a good adaptation of the Marvel comic book and an interesting exercise in style by Kenneth Branagh. It has lights and shadows in the script, also in the casting. Many more light on the visual aspect, but rather distorts the 3D final result. In any case, the assessment is very positive, because Branagh joins an entertaining cocktail of adventure and fantasy that leaves you wanting more. More than Thor, Asgard over and over, especially the Avengers (the senseless mania for running out of the room almost before the film ends, regardless of blatantly bother other viewers, makes most of which have paid an entry miss a final scene at the end of the credits.) And if the feeling is to want more, the conclusion is that the aftertaste that leaves Thor is sweet and pleasant, which leads to forgive the faults it has. At the end of the day, its mission is to entertain. Thor is the god of thunder in Norse mythology, suitably adapted to the universe Marvel and Stan Lee (another great cameo his attentive to the truck trying to lift the hammer), Larry Lieber and Jack Kirby large. Its film adaptation could only be done with generous doses of grandeur. Asgard, home of the gods, is in all its splendor and the great success of the film to focus the beginning of history there, in the fantasy realms of this mythology. The easy way, and obviously much cheaper to shoot, it would be so many other fictional characters have followed, send them directly to our Earth to exploit the comic virtues of a strange place in the world we know. But Thor bet the other way and provides about three-quarters initial time filled with action and special effects, visually fantastic (although in some cases comparisons with The Lord of the Rings are inevitable ... and always in favor of the saga yet surpassed Peter Jackson) and narratively interesting. This is where Thor is the haughty, ambitious and warlike, well run by a limited actor, Chris Hemsworth, but visually it is perfect.
In this installment of the film, after a magnificent prologue (and a superfluous opening scene), is where the best of Thor. His relationship with his brother Loki (Tom Hiddleston) and his father Odin (Anthony Hopkins), the balance of peace between the realms of Asgard and Jotunheim (ruled by the giants of ice), his friendship with the Lady Sif (Jaimie Alexander, has anyone thought it could be heroin Hollywood finally allowed to make a fantasy movie with a woman protagonist?) and the three warriors, Volstagg, Fandral and Hogun (Ray Stevenseon, Josh Dallas and Tadanobu Asano), and the vision of the rainbow bridge that connects the Nine Kingdoms and the custodial guardian, Heimdall (splendid character and superb characterization, although the choice of Idris Elba, a black actor to portray a Norse god as an anecdote was stayed, and got absurd attempt to speak of the film long before its release). View visual splendor is achieved in this section, the appropriate level of brutality in the struggles and passion in the portrayal of characters and environments do yearn for a future sequel in which narrate the stage in the comic book was Walter Simonson Thor to visit the kingdom of Hel (the Norse equivalent of hell), ruled by Hela.
With the arrival on the scene of Jane Foster (Natalie Portman), the tone of the film is lowered and it becomes funny. Funny rightly, of course, but more slowly. The love story was not only inevitable, but also grateful, because it gives more meaning to the evolution of Thor. But there is where you begin to notice the shortcomings of the script of the film. Introducing too many elements in two hours of film usually leads to some are hopelessly blurred, and this is evident in the battle between Thor and the Destroyer (a magical giant metallic appearance that shoots a powerful rays from the face.) It distorts so easily to the other Asgardians that hard to believe there is no measure of the heroísimo Thor and the supposedly invincible opponent. Similarly, it is absurd to transform Jane Foster from the nurse who is in the comic to the scientist who is in the movie (sad payment of which are politically correct times) and this aspect is perhaps the most tenuous of the plot, thanks to Natalie Portman does not stand out on paper as well. Also ends up being weak portrait of Loki, whose motivations are too in the air and distort what had only been targeted in the first two installments of the film.
In the visual, fantasy in general (and Thor is the world doing what makes him a valued character in the comic), we can only make two criticisms. One, as usual, is the 3D, too dark a film that cries out to be light to do justice to the work of its designers. Another, Branagh, while triumphs with risky levels diagonal, you lose too much on the fights. Domina great special effects, and that has merit taking into account his films so far away from this field, but the battle choreography are sometimes lost as in many other action movies (there will always be the brilliant music of his Inseperable composer, Patrick Doyle). Branagh, in any case, manages to give consistency to the final outcome and emerge triumphant. The same criticism that made him almost at its inception as the new Orson Welles now enjoys criticizing everything he does (although with less intensity, reminiscent of the phenomenon who suffers M. Night Shyamalan), but there is no reason. Thor works and fits in film Branagh's because, although sometimes it is on the surface, the Shakespearean tragedy is a key element in this saga of Norse gods and their relationship with humans.
mentioned before that final scene, which is best not to reveal more details so as not to spoil the surprise, the film concludes with a message: "Thor returns in The Avengers," which inevitably sparks the desire of the fan. Something else to look at Thor to better understand the combination of this movie in this magnificently drawn cinematorgáfico Marvel Universe? Obviously, the presence of SHIELD Agent Coulson (who appeared in two installments of Iron Man ), but also the screen debut, just a cameo, Hawk Eye (Jeremy Renner), the question of whether the same scene hides something else and the mention of Stark (Tony Stark, the man under the armor Iron Man). Marvel continues to add and there is still a chapter, Captain America, before the final explosion of the characters on the big screen with The Avengers . For that we have to wait until May next year. And given the high level of Iron Man sequel and of The Incredible Hulk and Thor now, we can only expect the best of the film which is already turning Joss Whedon.
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