Ah, Thor. You might be my favorite superhero movie since Iron Man.
Thor is definitely somewhere on my list of top 5 Marvel superheroes. The guy is Marvel’s answer to Wonder Woman: raised in a society with different moral standards in regards to fighting and killing, able to occasionally outright kill a guy who is totally a bad guy without angsting about it, and just generally, you know, Mythic.
This movie is exactly what you’d expect to get if you combined Jack Kirby art, Kenneth Branagh drama, and modern Hollywood’s pop culture superhero aesthetic. Fortunately, the first two things complement each other sublimely, and, other than a few lines that sound cheesy or flat, the Hollywood conventions don’t get in the way too much.
I spent the whole first act being vaguely annoyed. “Wait, I thought I liked Thor. This guy is a complete ass.” The movie was so good at telling me Thor’s origin story that it made me forget a central conceit of that origin story, namely that Thor starts out as a complete ass. I’m not going to spoil anything, because I know this isn’t the most widely known comic book origin story, but let’s just say they were able to cut out the fat and modernize it thoroughly, while remaining close enough to the canon that the story remained faithful to the character’s essence.
Speaking of faithful, the realm of Asgard is both wondrous and beautiful; capturing the spirit of Kirby’s illustrations. Many times I was giddily gobsmacked by how detailed, natural, and correct it all seemed. The costuming was a damn good compromise between the simple graphic qualities of Kirby’s design and modern movie convention. It wasn’t perfect, but I think that’s more of a consequence of practical technical limitations and conventions; I’m not going to dismiss a masterwork of superhero costume design because I think that a breastplate should have a slightly different sheen. This was the first movie in ages that made me feel like there were wholly different worlds, worlds that may have influenced each other, but that had their own qualities of mood, soul, and aesthetic. I felt like I could touch those walls of gold, and they would be solid. That doesn’t happen often, with our modern CG.
A few of the plot points fell a little flat: I immediately understood Jane Foster’s fascination with Thor, but his devotion to her was never really justified. I suppose the filmmakers may have just let “look, she’s Natalie Portman, Natalie Portman!” act as the entire justification for Thor’s romantic devotion, but that wasn’t enough for me. This made some of the story’s final moments lack punch, but that’s a relatively minor nitpick in an otherwise thoroughly enjoyable film. And yes, there were one or two times where the script tripped over itself, trying to be too pop-culture-y or too epic, but none of those flubs were bad enough to sear themselves deeply enough into my brain for me to quote now. Only two of the film’s many, many product placements were so transparently obvious that they made me wince; in that case I can remember what they were, but I’m not going to point them out in the hopes that you will be better able to ignore them than I was, dear reader.
What else is there to say? Sif and the Warriors Three were utterly perfect. Volstagg had that legendary mix of gluttony and goodwill that he picked up in the Walt Simonson era. Loki had a great character arc, probably one of the best villain origin stories I’ve ever seen in a comic book movie. And Thor… was Thor, that same hero I know and love. Good job, movie. Good job.