Thor: The Dark World – Chris Hemsworth suits up again as the Marvel(lous) God of Thunder

After ‘Earth’s Mightiest Heroes’ thrilled in Avengers Assemble (2012) and Iron Man/Tony Stark took his (possible) final bow in Iron Man 3 (2013), the epic Marvel superhero franchise continues to spin ever onward into the next story in the series. This time it’s the Asgardian God’s turn back in the spotlight for the first sequel to the magnificent Thor (2011), with yet more muscle-flexing, sibling rivalry, a dash of romance and of course the ever reliable mega battles to save the world…or more than one world this time.

Thor: The Dark World (2013) has a lot to live up to though. The first Thor was a great action flick but with plenty of Shakespearean grit thanks to the credentials of director Kenneth Branagh, a great story and superb performances. Not only this, but following the amazing Avengers Assemble that had it all – action, fun, comedy – is a very daunting task. Iron Man 3 just about managed it with extra humour and the ever reliable presence of Robert Downey Jr. And while Thor: The Dark World doesn’t quite live up to the awesomeness of The Avengers, mostly because that film had the added novelty of four heroes for the price of one film, it still takes a step up from Thor with even more thrilling set pieces and comedy moments.

This sequel also benefits from being able to drop us into the action immediately – no lengthy introductions necessary this time. Following on directly from the storyline of The Avengers, Thor (Chris Hemsworth) has returned to Asgard to keep the peace between the Nine Realms while his villainous brother Loki (Tom Hiddleston) has been incarcerated in prison. However as with the first Thor film, the plot isn’t restricted there. It jumps between the world of Asgard and Earth, this time London where astrophysicist Dr. Jane Foster (Natalie Portman) has carried on her research and waited for 2 years for Thor to return to her, but with no sign. However when the evil Malekith (Christopher Eccleston) steps into the frame looking for a substance that will throw the entire universe into darkness, Thor might be closer than Jane thinks.

When you take a step back to look at the storyline here though, it is obvious that it is really the same old, same old – bad guy wants massive MacGuffin for power (here it’s something called the Aether), our hero has to stop him. Despite this though, and despite what is also one of the most confusing of all the Marvel plots there has been before, this doesn’t take away from the enjoyment of the film. It is still hugely entertaining to watch from start to finish. And the complex storyline? It really doesn’t matter when you’re so wrapped up in the action, the humour and the wonder of the Marvel world.

Director Alan Taylor has also made one of the best looking Marvel films since the first Thor. Mostly known for his TV directorial work, in particular for his work on Game of Thrones, Taylor brings a grittier, down and dirty style to the big screen and to the battles, fortifying the fantastical worlds with realism and spectacle. The design is also brilliantly realised again – Asgard looks beautiful and London looks suitably dreary in comparison, while the other darker Realms are mostly vast, grey, emptiness.

The other draw for a lot of people will obviously be seeing the same cast reprising the roles from the first film. However for a lot of people (you know who you are) it will be seeing Chris Hemsworth play the larger-than-life God again. And as before he is perfect in the role – all booming voice and powerful speeches (and punches), with a touch of childish naivety at the same time. The other role played to perfection once more is the superb Tom Hiddleston as Loki his mischievous brother. He’s smarmy, cold yet RIDICULOUSLY charming at the same time. Not that I’m biased or anything. In this sequel there are also many more opportunities to see the brilliant chemistry Hemsworth and Hiddleston have together onscreen as the feuding siblings, including a couple more welcome comedy moments between them later on. With Loki stepping out of the main villain spotlight this time it offers the chance for a new baddie, and a much more menacing one at that: the Dark Elf Malekith, played by a nearly unrecognisable Christopher Eccleston. Though he is covered in prosthetics and make-up Eccleston projects himself brilliantly making Malekith a calculating and ruthless villain, as well as completely terrifying.

Another returning character to the world of Thor is Natalie Portman as the intelligent Dr. Jane Foster. Portman herself is great and funny when she needs to be, but Jane is once again a bit of an ineffective character. At first it seems that she will have more to do in this sequel, yet she quickly becomes another female in a superhero film who runs the risk of falling into the damsel in distress category. She also suffers the problem of being onscreen with Darcy a lot of the time played superbly by Kat Dennings – literally any scene with her is guaranteed to be fab and hilarious. In fact, give Darcy her own film NOW (or at least let her be in The Avengers sequel…).

A lot of the fun in the first Thor came from seeing the titular God trying to cope on Earth without his powers. Thor: The Dark World doesn’t have that element this time, but the humour is instead found in plenty of other places. With the extra comedy plus some excellent action sequences, including one of the best climatic battle scenes of any Marvel film since the battle in New York in Avengers Assemble, it makes for a much more entertaining film than its predecessor. Not only all this, but it has two extra mid/post-credit scenes (one which cleverly sets up future Marvel storylines and the other which isn’t really needed, but is still fun) and there is also an AMAZING mid-way cameo. All-in-all Thor: The Dark World is brilliantly helmed and directed by Alan Taylor and is a definite step-up from the first Thor film in terms of the scope of the narrative and the epic action. Next in the Marvel canon is Captain America: The Winter Soldier (Marvel really love their overlong colon titles). Here’s hoping they can continue to go onwards and upwards and carry on their superhero winning streak.

Much Ado About Nothing – Joss Whedon and co. create a modern remake of a timeless classic

Joss Whedon is a very busy man. Not only did he recently co-write the hilarious and genre parodying The Cabin in the Woods, but he is also a producer, writer and director of the pilot of the new upcoming Agents of S.H.I.E.L.D. TV show. His biggest achievement of last year though has to be winning over film and comic book fans alike with his script and direction for Avengers Assemble, the superhero mash-up movie that had it all – comedy, action and heart, as well as the ability to smash box office records. During a contractual post-production break on that film, Whedon actually shot ANOTHER project: his own updated version of Shakespeare’s play Much Ado About Nothing. Told you he was busy. Shot in just 12 days, entirely in black and white and in his own Californian home, this new adaptation of Much Ado shows that Shakespeare’s tale of love, deception and the battle between the sexes is still just as relevant today as it was all those years ago when it was first written.

Upon hearing of the return of Don Pedro (Reed Diamond) and his officers Claudio (Fran Kranz) and Benedick (Alexis Denisof) from a successful battle, governor Leonato (Clark Gregg) prepares a lavish party at his home to celebrate the occasion. His only daughter Hero (Jillian Morgese) is overjoyed about the party, even more so with the arrival of Claudio. Love is soon in the air. Love is certainly not in the air for others though, namely Hero’s cousin Beatrice (Amy Acker). She is less than enthused about the arrival of Benedick, a man who she has met many times before and who are both at verbal war with each other. With upcoming plans for a wedding soon in place tor Claudio and Hero, the other bored guests begin to plot about bringing Benedick and Beatrice, both of whom do not believe in love or marriage, together – whether they want to or not. But there are other guests that have different ideas for the approaching nuptials. The villainous Don John (Sean Maher) and his two cohorts Conrade (Riki Lindhome) and Borachio (Spencer Treat Clark) have other plans in motion to ruin more than one of the guests’ loves and lives…

William Shakespeare’s work can be off-putting for many, especially those who are not used to his extravagant, metaphorical language. After the first few initial scenes of this version of Much Ado though, that won’t matter. By then you are truly immersed in this world and completely enraptured by the wonderful story and the beautiful way in which Joss Whedon has told it. Whedon’s adaptation of the play is in fact one of the best I have seen in a long time. Updating the story to modern-day California (although it is never mentioned as such) works perfectly. It allows Whedon to make the story fresh and interesting by using changes like a scene in a lavish swimming pool, characters using an iPod for music and having the guards become security guards who use CCTV. Despite these changes though, Whedon still never loses the main points of the plot, sticking to the original text throughout. However his greatest decision for this adaptation has been to film it entirely in his own home. This creates a wonderful setting for the story and creates a microcosm for the characters to exist in – Whedon’s own private Shakespearean world.

From the second the film begins it is also clear the amount of love and care that has been put into this production. His direction is so thorough that every scene is clearly mapped out and expertly choreographed in every room of his house in order for him to make the most of his setting. You can almost envision Whedon having bounced around the house himself reciting lines of Shakespeare’s dialogue and seeing which scene suits which room or exterior best. Whedon’s use of cinematography is also striking and ensures that this doesn’t just become a film that only focuses on Shakespeare’s words. His use of black and white lends it a classic film look, as well as creating beautiful imagery that conveys emotion and feeling.

Although Much Ado at first glance seems to be a film that is miles apart from what we are used to seeing from Joss Whedon, it still has the usual touches that are synonymous with one of his films (or TV shows). Lavish design, great cast, but most importantly plenty of comedic moments and hilarious dialogue. This use of comedy that Whedon has retained within his adaptation ensures he keeps the broad sense of humour that is in the original play. His direction of the actors and the use of physical comedy creates scene after hilarious scene, making them feel new even if you may have seen them performed many times before. In particular this can be felt during all scenes between Beatrice and Benedick, as well as the increasing plot the other characters have to bring them together. Whedon’s humour therefore retains the intended spirit of Shakespeare’s play, and this is felt throughout the entire film.

This obviously being a film that runs on striking performances, Whedon has also cleverly picked a cast who can handle the lines as well as deliver on the humour side of things. Picking many of his TV alumni (who all had their fair share of funny moments and lines to perform in his earlier TV shows) this actually feels like a weird mix of watching Angel, Dollhouse and Firefly at the same time. All actors perform Shakespeare’s flowery language and his many double-entendre’s perfectly. Particular standouts are Clark Gregg as the genial father figure Leonato, Jillian Morgese as the quiet but loving Hero, Fran Kranz as the naïve Claudio and Nathan Fillion as Dogberry the bumbling and unintentionally hilarious constable. And most impressive are of course Amy Acker and Alexis Denisof as the feuding Beatrice and Benedick who both shine onscreen, in particular for a couple of Shakespeare’s soliloquies they have to perform. They are however at their most comical when they are together and arguing, the banter flying back and forth between them as they both try to best each other in their war of words.

Much Ado About Nothing is a hugely entertaining and beautiful film with a timeless love story at it’s heart. The use of expert and stunning black and white cinematography draws you in, Whedon using it to heighten the emotion of every scene. It also features expert performances from actors who all deliver the complex words in a way all will understand, as well as plenty of comedy that truly emulates the intended tone of Shakespeare’s original play. The fact that it was shot in just 12 days proves that this is Joss Whedon’s passion project, and it shows in the love and care that he uses in each and every frame. As such this is a joy to watch and is up there with Kenneth Branagh’s own film version of Much Ado. In fact I would say it is one of the best Shakespeare adaptations since Baz Luhrmann’s Romeo + Juliet, albeit Whedon’s film is a LOT more understated than that film, and the better for it. Not only this but it is also one of the best films of 2013. Sit back, watch, and lose yourself in Shakespeare’s dialogue and Joss Whedon’s beautifully made, own private world.

The Harry Potters…

In preparation for going to see the final Harry Potter instalment I decided (like pretty much everyone else has) to watch all of the other films beforehand to remind me of what has gone before…Oh and I didn’t watch them marathon style – I likes me sleep…

Harry Potter and the Philosopher’s Stone is a great film to set up the series and introduce aspects of the magical world that J.K. Rowling has created. It’s a good film but it feels very…family friendly Sunday filmy – although this may be more to do with the story as darker aspects haven’t yet been brought in. The child stage school acting isn’t great either, but the presence of some more than capable adults makes it work – mostly Alan Rickman as Severus Snape, Richard Harris as Albus Dumbledore (replaced by Michael Gambon after the second film) and Maggie Smith as Minerva McGonagall. This excellent thesp acting talent is something that is repeated throughout the series too, making them all the more watchable…

The Chamber of Secrets is the weakest film out of them all – this is mostly coz it’s a film (and book) to establish parts of the plot later on (horcruxes, etc.). It doesn’t really work but it’s a necessary film to have. It just seems to peter on until it’s conclusion – and the scene with the Basilisk at the end is good but just a little…boring. The one saving grace is definitely the introduction of the evil Lucius Malfoy played brilliantly by Jason Isaacs and of course the excellent foppish Gilderoy Lockhart played by Kenneth Branagh (who also brings much-needed fun to the proceedings here).

The next film, The Prisoner of Azkaban, is my personal favourite: both story wise and aesthetically. The story (and plot twists) are so much more interesting. And the direction by Alfonso Cuarón is beautiful – I hadn’t realised until I watched it again recently just how many long takes are used with v. few cuts and fluid camera work. And it also has 2 of my favourite actors of all time in it: David Thewlis and Gary Oldman (as two of the best characters in the series, Remus Lupin and Sirius Black respectively) – watching them acting in the same room together is just, WOW (although they should have explained more about the Marauders and the map…). And the introduction of the Dementors is also brilliantly done – they are cleverly designed and genuinely creepy, watching them makes you feel like the room really is turning cold.

The Goblet of Fire is the second weakest film in my opinion – too much is omitted about the Triwizard Tournament and other things: it feels far too rushed. The fact that they kept the Yule Ball in though makes up for this and shows what Mike Newell was trying to go for with this film – showing more of the teenage relationships and growing up. The introduction of Mad-Eye Moody is a highlight though and Brendan Gleeson is amazing as him – a little bit funny and a lot intimidating. And of course, this is the film in which we finally get to see Voldemort in his true form: Ralph Fiennes is at his best as the snake-like, terrifying dark wizard (and he gets all the more scary throughout the rest of the films…). Unfortunately Emma Watson’s eyebrow acting in this one reaches all new levels of weird. And who’s this Robert Pattinson? Don’t see him going far (sorry, old joke…).

Then onto the David Yates directed films, starting with the Order of the Phoenix: again not brill plot-wise (the conclusion seems disappointing after the huge build-up about the prophecy – which to me seems a little rushed over and forgotten…). But the death at the end of the film is excellently done and truly upsetting – especially when it’s so sudden (like in the book). Imelda Staunton as the controlling Dolores Umbridge is also great – she’s sickly sweet, condescending and completely horrifying. And Helena Bonham Carter as Bellatrix Lestrange is just horrifying with added doses of wide-eyed crazy…

The Half-Blood Prince is another one of the best films of the series – again very well shot and directed by Yates: the idea to include an opening scene with wizards destroying London is clever and shows the first signs of both worlds colliding. And again another great character is added – Horace Slughorn played by Jim Broadbent adds comic relief at times and also forwards crucial parts of the plot. Another person worth mentioning here is definitely Tom Felton as Draco Malfoy – he truly comes into his own acting wise and shows Draco as no longer in control of his fate, and scared of what will happen to him – he makes you really start to feel sorry for him. And the inevitable death scene at the end of the film is truly affecting yet again…and devastating.

And finally the penultimate film – the Deathly Hallows: Part 1. The idea of having them out of the school brings a bit of relief – it’s very freeing and Yates lets both the Muggle and Wizard world merge even more. Again there are some great standout action scenes – the last chase scene through the woods with the Snatchers is kinetic and heart-pumping and the scene of the infiltration of the Ministry is brilliantly realised and just as scary. And the brave decision to tell the story behind the Deathly Hallows by coming out of the story and showing an animation was a clever risk – it’s beautifully done and well explained for people who haven’t read the books. And yet more standout thesp actors added to the cast list: Peter Mullan as Yaxley is gruff and menacing, and Nick Moran as Scabior is creepy and looks like Adam Ant for some reason.

And now onto the Deathly Hallows: Part 2 (which I will be seeing today!) – I know that I am inevitably going to enjoy it and that it is going to be pretty epic. It’s also going to be sad to see the films come to an end – although a lot of the films have their flaws, they are all enjoyable in their own ways and I’ve always been excited to see them. I’ll let you know what I think soon enough though!

HAMMER OF DESTRUCTION!!!

As I’ve mentioned plenty of times before: I’m a geek. A MASSIVE GEEK. Mostly with regards to comics and comic book films. And let me tell you now: I literally cannot WAIT for when the Avengers comes out. In fact I might not be physically able to – 2012? COME ON!!! And another thing: I’m pretty sure that it’s going to be one of the films that I’m going to see the most times at the pics (the current record is the Lord of The Rings films: 3 times for each one – although I’m sure that I went to see Pirates of the Caribbean a whopping 5 times, but can’t completely remember).

So as you can see: geek central. Which is why I was quite surprised when I didn’t actually want to see Thor. From the first trailer I wasn’t convinced AT ALL – especially by Chris Hemsworth’s accent. And I don’t think I’ve forgiven director Kenneth Branagh for Mary Shelley’s Frankenstein.

But anyway I gave it a go. And, ok – it’s not Iron Man standards. But it’s a fun film with excellent effects, great gags and pretty brilliantly acted – mostly by Tom Hiddleston as Thor’s brother Loki (not sure where this guy has suddenly come from). And yes, Chris Hemsworth is actually good as Thor – and the accent is convincing when you hear it on the whole. Anthony Hopkins is good – obvs coz it’s Hopkins. But he’s just a bit tooooo shouty. Calm down man. Natalie Portman is brill as well – but when is she not? One of the big surprises though is Kat Dennings: v, v, funny (and where did she come from too?). And whats that as well? – TWO good, non-stereotypical female characters??? WOW.

The story that takes place in the mythical land of Asgard is good – lovely, weird landscapes and all that (just look below – mmm, goldie). But it really only gets truly great when Thor crashes down to earth and he has to deal with our world (cue lots of gags).

Actually I should probably admit something to you: one of the main reasons I wanted to see Thor was coz I’d heard there was a certain cameo in it…If you don’t know already and you don’t want to know, then don’t carry on reading…………

Jeremy Renner (hello again cutie) as Hawkeye/Clint Barton pops up. And that is how much of a geek I am – I loves me some superhero cameos (and maybe as well coz its Renner ya know…). I didn’t even care that he’s only in it for literally 30 seconds…

So yeah, Thor’s a good watch – fun and actiony. You pretty much know what you’re going to get. However I’d like to make a point before I go: JUST STOP ALREADY. WE GET IT. 3D IS GREAT. BUT PLEASE STOP USING IT IN EVERY FILM. It works ok in Asgard, but the bits on earth? Totally pointless and really distracting. Rant over.