Introduction
Thor: The Dark World is the Second solo film for Marvel's Norse God of Thunder. This is also the second solo film in Marvel's Planned "Phase 2" post The Avengers, (the first film being the disappointing Iron Man 3) that will ultimately culminate in Avengers 2: The Age of Ultron. Marvel, supported by its parent company, Disney; is anything if not ambitious. They have plans for even a "Phase 3" prepping films well past 2020. However, with all of these grand plans and the precedent set by The Avengers' box office returns, Thor: The Dark World (and to a greater extent Iron Man 3) becomes a victim of an increasingly complex Marvel Cinematic Universe and slave to a mainstream public who's tastes and attention are often finicky and shallow. Having to satisfy these two masters not only limits the individual filmmakers ability to tell a story, but it also produces a product that regardless of acting, appeals to the lowest common denominator.
The Plot
After a long opening with the epic flavor of The Lord of the Rings Trilogy, Thor: The Dark World picks up directly after events of The Avengers as the prisoner Loki (Tom Hiddleston) is brought before his adoptive parents Frigga (Rene Russo) and Odin (Anthony Hopkins). He is sentenced to imprisonment for his attack on Midgard (Earth). Meanwhile, we follow Thor (Chris Hemsworth) as he brings order to the Nine Realms while still pining for mortal, Jane Foster (Natalie Portman). Jane's actions in London while continuing her research, cause the resurrection of one of the enemies of Asgard: The Dark Elves lead by the sinister Malekith (Christopher Ecceleston) who seeks to cover all the Nine Realms in endless darkness during the convergence (a point where all nine realms are in alignment). Desperate, and pained by a recent tragedy, Thor eventually has no choice but to free Loki (in an act of treason) in order to stop Malekith's plan.
Analysis Fair Warning: Spoilers ahead.
Director Alan Taylor and Screenwriters Christopher Yost, Christopher Markus and Steven McFeely are successful in making an entertaining film. However that entertainment is both shallow and fleeting. After the credits rolled I was left with a profound sense of disappointment even though I believed that I had enjoyed the film as I was watching it. This dissonance was so powerful that I could not properly articulate it until hours later. This is a result of the aforementioned pandering to mainstream public interests that cause the film to be clouded by muddled references and illusions to previous films while sacrificing strong character drama for unnecessary comedic tension breaks. This is a major fallout of the commercial success and popularity of The Avengers
Each Marvel superhero film leading up to The Avengers (aside from Iron Man 2) were stand alone films with common threads linking the films in subtle ways. Because the very idea of a "team up" film at the time was a pipedream for a lot of creators (as well as fans) these solo films had to work without relying on any kind of shared continuity. This made them better films. Any additional references to other characters, in other places, were seen as "Easter eggs" to fans given by the filmmakers. They were allowed to take their time, developing characters and crafting stories that were interesting and not just entertaining. Unfortunately, the gargantuan success of The Avengers has lead Marvel to try and capitalize on the success of the film through references to the shared universe ( Thor: The Dark World has several glaring allusions) which muddle the tone of the two solo film sequels post Avengers. Not only have there been reports of filmmakers being creatively hamstrung by Marvel executives (such as Shane Black in Iron Man 3), but both post Avengers films have invoked Joss Whedon's quippy, one-liner, referential and sardonic dialogue which became overused by Tony Stark in Iron Man 3 and cringe inducing in Thor: The Dark World.
An perfect example of the problems of tone and timing in Thor: The Dark World is during the final fight in London. The action is broken up (often at odd moments) to insert some unnecessary levity and in jokes to the audience. This is glaringly obvious when during the fight, Malekith and Thor get separated and Thor has to take a subway train back to the battle. If that wasn't enough, while riding on the train, a female passenger "accidentally" brushes up against Thor to feel his (ridiculously) muscled body. This scene is unnecessary, and acts as an in joke to the audience commenting on how sexually attractive Chris Hemsworth is as Thor.
As an aside, sociologically, I have to wonder if the filmmakers are aware of the constant threat of sexual harassment that women face on subways from men behaving in the same way the female passenger was toward Thor. Gender swapping the offender and victim does not make the behavior not harassment, nor is it some kind of equality (women do it to men too!).
While I am on the subject of gender, I have to say do I commend the film for progressing the Darcy/Jane relationship not only to pass the Bachdel test, to one of genuine friendship. Also, I enjoyed the fleshing out the character of Jane Foster beyond a damsel, proving her to be a brilliant scientist. One of the best character moments for Jane that displays this development is when she is being examined by healers on Asgard. Throughout the entire procedure, Jane is asking questions and Portman's performance really conveys the utter geek out Jane is feeling being surrounded by such advanced science and technology. It was a small but good character moment that shows girls should be unapologetically into math and science; something they often get socialized away from or shamed out of. However, even though we have this progress, the character of Frigga is still used as the stereotypical trope "women in refrigerators" when she is killed off to advance the character progression of her sons Thor and Loki.
Irregardless, Tom Hiddleston's Loki made the film stand out. He, like Hugh Jackman as Wolverine, has done everything possible to embrace the character and the fans. From an impromptu appearance in Hall H during this year's San Diego Comic-con, to reading children's books to a group of students as Loki in full regalia, Hiddleston embraces Loki and the love that people show for him. Hiddleston, in his three portrayals of Loki, has made Loki his own. He plays Loki so charming that even though you know Loki is a trickster and betrays everyone for his own gain, Hiddleston is so earnest, you are still surprised. Some of Hiddleston's best moments are in his conversations with Thor. This the first film, where I truly saw their genuine affection for each other. Putting aside the lies, deceit and treachery of Loki, the performances made me believe these brothers still love each other.
Final Thoughts
I do not know where to lay the blame of the failings of this film. My instinct (and bias) is to blame the mechanism that is Disney. Although, it is most likely Marvel, with Disney just bankrolling them. It seems like Marvel/Disney is so preoccupied with completing their vision they are willing to sacrifice creativity, and good storytelling because they want everything to be interconnected; which they interpret as everything be similar. Those similarities are unfortunately coming from a profit motive perspective rather than one of story and character quality. It also bares mentioning that ever since this partnership between Disney and Marvel took place, the Marvel films have become increasingly more fun, bordering on farce. Just as all characters don't need to be dark and brooding like Batman to be taken seriously, they all don't have to be full of quirky humor and snarky one-liners like Tony Stark. Unfortunately, however, this is what has proven to be successful for Marvel/Disney and will continue until it isn't anymore. The danger is that this type of fun tone can easily lead down the road to camp. If Disney/Marvel aren't careful the audience may turn from laughing with their jokes, to laughing at them as a joke. For one who loves Superhero cinema, I hope that doesn't happen. I guess we will wait and see if Captain America: Winter Soldier is the political thriller it is touting to be and whether Guardians of the Galaxy will be Marvel's much needed space opera.
