5. Review: Thor - Full Feature

· Cert (UK): 12A

· Runtime: 114 minutes

· Directors: Kenneth Branagh

· Cast: Chris Hemsworth, Natalie Portman, Tom Hiddleston, Stellan Skarsgard, Anthony Hopkins, Kat Dennings

In a spectacularly invigorated return to form for Marvel, the latest addition to its franchise thunders to the big screen in Kenneth Branagh’s superhero epic.

In a star-making turn from Chris Hemsworth, the Aussie actor previously unknown to many (last seen briefly as Captain Kirk’s father in J.J. Abrams’ Star Trek reboot) shines in his first chance at a lead role, bringing charisma, humour and instant likability to an initially immature and arrogant character.

After his arrogance causes the outbreak of an ancient war in Asgard, the lightning god Thor (Hemsworth) is stripped of his powers and cast down to earth by his exasperated father Odin (Anthony Hopkins). Crash-landing in New Mexico, where scientist Jane Foster (Natalie Portman) runs him over during an unnatural storm, Thor begins a quest to regain his lost power and combat the blight he has unleashed on the world.

Although some may find the absurdity of the concept hard to digest, those who fight past the initial ridiculousness of the story will find that Thor is a far less superficial film than was expected. Sure, it is packed to the brim with striking CGI and high-octane action sequences, but the tone is also surprisingly playful, with some brilliant fish-out-of-water scenes such as the muscle-bound protagonist marching into a pet shop demanding a horse.

The action pinball’s between three realms: Asgard, the desolate ice planet of Jotunheim, and Earth, with the Earth-bound sequences perhaps feeling slightly flat after the electrifying intensity of the exchanges in Asgard. This being said, Branagh has tied the three alien environments together perfectly, keeping the buzzing intensity maintained throughout the film.

Anthony Hopkins redeems himself from a recent string of poor choices (most notably The Wolfman and The Rite), and retains his authoritative presence and stature as the billowing and wrathful king of the gods. His performance still, however, lacks any real depth, which is heightened by the overshadowing presence of Tom Hiddleston’s Loki. Villains in comic-book adaptations are usually the most under-developed and superficial of the ensemble, but Hiddleston’s take on the god of mischief is superb; a villain who’s complex and empathetic persona makes you sympathise with his frustration.

It would appear the originally questionable choice of Kenneth Branagh directing this CGI-laden, tongue-in-cheek exercise in excessive bravado actually paid off. Although a far cry from the melodramas and Shakespearean productions that he is famous for, it is clear that he has brought a level of theatrical sophistication to the look and narrative of the film.

On the technical side, production designer Bo Welch has created some stunning set pieces. Odin’s palace and Heimdall’s Observatory, the celestial portal that connects the various realms, are particularly impressive, although the whole of Asgard is breathtakingly ambitious in scale.

Some criticism could be made of the over-used slow-motion effects and disconcerting camera angles, as the brilliant action sequences do at times feel a little awkward. But ultimately Branagh has done something only he could have; he’s embraced the whole concept, and put the comic directly on screen. The film is witty, pacy, and has moments of real poignancy; a far cry from the Shakespearean Flash Gordon many were expecting.