by Steve Habrat
I’ll never forget the jolt of excitement that I felt when I first saw the Superman Returns teaser trailer, the one with Marlon Brando’s Jor-El commanding the speakers and explaining to Kal-El why he has sent his only son to earth. It looked like Superman was in good hands, picking up shortly after the events of 1980’s Superman II. Director Bryan Singer worked overtime to make a film that captured the nostalgia of the original two films while also updating the character for modern audiences. I really can’t express how disappointed I was in the finished product of Superman Returns, a dull, lumbering, and bloated reboot that basically served no purpose other than to let us know that Superman now has a son and that he is still not with Lois Lane. It has been said that Singer cut fifteen minutes from this movie when he should have cut about forty minutes from it. For almost two and a half hours, we go in circles while Kevin Spacey tries his hardest to perk the film up. Even worse, you’d think that with all of our beefed up special effects, Singer could have conceived one thrilling action sequence but nothing ever rises above mildly attention grabbing. They almost seemed like they were in there just as an excuse to crank the volume up and wake the audience up from their naps.
After assuring the president that he would never abandon Earth again, Superman Returns begins by explaining to us that Superman (Played by Brandon Routh) has been missing for five years, searching the galaxy for the remains of his home planet Krypton. He apparently didn’t say goodbye to anyone he deeply cared about, which has really upset Lois Lane (Played by Kate Bosworth) and led to her writing an article entitled Why the World Doesn’t Need Superman. Lane has also won the Pulitzer Prize for the article, an award that she has mixed feelings about when Superman suddenly returns to earth and makes a daring rescue. The Daily Planet is sent into a frenzy covering his return and Superman confronts the now engaged Lois, who also has a mysterious son named Jason (Played by Tristan Lake Leabu) about the article she wrote. As Superman tries to reignite the flame between Lois and convince her that the world does need a savior, the dreaded Lex Luthor (Played by Kevin Spacey) hatches a plot that elaborates on his destructive real estate scheme from 1978’s Superman. Luthor travels back to the Fortress of Solitude and steals multiple crystals that can allow Superman to grow massive landmasses that resemble his home planet. Luthor isn’t content with just growing alien landscape and he figures out a way to lace the rocky terrain with Kryptonite, which would prevent Superman from stopping him. Luthor plans to grow his new landmass in the Northern Atlantic Ocean, which would cause the sea level to rise and destroy the United States, killing billions of people.
My first complaint about Singer’s Superman Returns is that casting of the blank slate that is Brandon Routh, who has absolutely no screen presence at all. He barely even registers half the time and seems downright uncomfortable when he pulls on the iconic tights. He is expressionless and bland, cast simply because he has a striking resemblance to Reeve. Routh has so much make-up caked onto his face that at times he looks artificial, making him more creepy and off-putting rather than warm and inviting like Reeve was in Superman and Superman II. Singer twists him into more Christ-like poses and double underlines the idea that Superman is in fact Christ sent from heaven to deliver us from evil (Lex Luthor). He glides above Earth with his arms outstretched, listening to a world cry out for his help. His awkwardness does transfer well to the bumbling Clark Kent but he never pulls that side of performance off like Reeve did in the original films. I hate to compare Routh so much to Reeve but it is virtually impossible since he is picking up where Reeve left off. The best scene he does have is when he confronts a crook wielding a Gatling gun, smirking as a bullet bounces off his eyeball.
Then we have Kate Bosworth’s Lois Lane, another small blip on the radar when she was such a firecracker in the other two films. Singer puts a heavy emphasis on her character, almost making her the centerpiece in all the apocalyptic mayhem. Bosworth is pretty enough and Singer doesn’t go to cheesy lengths to make her look like Margot Kidder, letting her physical appearance stand as it already is. At least she isn’t creepy like Routh. She is overly cold to Superman when he shows up for an interview and she is too torn between her fiancé Richard White (Played by James Mardsen), the nephew of Daily Planet editor-in-chief Perry White (Played by Frank Langella), and the alien savior. The finale is basically an extended sequence of Lane getting herself into one nasty situation after another, all there simply to reveal that her son may be the offspring of the Man of Steel. Luckily, the two bland leads are saved by Kevin Spacey’s inspired take of Lex Luthor. He steals the movie and holds our interest through the entire project. Going for a lower key interpretation of Gene Hackman’s over-the-top tantrums, Spacey owns the role until the final frame.
Superman Returns also doesn’t stray from the massive apocalyptic obstacles that the Man of Steel must overcome. Pointy alien rock formations poke out of the sea while lightning crashes down on Superman as he swoops in to pull Lois, Jason, and Richard out of harms way. Metropolis also sees its fair share of devastation as Luthor’s plot sends tremors right into the heart of the city. The Daily Planet globe tumbles off the top of the building while a damaged gas lines ignites a discarded cigar and sends flames shooting out of the sewers. The message here is quite simple in Superman Returns: Don’t smoke! Superman manages to keep everyone safe through the extended sequences of devastation—you never once fear that he won’t overcome what is thrown his way, which is the major problem of the film. Things do get a bit edgy when Luthor pummels Supes on his Kryptonite laced landmass. The best action scene has to be Superman’s rescues of an airplane that tumbles out of the sky, right towards a crowded baseball field. It is perhaps the most rousing aspect of the entire film. Luckily, all this CGI destruction looks great but it fails to ever really get our hearts pounding.
There was plenty of potential here for Singer to really make America fall back in love with the Man of Steel. He really tries hard but his choices in his cast are what really drags Superman Returns down. Nobody really grabbed me outside of Spacey and made me like them and trust me, I really did want to like these characters again. Singer is also quick to elaborate on the religious subtext made in Donner’s Superman, something that didn’t need to be rehashed to the audience. The lack of stunning action set pieces also really hold the film back and we know that Singer can do action, especially after watching his X-Men films. If Singer had provided a tighter runtime, a different thespian in the iconic tights, and a different villain to annoy Supes, Superman Returns would have been a much better film with a hell of a lot more flavor. Singer’s nostalgic nod had its heart in the right place but there is nothing here justifying Superman’s return, which is a real shame because it would have been nice to have him back.
Superman Returns is available on Blu-ray and DVD.
by Steve Habrat
You can’t call yourself a comic book fan if you haven’t seen Richard Donner’s powerful interpretation of DC Comics hero Superman, the first superhero epic ever projected onto the big screen. This 1978 blockbuster, based on the character created by Jerry Siegel and Joe Shuster, was marketed with the tagline “you’ll believe a MAN can fly” and to this day, despite dated special effects, I still do believe a man can fly. Donner’s Superman was the film that laid the foundation for superhero origin stories, one that taught Hollywood how to properly pace the origin tale of a crime fighter in tights, slowly and with a never-ending amount of care poured into each and every frame. Superman was born out of the explosion of fantasy films that came with a gigantic price tag, mainly science fiction films escapism like Star Wars. While I have never been big on Superman and I have never really been an avid collector of his comics, I will give his big screen debut credit as being one of the best big screen interpretations of his character as well as being one of the finest superhero epics ever made. I love the slow building story that arrives at an apocalyptic disaster that only the Man of Steel could prevent and the casting of Christopher Reeve is a stroke of genius as the hero who stands for “truth, justice, and the American way”. I will even go so far to say that any director planning to make a superhero origin story should be required to watch this film before they even think about stepping behind the camera.
Superman begins with the destruction of our hero’s home planet, Krypton, and his father, Kal-El (Played by Marlon Brando), sending him to earth in an asteroid-like spacepod. Three years pass and Superman or Jor-El, as he is called on Krypton, crashes in the rural farming community of Smallville. Shortly after he lands, the kind couple Jonathan and Martha Kent (Played by Glenn Ford and Phyllis Thaxter) discovers the young Jor-El and proceed to raise him as a normal human being even though they are well aware of his astonishing superpowers. At age eighteen, Jor-El or Clark Kent, as he is now called, grapples with his superhuman abilities and his world is shattered when Jonathan collapses and dies from a heart attack. Shortly after his father’s death, Clark finds a mysterious green crystal in the Kent’s barn, a treasure that was aboard the ship that Clark arrived in many years ago. Clark says goodbye to the grief stricken Martha and sets out to discover who he really is and why he is capable of such incredible powers. He travels to the arctic where he uses the green crystal to build the Fortress of Solitude, a temple where he can communicate with a recording from his father. It is here that Clark begins learning about his abilities and responsibilities to the citizens of earth. More time passes and the adult Clark (Played by Christopher Reeve) arrives in the big city of Metropolis, where he gets a job as a reporter at the Daily Planet and he meets the striking Lois Lane (Played by Margot Kidder), who he quickly falls in love with. Clark begins to use his powers to help the people of Metropolis, which earns him the name of Superman by the press. Superman soon grabs the attention of criminal mastermind Lex Luthor (Played by Gene Hackman), who is developing a plot that could wipe California off the face of the earth.
Many may find Donner’s Superman a bit longwinded and slow to get to the action, but he really wants us to become attached to the Man of Steel. It is easy to like the guy, especially when Reeve steps into the character and lets his good-old-boy charm have some fun. As Clark Kent, he is an ungainly oaf who stutters through every word that pours out of his mouth. The employees of the Daily Planet march around him, barely even registering that he is actually in the room half the time. He scurries after Lois, who tries hard to humor him but also forgets about him like the rest of their colleagues. His confidence and warmth really takes hold when he rips open that button-up shirt to reveal that iconic “S” stamped proudly on his chest. He almost single handedly cleans up the streets of Metropolis in one evening and still finds time to rescue a kitty stuck in a tree. It is funny that Donner uses New York City as his Metropolis, a city that was slowly deteriorating from rampant crime during this particular era. He seems to literally be suggesting that this “Metropolis” could use a savior who is willing to clean up the streets and stand up to the grimy violence. That savior is a Christ-like alien from another planet who can see through walls, shoot lasers out of his eyes, deflect bullets, and leap tall buildings in a single bound.
Superman belongs to Reeve but his supporting cast is equally as brilliant as he is. Marlon Brando shows up as Superman’s astute father who is always offering up lessons to his pupil. When Brando steps into the frame, your eyes won’t be able to be torn away. About forty minutes into the film, he gets to deliver an unforgettable speech that compares the Man of Steel to Christ, something that may upset some viewers. Brando booms, “I have sent them you! My only son!” and you can’t help but get goosebumps. When Brando isn’t making waves as Kal-El, Gene Hackman cackles as the Man of Steel’s arch nemesis Lex Luthor, who schemes up a nuclear plot (Cold War willies anyone?) that would leave millions dead. A scene where he hacks into Superman’s head and threatens to kill thousands of people in New York City sends an icy chill through the lighter atmosphere that grips the middle part of the film. Margot Kidder is a throaty looker as the force that is Lois Lane. Moving at one hundred miles per hour, Lois is always in the wrong place at the wrong time but the scenes where she is in need of help never feel strained. A sequence where she dangles from the very top of the Daily Planet will take your breath away but you never fear that Supes won’t be able to catch his damsel in distress.
Superman is loaded with sprawling special effects, destroying everything from the Hoover Dam to the Golden Gate Bridge and everything in between. These scenes of destruction still make us scratch our heads and say, “How’d they do THAT?” The most impressive has to be the wobbling Golden Gate Bridge, where the Man of Steel glides in and saves a bus of school children from tumbling to their death. The early sequences of Superman are appropriately trippy, fitting for their intergalactic landscape that looks like it would have been at home in something like Angry Red Planet or This Island Earth. These wondrous images are complimented by a trumpeting score that could only come from John Williams, who composes one of the greatest scores in the history of motion pictures. There are moments of Superman that are devilishly funny, lovingly winking at all the blue, yellow, and red clad fans that are hanging on every second of the film. My favorite wink has to be a scene where Clark is looking for a place to rip off his business attire to reveal the Superman armor. He jogs up to an exposed phone booth but opts for a revolving door that offers him some privacy for a quick wardrobe change. Yet the sweetest moments of the film are the ones where Superman literally sweeps Lois off her feet, taking her up into the clouds. These scenes show us that the Man of Steel has a mushy center.
Overall, Superman is grand achievement for the superhero genre. It proved that these stories could have intellectual ideas swirling below the special effects as well as breezy stories with tons of “WOW” moments. At two hours and twenty minutes, the film covers an enormous amount of ground, something only Superman is capable of. In the end, the whole picture belongs to Reeve, who can’t be topped as the squeaky clean do-gooder. Surprisingly, he lets a small amount of darkness and rage slip into his soul, especially when someone close to him bites the dust in the final moments. You will be hoping that suppressed rage and darkness will be let loose in later installments. Donner’s Superman is a larger than life explosion of sheer superhero bliss that you will want to revisit again and again. Bring on part two!
Superman is available on Blu-ray and DVD.
by Steve Habrat
After all the gun smoke had cleared and the credits crawled across the screen, it became crystal clear to me how Christopher Nolan settled on Zack Snyder for the reboot of Superman: Snyder simply showed him Sucker Punch. There’s absolutely no doubt in my mind that Nolan gushed over it either. Sucker Punch is a trippy puzzler that sends you stumbling from the theater to debate what the hell just happened with your friends, which is quite similar to what Nolan did with his towering Inception. But where Inception pulled off it’s elusiveness with refined sophistication, Sucker Punch takes the dirty, dusty road where dragons swoop from above, girls in fishnets wield 50 calibers, WWI zombie German soldiers leap from trenches, and our heroes bop around in a WWII bomber. And that is just naming a few of the oddities that Snyder lobbed into his obvious pet project. I’m sure by this point you’ve seen the other reviews of Sucker Punch and, to use a term from Mr. Obama, the film has taken quite a “shellacking.” Sure it’s big, loud, and completely overblown, but I oddly found myself enjoying the madness. What actually appalls me is that Battle: Los Angeles, a film that makes no attempt to be about anything except blowing everything up, actually received better reviews than this film did! ARE YOU KIDDING ME?!?! Did we see the same movie?
Maybe I was rooting for Snyder to actually pull off the impossible. Everyone under the sun has seen the unruly trailer. Snyder seemed like he wanted to shove every possible genre of film into one film to make one hulking masterpiece. One that encompasses everything from the kung-fu films to epic medieval fantasies. I truly found Sucker Punch to be a noble, and at times, refreshing attempt at it even if it was beginning to show signs of collapsing on itself. The film also has had a slight hypnotic affect over me in the sense that I am confident that there is more to this particular film than first meets the eye. The first time seems to be a shock and awe campaign to pin you to your seat but the more my mind wanders back and evaluates the little touches, the more I’m lured into wanting to uncover more about it.
I won’t dive to deeply into the plot of the film because some of it is up to you to piece together, but the film follows the starry-eyed, pig-tailed Babydoll (played by Emily Browning), who is admitted into a mental institution by her unhinged stepfather after she accidentally shoots her baby sister. It’s here that she falls under the care of the at times menacing and at times motherly but always vampy Dr. Gorski (played by Carla Gugino). Behind the walls of the institition, she embraces her new life in a brothel and learns to dance for the seedy men that come to drool over the young girls. Babydoll soon joins forces with the tough-as-nails leader Sweet Pea (played by Abbie Cornish), Sweet Pea’s gung-ho little sister Rocket (played by Jenna Malone), the uneasy “pilot” Amber (played by Jamie Chung), and the big guns specialist Blondie (played by Vanessa Hudgens). The gang rapidly starts plotting an escape from the institution/brothel and through their wildly untamed imaginations, envision elaborate dream-missions to find the supplies they need to break out of the big house.
While the film marvelously finds a perfect balance between the hectic dream worlds and the rotting walls of the institution, the film tries to cram so much in that points are a little to overpowering. There is an incredibly inspired sequence that takes place on a WWI battle field complete with zombified German soldiers wearing ghastly gasmasks, biplanes falling in flaming ruin from the sky, earth shaking explosions and a lofty android walker with a rabbit face that Amber maneuvers into a outrageously bad ass death machine. It’s a truly breathtaking action sequence that is worth the trip to see the movie alone. Sadly, the film stumbles when it ventures into the realm of medieval fantasy in a war sequence that smashes WWII together with the Lord of the Rings. I give it credit for being atypical but it’s shockingly monotonous and lacking in any sort of looming danger. This leads me to my next compliant, which is the fact that all the girls are magically scrappy superheroes. There is never any concrete justification and we are supposed to just embrace it. One sequence that is especially irritating is when Babydoll confronts three giant samurais. She flips through the air so repeatedly that I almost wanted to shout “ENOUGH ALREADY! WE GET IT!”
Ultimately, Sucker Punch overcomes the obstacles and still manages to be engaging. I still found myself consumed by much of it and the writing, although uneven, is never less than interesting. The dialogue is good but not great and the premise alone never lost me. The performances’ by the young actresses are finely tuned and convincing. I was extremely worried that they would be wooden. The standout is without question the wounded Rocket. She kicks ass while nursing the burden of a broken heart. I actually breathed a huge sigh of relief that the film never descended into a perverse fantasy for Snyder. While the girls are adorned in fishnets and lingerie, the film is surprisingly tame. We never get a glimpse of the burlesque dance sequences and instead are substituted with the dream world. An even bigger relief is that the film counters Snyder’s fixation with masculine heroes. I enjoyed the girl power feel that he explores this time around. It’s more substantial than his homoerotic bloodbath 300. It still comes in third to his colorful Dawn of the Dead remake and spacey adaptation of graphic novel juggernaut Watchmen. On top of it, Snyder further refines his coarse camerawork and his fluid montages of slow motion into real time. It all flows so gorgeously and it’s impossible not to eat it all up.
The aspect that truly wounds Sucker Punch is the ending where, like Watchmen, it crams all of it’s “profound” ideas in a brushed over climax that feels curiously unsatisfying. This is where the film truly flat lines. It piles on nonsensically cryptic monologues on top of some obvious visual symbolism. The film is convinced that it is a fine wine that will be savored as the taste sticks in your mouth. Unfortunately, it’s just a high-end, calorie-loaded beer that is surprisingly tasty in the beginning. A taste that you and your buddies exclaim about for the first few sips but when you reach the bottom of the bottle, you just gulp down the last drops to finish it. It wasn’t as refreshing as the first few half but it wasn’t impossible to polish off. You’ll oddly find yourself wanting to experience it all again to peel back some more layers and it will make for some good conversation in the long run.
Sucker Punch is now available on Blu-ray and DVD.
by Steve Habrat
In a summer where the local movie theater has been besieged by tights–wearing superheroes who mostly found their allegiance to the Marvel camp, it was only a matter of time before one of them stumbled over their cape. This is not to say that we haven’t had a good summer movie season so far. Thor was an unexpected treasure and X-Men: First Class sits nicely at the top as one of the greatest to come out in quite a while. Now, we have DC Comic’s offering and his name is the Green Lantern. Perhaps you’ve seen a TV spot or two for this one? Or maybe a poster or three? Warner Bros. has launched a massively epic promotional campaign for Green Lantern in an attempt to lure crowds to the movie theater and I think I know why—because he is so excruciatingly un-extraordinary it becomes almost unfathomable. Green Lantern doesn’t really DO anything! He just spouts off one-liners, flies around in a green suit, and hits on Blake Lively. That pretty much sums up the experience of Green Lantern—it doesn’t particularly have much to do. It just thinks it does.
To be fair, I know basically nothing about the Green Lantern. I know he sports a green suit and has a magical ring that lets him create anything that he wants. That was as far as my knowledge went on the DC space cop. I didn’t know that the lore was alien-heavy and drenched in a vibrant day-glo ambiance. His first cinematic outing showed promise by a decently edited trailer and the presence of director Martin Campbell, who shocked the Bond franchise back to life with what I believe to be the best Bond film ever made, Casino Royale. But Green Lantern is a gigantic neon mess of a movie. The film boasts four writers and it’s painfully obvious. The film also inexplicably appears to be directed by three different directors, as it can’t decide on one specific tone. One moment it’s a light-hearted superhero flick for kiddies, the next second it’s a trippy sci-fi action film, then it shifts into dark and gritty territory, then a self-discovery drama, and finally taking the camp route all while drenching itself in endless clichés. It does manage to cough up a few bright moments every once in a while, which makes this jumble somewhat more endurable.
The film starts off with a complex back-story that I wont dive into in my review. I will however tell you this—the movie follows Hal Jordan (played by the wise-cracking Ryan Reynolds) who is an irresponsible hotshot pilot for the Air Force. One night, dying purple skinned alien Abin Sur, who has crash-landed on earth after narrowly escaping a menacing encounter with the hair-raising Parallax, rips Jordan away from his nephew’s birthday party. Abin Sur proceeds to tell Jordan that his Green Lantern ring has chosen him as his replacement in the Green Lantern Corps. Thus begins Jordan’s journey as the Green Lantern, the first human chosen as one of the protectors of the galaxy. Soon the same force that killed Abin Sur threatens Earth and it’s up to Jordan to defend mankind. Green Lantern of course has a love interest. She’s fellow pilot Carrol Ferris (played by The Town’s Blake Lively), who criticizes Jordan for his reckless behavior and has apparently been burned by Jordan in the past. She naturally still houses feelings for him and vice versa. Jordan finds himself envied by the eccentric and timid scientist Hector Hammond (played by the superb Peter Sarsgaard), who accidentally contracts the powers of Parallax in an autopsy on Abin Sur.
Somewhere in Green Lantern, there is a good movie trying to get out. Instead it settles for mediocrity. The Green Lantern’s ring provides him with the ability to create anything his imagination conjures up in a battle with a baddie. At one point, he creates a Gatling gun and in another moment, he creates a racetrack and turns a crashing helicopter into a dragster. In a back alley brawl, he dreams up a giant fist and knocks three thugs on their asses. It’s a neat gimmick that is rarely utilized by the film. It simply never makes a big deal about this ability and instead it subtly shows up from time to time. Further troubling is Reynolds himself, he at times looks like he is so bored in this role and that he’s secretly dreaming he’s on the set of a different movie. He shows absolutely no commitment in Hal Jordan and gives him about as much depth as a kiddie pool. He plays Jordan like a bad imitation combination of Bruce Wayne and Tony Stark. I was troubled from the get-go over his casting and the film only solidifies my concern. Just like his superpower power, he is exceedingly lackluster.
Given all the talent that signed on to the movie (Tim Robbins!?), there is one shining star among the group and that is Sarsgaard’s Hector Hammond. If they are to do a sequel to this, and I’m quite sure that they will, they should make a prequel about Hammond. He’s the only character that isn’t a walking cliché from another superhero movie. He’s an intriguing antagonist and his descent into homicidal madness is the films high point partly because it is basically the only part of the film that provides some real emotion. He slithers through the role as if he’s the only one aware of how bad everyone else is in it. He’s the only one who shows any effort. The most thrilling part of the movie is the climatic showdown between him and the Green Lantern. Unfortunately, it’s all too brief.
Green Lantern further blinds the audience to its mediocre story with heaping globs of neon CGI. It’s non-stop eye candy that is agonizingly artificial. The people behind this thing poured so much into the visuals that they completely forgot to give the thing a human heart. Nothing seems genuine about it and it’s a tailor-made franchise flick. It does offer up a couple intriguing sequences, which are mostly the ones consisting of Hammond and Green Lantern duking it out. The rest are dazzling trips to Oa, the planet that the Green Lantern Corps finds its headquarters. It’s teeming with peculiar aliens that babble on with nonsensical mumbo-jumbo about fear but it’s a place that you won’t mind visiting.
Putting it bluntly, Green Lantern is a pretty lousy movie. Before the film came out, several Warner Bros. heads ranted and raved about how superb the script was for this movie. After seeing the finished product, it must have sounded better on paper because the film is a blatant cash cow franchise flick with absolutely no build-up, a limp hero, and weighed down with too much CGI. The film is impersonal, lacking any trace of spirit. It seems like they were desperate to have another superhero hit outside of Batman, given the tanking of Superman Returns. It’s too bad that the Green Lantern can’t use his ring and imagine a better movie, one that is not all over the place and with a back-story that is not quickly brushed over in a senseless action scene.
Green Lantern is now available on Blu-ray and DVD.
by Steve Habrat
Well, it seems like I have to eat my words and admit that I was too hasty to judge Thor. I have to admit that I wrongfully formed my opinion on the movie by it’s below-average trailer when I should have kept an open mind to the God of Thunder’s first cinematic outing. But in all fairness, at the beginning of the summer I was suffering from what I am calling Marvel Fatigue. Perhaps you even felt the effects of this dreaded illness: Lack of interest in ANY Marvel Comics superhero movie, a growing concern about the quality of their productions, and the fact that they seem to be more and more money hungry with each passing summer. They had three superhero movies coming out this year! And the one leading the pack is a hammer-packing God who fights Frost Giants and speaks as if he stepped out of Hamlet! To make things even more dreadfully boring, Marvel recruited Shakespearean actor/director Kenneth Branagh to helm the damn thing! In my eyes, it appeared as if Marvel is desperate to stay king of the superhero movie mountain, enlisting their B-squad of heroes and forcing them upon audiences. What’s worse is that every movie that rolls off the assembly line feels like just an extended preview for their much-hyped Avengers movie. You can see my apprehension right?
But believe me when I tell you this: Thor is actually really, really good. It’s the perfect summer movie that’s heavy on dazzling action; loaded with top notch CGI, utilizes 3D properly, and features a lead so undeniably charismatic that you practically wish he was real. I sat in disbelief as the film relentless put a smile on my face and propelled me into one adrenaline rush after another! Now many of you know I am an avid comic book collector and reader but Thor was never on my radar. I never found him to be truly compelling enough to rush out and grab a couple of his comics. But this origin story manages to actually be quite a hypnotic experience. The Asgardians represent all that is good, protecting mankind from the evil Frost Giants who are hell-bent on taking over the whole planetary system. Asgard is lead by King Odin (Played by Anthony Hopkins), who has two sons, Loki (Played by Tom Hiddleston) and Thor (Played by Chris Hemsworth). On the day that Odin is crowing Thor the new king of Asgard, Frost Giants sneak into the kingdom and attempt to retrieve a relic that belongs to their race. This ignites a fire in Thor, who vows to teach the Frost Giants a lesson. This confrontation leads to disastrous results and ends up resparking an ancient war between the Frost Giants and Asgard along with the banishment of Thor from Asgard. Once on earth, Thor is a fish out of water and with the help of astro-physicist Jane Foster (Played by Academy Award winning actress Natalie Portman) and her two wisecracking colleagues; he adapts to life on earth and learns humility.
If this all sounds completely silly, trust me, wait until you see it all play out on the silver screen. It’s absolutely wondrous to behold as Branagh’s art direction and sleek camera work bring the kingdom of Asgard to vibrant life. The make-up work on the Frost Giants alone will make your eyes pop. On earth, the film is mirthful despite the fact that it is basically a teaser for the Avengers. There are countless in-jokes that relate back to Iron Man and the comic lore, which I know will soar over the heads of some casual audience members. Yet its Hemsworth Thor who anchors the entire film and consistently warms your heart. He’s a tragic fellow who we sympathize with even if we shake our heads and deem him a brutish fool. You can’t help but love him when he waltzes into a modern pet shop and demands a horse for travel from a flabbergasted store employee. Hemsworth is the real treasure here as he proves that his talent stretches far beyond his chiseled physique.
The film has an indisputable human element that posses you and holds you in its icy grip. When a mortal Thor tangles with a towering juggernaut called the Destroyer, you will bite your nails down in dread. Yet even when he is back in his godly form and he confronts the final villain, it’s still nerve-racking. The film establishes itself as Marvel’s own Superman film, but what the film adaptations of Superman seemed to consistently overlook, mainly making Superman’s journey to discovering his place in the universe, Thor laps up with glee. How does one make sense of all the mysteries of life? Even gods must discover their true place in this strange journey we call life.
Branagh can’t resist his Shakespearean impulses even when he’s whipping up a summer blockbuster. The film sneaks in minor hints of the Bard, mainly in the tragedy sense and the Old English dialogue the fires out of Thor’s mouth. But Branagh keeps the film from veering into overdramatic territory and keeps things light and simple. It has a breezy love story at it’s core that you’ll find yourself rooting for. It makes great dorky use of Portman’s Jane Foster as she struggles to understand the strange being that is Thor. Thor’s scheming brother Loki is delightfully sinister as he vows to rip Asgard apart. Hopkin’s Odin injects wise wisdom as their booming father and the film is practically ripped right out from under all the other players by the mystifying all-seeing gatekeeper of Asgard, Heimdall, played by a nearly unrecognizable and never better Idris Elba.
Thor embodies everything the summer blockbuster should be. It packs some serious teeth rattling action sequences, dreamy imagery, and a nonstop rush of unwavering excitement. It ends up being a return to form for Mr. Branagh who allows himself to lighten up a bit and actually have a smidgeon of fun in all the ludicrousness. It is the perfect frontrunner for the summer movie season and it will get your juices flowing for the inevitable parade of CGI fests that will follow in it’s wake. Thor is a thunderously good time that also happens to be one of the better superhero movies to come out in quite some time. It was the first must see of the summer! GRADE: A-
Thor is now available on Blu-ray and DVD.
by Steve Habrat
It’s official, boys and girls, the summer of 2011 belonged to tights clad do-gooders who saved the world countless times from certain doom. They protected the innocent from world annihilation and we cheered them on every punch and kick along the way. We saw three superheroes from the Marvel Comics camp and one lifeless cosmic cop from DC Comics. I feared that Marvel would have too heavy of a presence at the local cinema, but I have to commend them for the quality films that they delivered. They were smart, colorful, and just downright entertaining until the last villain was knocked out cold. I had some hostility to Thor at first, but after watching him hurl has hammer at Loki a couple of times, I was hooked. I loved his brutish arrogance and empathized with him when he had his powers taken by his old man Odin. I had my doubts about X-Men: First Class. I was convinced it would be a cheap money grab of a film that was just milking a name. What I saw was easily the most unsettling, brooding, and arresting superhero film since The Dark Knight. Sure, there were moments were it winked at it’s comic roots, but that earth shattering climax is a must see and was played absolutely straight. And how about Captain America? How could that not put a smile on your face?! It was a retro, rip-roaring escapade that was actually better the second time I saw it (and yes, I LOVED it the first time I went to see it). It was the kind of summer movie we wish for but we rarely get. We just get more transforming robot aliens and alien invasion movies (yawn).
Many audience members will be quick to argue that Harry Potter and the Deathly Hallows Pt. 2 was the real king of the summer but let me point something out to the ones who defend the Boy Who Lived until they are blue in the face: He had no staying power. As quickly as he made a bang, he fizzled. He quickly faded from the memory of audiences and we were right back to rallying behind Captain America. Sure, it was sad to see the Potter franchise finally come to an end but the film was honestly a bit underwhelming. I will give Potter credit, he now holds the title for the biggest opening weekend of all time but let’s not overlook those inflated 3D tickets. Thor opened to a respectable $66 million when it debuted, X-Men: First Class pulled $56 million, and Captain America mustered up $65 million respectably. And yes, I am aware Thor and Captain America were in 3D as well but they seemed to linger a bit longer near the top of the box ofice than Potter did. I still distinctly remember moments of Thor and I still shudder at the final frames of X-Men. The most distinct memory I have of Harry Potter was the jaw dropping teaser trailer for The Dark Knight Rises and few haunting images from the film itself. But as far as moments go in HP, I got nothing.
Perhaps the nation was under Potter fatigue. They were ready to just get the inevitable end over with. Yet I feel like more people actually saw Thor, X-Men, and Captain America than saw Harry Potter. I have one theory as to why audience members responded well to those three films. If we take a look at the news, all we see is one disaster after another. This year alone, we have seen the devastating tsunami that ravaged Japan, a shooting rampage in Norway, a shooting rampage in Arizona, another shooting rampage right in my backyard (Copley, Ohio), Casey Anthony found not guilty for the murder of her daughter, war in Libya, riots in Egypt, Hurricane Irene, etc. The world seems now more than ever in need of some form of hero. The times are undeniably grim and now, we are coming up on another anniversary of the horrifying September 11th attacks. Maybe that is why we flock to see the heroes vanquish evil. We need some form of comfort and even if it’s just pretend, we can still sleep better at night with the hope that someone will come around and protect us.
Next year, the summer movie season will see The Avengers, which teams up Thor, Captain America, Iron Man, and The Hulk to wage a war on terror in the form of Loki. We will see a fresh take on everyone’s favorite web head, The Amazing Spider-Man, and to top it off, we will see the third and final chapter in Batman legacy, The Dark Knight Rises. Next Christmas, we will see the return of The Man of Steel himself, Superman, to stand once again for truth, justice, and the American way. While I feel that Batman is really the only superhero to actually engage politically (rather blatantly might I add) as The Dark Knight is now acting as the defining film of the Bush era, there is still something about the remarkably wholesome Marvel good guys. If we also look at the suspected plots of these films, there are some rather disquieting comparisons to what many speculate will occur next year: An unstoppable, apocalyptic event. We see four powerhouse heroes joining together to fight Thor’s God-like half brother and (supposedly) a race of aliens in The Avengers. In The Amazing Spider-Man trailer, Dr. Curt Connors/The Lizard asks Spidey if he’s “Ready to play God”. Judging by the trailer, this will be a much darker portrayal of the character and there are a few moments of what appears to be apocalyptic action. But what does this particular line of dialogue mean? Spidey has to play God and save us all from destruction? And lets not forget that jarring trailer for The Dark Knight Rises. It is rumored that Batman is going to need a little help from Catwoman to defeat the brute force that is Bane and save Gotham from annihilation. Just take a looksy at the final image from the trailer, which shows Bane advancing on a winded, clearly in pain Batman. Gotham is going to need more than one hero to save it. When we look at The Man of Steel, all we can do is speculate, as we have no trailer to go off of. The main villain has been confirmed as being General Zod, who wields the same powers as Superman. Has Superman finally met his match?
It makes sense to me that both Marvel and DC Comics would unleash their A-team next year to protect us from the rumored apocalypse. Maybe it is to subconsciously reassure us and give some hope to the individuals who are convinced the apocalypse will occur. But one aspect is certain, that superheroes were the true rulers of this blockbuster heavy summer. Together, Marvel had a mighty pull and combined, the three films were a juggernaut. Combined all together, I suspect that The Avengers is going to become one of the highest grossing films ever made. And what about the hype that has surrounded The Dark Knight Rises? It’s poised to become another monstrous victory for superhero movies. So is the Boy Who Lived really on top? He won this battle, but he will most certainly fall to another do-gooder next summer. His triumph was brief. Enjoy it now Potter fans, because it’s a superhero world and we are all just living in it.