Movie Reviews - 2013 postsMonday November 25, 2013
Movie Review: The Hunger Games: Catching Fire (2013)
It’s a rigged game.
I don’t mean the Hunger Games. I mean “The Hunger Games.”
The film’s creators, or possibly author Suzanne Collins (I’m not sure which since I haven’t cracked a spine in the series), rig the first game, “The Hunger Games,” by ensuring that Katniss Everdeen (Jennifer Lawrence) never loses favor with us by never actually killing anyone in cold blood in this kill-or-be-killed world. She triumphs without real blood on her hands.
Now, in the sequel, “The Hunger Games: Catching Fire,” the game really is rigged—this time by the other characters, particularly the game’s creator, Plutarch Heavensbee (Philip Seymour Hoffman). He’s using it, and Katniss, as a means to foment rebellion. As a result, once again she doesn’t have to kill in cold blood. Once again, when given the choice between murder and mercy, she goes with mercy. Once again, this never backfires on her.
But there’s a bigger reason why “The Hunger Games” is a rigged game: for a dictatorship, the Capitol comes pretty weak and dumb.
Dictatorship and distraction
Early on, for example, Plutarch gives Pres. Snow (Donald Sutherland) a way out:
Snow: She has become a beacon of hope for them. She has to be eliminated.
Plutarch: I agree she should die but in the right way. At the right time. ... Katniss Everdeen is a symbol. We don't have to destroy her, just her image. Show them that she's one of us now. Let them rally behind that.
The districts are already beginning to rebel. So he suggests a crackdown with public whippings and executions, then show these on television interspersed with shots of Katniss, the supposed rebel hero, shopping, trying on make-up, trying on a wedding dress. “They're gonna hate her so much,” he says, “they just might kill her for you.”
Great idea. So what happens to it?
Barely anything. The troops crack down on District 12, Gale Hawthorne (Liam Hemsowrth, Thor’s brother) tackles Commander Thread (Patrick St. Espirit), and gets a public whipping for it. But guess who comes to the rescue? Katniss. And guess who comes to her rescue? Haymitch (Woody Harrelson). And guess who comes to his rescue? Peeta (Josh Hutcherson). And that’s that. She’s a heroine all over again because everyone saw enough of her bravery on television. So now Pres. Snow wants a new plan, even though it never looks like the first plan went into effect. And that’s when Plutarch reveals that all the previous winners, including Katniss, compete for the 75th Hunger Games. Which is why we get Katniss is another Hunger Games.
That’s one major problem. Here’s another. Early on, Gale says this to Katniss:
People are looking to you, Katniss. You've given them an opportunity. They just have to be brave enough to take it.
Here’s the thing, though. They are brave enough to take it. They are rebelling. The one who isn’t brave enough is Katniss. She keeps pulling back. Sure, Pres. Snow has threatened her mother and sister and hunky hunk Gale, but so what? She has a chance to change an awful, awful world. She just doesn’t grab it. Instead she encourages folks forward, like the old black man, who gives her the third-fingered salute and four-note whistle, and he gets executed before her distraught eyes.
Instead of trying to do something, Katniss plays along with the ruse: that she and Peeta are in love and about to get married and yadda yadda. Why does she do this again? I’ve actually forgotten. At one point, Haymitch tells her this:
From now on, your job is to be a distraction so people forget what the real problems are.
But a distraction to which people? Those in the districts or in the Capitol? Or both? It seems like it should be in the districts but they never seem distracted. They never seem fooled. They never forget who the true enemy is.
I’m sorry, but the more I think about this movie the dumber it gets. If you have dictatorial powers, as Snow does, and control over the media, as this government does, then how can you not besmirch a name? It’s called propaganda. Do we need FOX-News to show him how it’s done?
In 1985 Neil Postman published a book, “Amusing Ourselves to Death, “ in which he argued that of the two great dystopian novels from the first half of the 20th century—Aldous Huxley’s “Brave New World” and George Orwell’s “1984”—it was actually the former, whose weapon of governmental control was distraction, rather than the latter, whose weapon was dictatorship, that was the more prescient and more deadly. The point is this: the Capitol has both dicatorship and distraction—and a rebel hero uninterested in rebellion—and they still can’t control her.
Talk about a rigged game.
The most successful formula in movie history
Anyway there goes Katniss into another Hunger Games. Here are the bad dudes from District 1. Here’s a bit of practice. Here are possible allies. Here are the interviews conducted by cloyingly sentimental host Caesar Flickerman (Stanley Tucci, channeling Jiminy Glick). And off they go.
The acting talent here is amazing for this type of movie. Along with the previously mentioned names, Elizabeth Banks is choice as the gloriously frivilous Effie Trinket; and both Amanda Plummer and Jeffrey Wright are perfect as a half-cerebral, half-crazy Hunger Games team.
So what is it about this movie, this series, that makes it so popular? People talk about what a positive role model Katniss is, blah blah, but I think it boils down to the oldest, most successful formula in movie history: a strong woman having to choose between two men against a backdrop of tragedy. That’s “Gone with the Wind,” “Sound of Music,” “Titanic,” the “Twilight” series, and now “Hunger Games.” And like the “Twilight” series, the final “Hunger Games” is split into two parts: one for 2014, one for 2015.
I hope that distracts you enough that you forget what the real problems are.
Movie Review: Dallas Buyers Club (2013)
There's your best actor. Maybe supporting, too.
That’s what I kept thinking watching “Dallas Buyers Club,” directed by Jean-Marc Valée (“The Young Victoria”) and written by Craig Borten and Melisa Wallack. For a time I was even thinking best picture, maybe, possibly, a candidate anyway, but then the movie lost something in its final third. Was it the battle between Ron Woodruff (Matthew McConaughey) and the various government agencies (IRS, FDA and DEA)? Was that too obvious? Was it the absence of Rayon (Jared Leto) after her death? Was it the presence of Jennifer Garner as Dr. Eve Saks? Garner was out of her element here. She came onscreen and the energy just drained away.
But McConaughey? Hoo boy.
Gotta die somehow
He plays a good ol’ boy: a Texas electrician, part-time rodeo rider, and full-time racounteur. The first images we see are of a bucking bull from behind the fence. Since we also hear snorting, we think we’re getting the bull’s perspective, but it’s actually Woodruff banging a girl in the bull’s pen. He looks a bit thin and tired and has a persistent cough. Bad sign. A cough in the first act is like the gun in the first act.
AIDS comes into the conversation quickly via headlines about Rock Hudson. Woodruff is hardly sympathetic:
Woodruff: You hear Rock Hudson was a cocksucker?
Friend: Where’d you hear that?
Woodruff: It’s called a newspaper.
He’s more immediately concerned about a rodeo bet he made that went awry. He’s running from the men he owes money to—nearly a dozen cowboys, from the looks—when he runs into a friend, a cop, Tucker (Steve Zahn), who’s had to deal with this before and won’t protect him now. So Woodruff gets inventive. He decks Tucker. On the ride home, Tucker tries to give him some sound advice about his reckless nature and how it’ll likely get him killed. “Gotta die somehow,” Woodruff says in that smooth McConaughey voice. He says it like he’ll live forever.
A few days later, there’s an accident at work and he’s taken to the hospital, where he’s told by two doctors wearing surgical masks that he has both HIV and full-blown AIDS. His reaction is interesting. “You’re fucking kidding me,” he says. When Dr. Savard (Denis O’Hare) recounts the ways people contract HIV, beginning with homosexual sex, his reaction gets more interesting. “I ain’t no faggot, motherfucker!” The doctor remains calm and gives him 30 days to live but Woodruff is still on the first two stages of the five stages of grief: denial and anger. “There ain’t nothing out there that can kill Ron Woodruff in 30 days!” he shouts.
Over the next 30 days, he’ll go through the next two stages: bargaining and depression. At the library, he researches the disease, realizes how he contracted it (sex with an IV drug user, I believe, but it’s a bit murky), and searches for a cure that doesn’t exist. AZT is the drug bandied about, and trials are being done, but there’s a chance you’re in the control group—the sugar pill group—and he’s not willing to take that chance. So he gets inventive again. At a strip club he sees an orderly from the hospital and bribes him to get him AZT drugs, which he washes down with whiskey and cocaine.
During this period, friends abandon him. There’s a great scene where he goes to his usual bar, orders his usual drink, heads to his usual table of friends. But they’re no longer his friends. They call him faggot. He’s immediately ready to fight them all, and they want to kick his ass, but an interesting dynamic occurs. No one wants to touch him. No one wants to get within 10 feet of him. He’s a like-poled magnet: He takes a step forward and they a step back. He spits on them and curses the place as he leaves. He’ll do this a lot during the movie. I lost track of the number of times he left a room shouting, “Fuck all y’all!”
By the end of the 30-day period he’s left with nothing: no friends, no home (he finds his trailer home padlocked, with FAGGOT BLOOD spraypainted on the side), and the AZT is only making him worse. Plus it runs out. But the orderly gives him an address in Mexico, outside the realm of the FDA, so that’s where he heads. Because Ron Woodruff may be a lying homophobic asshole, but in this movie he never winds up on the fifth stage of grief: acceptance. He thrives at stages 2 and 3: anger and bargaining.
FDA, DEA, etc.
It’s in Mexico that the story really begins. I didn’t know this going in. All of this came as a pleasant surprise for me.
Near death, he’s saved, for the time being, by Dr. Vass (Griffin Dunne, in a great cameo), who lost his license in the states, and who counsels against AZT, which destroys all cells, both good and bad. Instead, Ron should concentrate on building up his immune system with vitamins, zinc, and aloe. He also recommends DDC, a less-toxic anti-viral, and Peptide T, a non-toxic protein, neither of which are approved by the FDA. He thinks about all the AIDS sufferers in Dallas and says, “You could make a fortune off this stuff,” and a light goes off. CUT TO: filling his trunk with drugs for the trip back. There he starts the Dallas Buyers Club, modeled after similar clubs in New York. Since it’s illegal to sell non-FDA-approved drugs, he sells memberships into a club, which dispenses the drugs.
He partners with a transexual, Rayon, and soon has lines forming outside the motel room they’ve set up. He also attracts the attention of the usual government agencies: FDA, DEA, etc. A battle is enjoined and lessons are learned. He becomes more tolerant of gay people, for example. He keeps using the epithet “Cocksucker” but now it’s for FDA officials. That’s the journey he takes: from anti-gay to anti-government.
Some have complained, or celebrated, that this makes the movie too Tea Party, but for me it’s just too simplistic. It’s the brash homophobe protecting the poor gay folks who can’t protect themselves. The government gets blamed but not the infamously homophobic Reagan administration. Some of the casting doesn’t help. When I first saw Denis O’Hare as Dr. Sevard, I thought, “Oh, it’s the guy who usually plays a corporate asshole. Nice that he gets to play a ... No, he’s a corporate asshole here, too.” Kevin Rankin, the white-trash dirtbag of “White House Down” and “Breaking Bad,” plays a white-trash dirtbag. Michael O’Neill, who usually plays a bureaucratic douche, plays the main FDA douche. Etc.
But Jared Leto is a revelation and McConaughey is uncompromising in his portrayal. He’s corralled his charm and energy into the service of full-dimensional characters in good movies.
I did like the scene at the end before the district court in San Francisco. Woodruff has sued to use and sell non-FDA approved drugs but loses. It’s the language of the judge that I appreicated—the difference between law and justice:
Mr. Woodroof, there is not a person in this courtroom who is not moved to compassion by your plight. What is lacking here is the legal authority to intervene. I’m sorry.
What do you call that? A liberal judge not legislating from the bench.
I also like the final images: Woodruff riding a bull at a rodeo. You wonder if it’s current, if he’s gotten well enough to do that again, but it’s both flashback and metaphor. This is what he’s been doing the entire movie, and he finally gets thrown on September 12, 1992. He was given 30 days and took more than 2,000.
But then we get another title that dampens the effect of much of the movie: we’re informed that lower doses of AZT, the devil drug in the movie, wound up leading to the cure we currently have. So it was hardly a devil drug; it was just dispensed improperly. It confuses the movie’s clean formulaic lines, suggesting that maybe they shouldn’t have been so clean and formulaic.
But “Dallas Buyers Club” is still a movie worth seeing—for its performances, its energy, the fact that there’s comedy and adventure in a movie about AIDS. It’s also a good reminder of what AIDS and homophobia felt like 30 years ago.
Movie Review: Parkland (2013)
The saddest American day of my lifetime probably occurred when I was 10 months old. We keep telling it again and again. We keep probing the wound. Sometimes I think we like it. It makes us feel something even if that feeling is overwhelming sadness and horror for all that was lost. In this way the assassination of Pres. John F. Kennedy on November 22, 1963 in Dallas, Texas, is, for Americans, what the Onion Cellar in Gunter Grass’ novel “The Tin Drum” is for Germans: a place to go to cry.
But since we keep telling it, how do you tell it anew?
Writer and first-time director Peter Landesman does just that in “Parkland,” a 90-minute film based on Vincent Bugliosi’s book “Four Days in November.” Landesman doesn’t tell the story from the perspective of the principal characters; he tells it from the perspective of the people whose lives that day were peripherally if monumentally affected: Abraham Zapruder, who shot the 8mm footage of the assassination; James Hosty, from the Dallas FBI office, who had been tracking Oswald, and who, in the aftermath, was blamed and even fingered by conspiracy theorists; Robert Oswald, brother of Lee, whose family name was forever besmirched; and the various doctors and nurses at Parkland Memorial Hospital, who tried to save both Pres. Kennedy that Friday and his assassin two days later.
History’s supporting players
It’s a movie about history’s supporting players starring great supporting actors. Marcia Gay Harden, who won the Oscar for supporting actress in 2000 (“Pollock”), plays Doris Nelson, the supervising nurse at Parkland. Paul Giamatti, nominated in 2005 for “Cinderella Man,” plays Zapruder, a man of enthusiasms, an immigrant who loved America and then unknowingly but unflinchingly filmed one of its great horrors. Billy Bob Thornton (supporting nom for “A Simple Plan” in 1998) is Forrest Sorrels, head of the local FBI office, Jackie Earle Haley (“Little Children” in 2006) plays the priest who administers last rites, and Jacki Weaver (“Animal Kingdom” in 2010 and “Silver Linings Playbook” in 2012) is spooky as the Oswald matriarch, Marguerite, who insists that her son was an American agent who had done a great deed, and that her family would “never be ordinary again.”
Add in James Badge Dale as Bob Oswald, Ron Livington as Hosty, Colin Hanks as Dr. Malcolm Perry, the attending physician, and a couple of former teen heartthrobs—Zac Efron as the resident doctor who first began working on Pres. Kennedy, and Tom Welling as Roy Kellerman, the secret service agent who rode in the presidential limousine—and you’ve got quite a cast. Everyone’s good. A few (Harden, Weaver) are outstanding.
The details make the movie. Zapruder knew immediately. Everyone else is rushing around but he knew. I like the way Dr. Perry, in a board meeting, says “Five minutes” when told he’s needed in O.R. Nothing was ready. Secret service agents had to demand a stretcher and then rush through the narrow hallways to the small operating room. Blood was everywhere and on everyone. Zapruder is horrified by the “undignified end for a very dignified man” but he doesn’t know the half of it. Kennedy’s clothes are cut away during the futile attempt to revive him. Jackie continues to clutch portions of her husband’s skull and brain, as if they will be needed to put him back together. There is a shouting and shoving match in the operating room between Kellerman, who insists on bringing the body back to Washington, D.C., and Earl Rose (Rory Cochrane), the Dallas coroner, who insists on performing the autopsy there, as required by law. The body, in a casket, is then rushed to Love Field and a dozen strong men shakily, almost frantically carry it onto Air Force One. Chairs have been removed in anticipation (“We’re not carrying it below like a piece of luggage!” one man says), but a partition still has to be ripped out by Kellerman to make the turn. There’s such a rushed, frantic quality to all of this, it’s as if they’re making a getaway. It’s as if they’re trying to escape a nightmare. They are and they are.
We also get moments of dignity and solemnity. The last rites, for example; and the crucifix retrieved by Doris Nelson from her locker.
In Landesman’s account, the doctors and nurses come off well, Rose less so, and the local FBI office, where records of a visit by Oswald two weeks earlier were destroyed, not at all. At the same time, one member, Sorrels, in browline eyeglasses and compact fedora, never loses his cool, nor his sense of the enormity of the situation, as he guides Zapruder in the development of his 8mm footage, commiserates with Bob Oswald (“I feel sorry for you”), and gives us one of the film’s few funny lines, as he stands in the operating room while the same doctors and nurses that worked on JFK work on Lee Harvey Oswald:
Sorrels: We need a confession.
Nelson: What if he dies?
Sorrels: We need a confession first.
In the end, the two funerals are juxtaposed: the stately funeral for Pres. Kennedy, attended by all, mourned over by all, while Bob Oswald, with his crazy mother, attempts to bury his brother, whose body no church cemetery will take, who has no pallbearers, and who is hand-buried by Bob and two black gravediggers. It’s a pauper’s funeral on a cold, gray Texas day for the most despised man in the world.
“Parkland,” distributed by Exclusive Media, seems to have gotten a similar pauper’s burial. It was barely in theaters, and unlike Oswald it didn’t deserve this rush job, nor its 47% rating on Rotten Tomatoes. It’s a good movie that focuses on the small within the historic. It gives us all the sad details.
Movie Review: 12 Years a Slave (2013)
If “12 Years a Slave” is the greatest film ever made about the American slave experience it’s partially because it doesn’t have much competition.
What comes to mind? “Amistad”? Meh. “Roots”? TV. “Mandingo”? Please. The very dearth makes one question what so-called liberal Hollywood has been up to for the last 100 years. The Holocaust ended 80 years after slavery but already has its masterpieces: “The Pianist,” “Schindler’s List,” “Nuit et Brouillard,” “Shoah.” American slavery has “Birth of a Nation” and “Gone with the Wind.” Insert rebel yell here.
Is it telling that “12 Years” was directed by a Brit (Steve McQueen), and stars mostly Brits (Chiwetel Ejiofor, Michael Fassbender, Benedict Cumberbatch)? Is the story of slavery, in other words, still too close to us even after 150 years? It’s our shame and who wants to broadcast their shame? Plus there are practical questions. How will it sell in the South, for one.
Maybe it’s as simple as this: Slavery is long gone but we’re still working through its consequences. We all agree, give or take, that slavery was wrong, but white Americans still disagree vehemently on racial matters. Black Americans, too. It’s the dialogue we either never really have or never stop having. Both.
All of that is partially why “12 Years” is the greatest film ever made about the American slave experience. It also happens to be a very powerful film. Its power lies in understatement, and stillness, and holding onto the horror rather than flinching away from it or turning it into melodrama—as recent films have done with the Holocaust and the Rape of Nanjing. McQueen shows you a man half-lynched, and holds on it and holds on it. Comedians have a phrase for this—commitment to the bit—but McQueen isn’t demonstrating its tragic side. His camera almost feels non-judgmental. It’s a cold camera, the way Stanley Kubrick’s was a cold camera. The heat, the horror, are up to us to provide.
The worst master
The movie is based upon a true story. Or upon an 1853 book that was based upon a true story.
Solomon Northup (Chiwetel Ejiofor ) was a free-born African-American living with his wife and family in Saratoga, N.Y., who, in 1841, was traduced, drugged and sold into slavery in Louisiana. There, he had masters both benevolent (Cumberbatch as Ford) and sadistic (Fassbender as Edwin Epps), and the question, going in, and given the title, is how he gets back after 12 years.
Despite the dearth mentioned above, the horrors of slavery in the antebellum South aren’t exactly unfamiliar to us: whippings, lynchings, general inhumanity. But McQueen and screenwriter John Ridley (“Red Tails”; “Three Kings”) still give us unexpected details and subtleties. The slave auction takes place, not outside on the docks, but inside a well-appointed New Orleans home. Half the slaves are naked, and inspected, but there’s little that’s malicious or lascivious about this; they’re inspected the way you would inspect a piece of furniture. They’re commodity. That’s the horror. Not in maliciousness—the sneering and leering lesser filmmakers bring—but in how ordinary it all is.
There’s a surprising freedom within slavery. Solomon, renamed Platt, and passed off as a runaway from Georgia, is allowed to walk to the general store to pick up supplies. He’s allowed to suggest and prove to Ford a means of transporting goods via river raft. He’s allowed to do carpentry work. Then he misunderstands his situation. He talks back to one of the overseers, Tibeats (Paul Dano), and winds up fighting and even whipping Tibeats, who returns with two friends to lynch him. They nearly succeed but for the other overseer, Chapin (J.D. Evermore), who stops them but does nothing to stop Solomon’s pain. He leaves him, half-choking on the rope, and on his toes for hours until Ford arrives and cuts him down.
An argument can be made that the benevolent master, Ford, is actually worse than the sadistic master, Epps, since there is no doubt in Epps’ mind, none at all, that his slaves are anything but his property. So why shouldn’t he treat his property the way he wants? Ford’s different. He knows slavery isn’t right. But he still buys into it. He still purchases Solomon and separates a mother from her children. He may save Solomon from a lynching but when Solomon tells him he’s a free man, illegally brought to the South, he doesn’t help him; he sells him. He has debt, and Platt still has value. That’s what you do in capitalism. You buy low, sell high, and sometimes you cut your losses. He cut Platt.
Solomon makes a few feints at escape. On the first trip to the general store, he ducks into the woods only to come across a lynching. On a subsequent trip, he steals a piece of parchment, uses berry juice as ink, writes a letter to send home. But the man he trusts betrays him and he burns the letter, and, with it, most of his hope.
His demeanor and Latinate vocabulary changes. He avoids eye contact, suffers, ages. One slave, Patsy (Lupita Nyong’o), a source of tension between Epps and his wife (Sarah Paulson) because of Epps’ desire for her, asks Solomon to kill her. He refuses on religious grounds. Later, because she dares get a bar of soap, she is whipped—not by Epps (at least initially) but by Platt. Epps forces him and he has no other choice. This is the key to the movie—the shift from the many options of a free man to the one of a slave—and is brought home immediately in the shabby building on the outskirts of D.C. when Northup awakes in chains for the first time. He stands and tells his enslavers his name is Solomon Northup and he is a free-born man. The men nod and crank the chains down until he is on all fours. Then they whip him. Then they whip him again. Then they take his torn and blood-splattered shirt and give him a slave shirt.
If there’s a fault in the film, a void, it may be Solomon’s isolation within the slave community. I don’t know if this is historically accurate—a result of the fact that Solomon is an educated free man living among uneducated slaves—or if it’s because director Steve McQueen tends deal in isolation. In “Hunger,” Bobby Sands (Fassbender) is physically isolated in a British prison; in “Shame,” Brandon (Fassbender again) is psychologically isolated by his sexual addiction. Now we get Solomon in the South.
With whom does he bond? Initially with two other free-born men sold into slavery: Clemens (Chris Chalk) and Robert (Michael K. Williams). The three plot and discuss their options. But on the voyage to New Orleans, Robert develops smallpox, dies, and is tossed overboard; and at port, Clemens’ white benefactor shows up to free him, and Clemens ignores, or can do nothing about, Solomon’s cries for help. No help is forthcoming. He’s alone.
On the Ford plantation, Solomon bonds mostly with Ford. On the Epps’ plantation, he bonds a bit with Patsy but shares the stage mostly with Epps. The other slaves aren’t even flat characters; they’re stick figures in the background. He and Patsy meet Mistress Shaw (Alfre Woodard) at another plantation, who, in classic American fashion, has raised herself up from field slave to domestic servant to someone who is now served; but there’s no bond there, either. It’s a one-off. It’s a lesson. During a cottonwood infestation, he’s loaned to Judge Turner (Bryan Batt), where he harvests sugar cane during the day and engages in silent nighttime sex with (Ashley Dyke), but we don’t hear a word from her. During the funeral of a slave, lost in despair, Solomon begins to sing the blues with everyone else. He joins their song. But he doesn’t bond.
Again, I don’t know if this makes the story more historically accurate. It might even make the story better. But it is a void.
Even so, go. Please. “12 Years a Slave” is one of the best movies of the year about the great American tragedy. The movie’s power lies in its restraint. It holds something back for pressure, as Robert Frost said about good poetry. You can feel this restraint, this pressure, in McQueen’s direction, Ejiofor’s performance, and the soundtrack music by Hans Zimmer. You want release and they don’t give it.
In some respects, the standout performance is Fassbender’s. He’s ferocious not just in his sadism but in his righteousness. There’s no doubt in his eyes. These people are his. When the local sheriff, and Solomon’s white benefactor from the North, show up on the plantation to finally free Solomon after 12 long years, we get no cheap thrills, no sense of vindication from a beaten Epps. The opposite. His righteousness grows. Some government functionary is repossessing his property? Even though he paid for it? He’ll see about this. And off he rides to seek restitution. He’s ready to start a civil war over it.
There are no cheap thrills at the end, either. It’s a happy ending but it’s not a Hollywood ending. Solomon greets his family, including his new son-in-law, after 12 years away, with tears of genuine sorrow. “I apologize for my appearance,” he says. “But I have had a difficult time these past several years.”
Producer Bill Pohlad has said of the film, “We felt there's never been a film about slavery that dealt with it in such an unflinching way.”
Now we have one.
Movie Review: Thor: The Dark World (2013)
For all its battle scenes, for all its moments of light comedy, “Thor: The Dark World” begins abysmally. These are the first words we hear, spoken in voiceover by Anthony Hopkins in full Shakespearean:
Long before the birth of light, there was darkness.
No duh, Odin.
Then we get a battle 5,000 years ago, with, on one side, Malekith and the Dark Elves (which should totally be a band name), and, on the other, the army of Asgard, led by Thor’s grandfather Bor. Yes: Bor. Takes a lot of balls to name a character that.
In this battle, Malekith plans to use “the Aether” to return the nine realms of the universe into darkness, but he’s defeated. But the Aether can’t be destroyed. So what to do? “Bury it deep,” one Asgardian, possibly Bor, says, “where no one will ever find it.”
It’s found. Guess by whom?
Vanaheim, Svartalfheim, London
I’ve never really been a fan of this stuff. Know that going in. Even when I was a teenager in the 1970s and collected Marvel Comics and worshipped at the feet of Stan Lee and Steve Englehart, I never collected “Thor” or “Dr. Strange” or any comic that was too otherworldly or cross-dimensional. Radioactive spider, sure. Gamma bomb and cosmic rays, of course. But Asgard? Verily, it maketh me stiff with boredom.
This is what I missed. There are apparently nine realms to the universe. Asgard is one, Midgard (us) is another. One of the funniest moments in the movie for me, unintentional, occurs early. Titles tell us which realm we’re in: Asgard, Vanaheim, Svartalfheim. Then: London.
So every 5,000 years there’s a convergence in which the nine realms are perfectly aligned, and where travel between realms becomes easier. It’s like wormholes open up or something. This is also the perfect time, if you’re so inclined, to return the universe to darkness. Which is the plan of the reawakened Malekith (Christopher Eccleston). In Biblical terms, he wants to go back to the time before the third verse of Genesis. He wants to return us to the moment before “Let there be light.”
It takes a while for the principles to figure this out. Thor (Chris Hemsworth) is too busy quelling disturbances in the nine realms, and Odin is too busy making grand pronouncements and being an ass. Seriously, is that guy ever right about anything? At one point he shouts, “The Dark Elves are dead!” When does he shout it? Right before the Dark Elves attack.
Odin, though, may be right about one thing. Early on, he counsels Thor against getting too involved with Jane Foster (Natalie Portman), since humans, at best, live 1/50 of the time Asgardians live. It’s an interesting point. Jane, for example, is upset that Thor has been gone for two years but for him it’s like two weeks. I’m curious how the romance is viewed on Asgard. How often are there interrealm romances? Are there laws against it? Is this a Loving v. Virginia thing? Or a King Edward VIII/Wallis Simpson moment? The movie’s perspective of the romance, though, is decidedly Midgardian: He’s hot, she’s hot, why not?
Thor only actually shows up then because Jane stumbles upon one of those inter-realm portals, pops through it, and, in some starry, rocky land that seems like a bad dream, finds, between two rocks, the Aether, which bonds with her body. That’s why Thor takes her to Asgard. And that’s why she’s in Asgard when the Dark Elves attack.
It’s very “Star Wars”-y, this attack, and even though I recognized it was done well I was bored. Plus I kept thinking: Wait, weren’t the Dark Elves in stasis all this time? So how did they develop the technology to take down Asgard? Did they always have it? Is Asgardian tech stagnating? Are they like Microsoft in this way?
One ship manages to get through Asgardian defenses, the one, coincidentally, carrying both Malekith and his chief warrior, Algrim/Kurse (Adewale Akinnuoye-Agbaje), who frees the many prisoners of Asgard, which leads to another rousing battle. Rah. Malekith, after bigger prey (Jane and the Aether), is stopped, and scarred, by Frigga (Rene Russo), Thor’s mom, who has powers of her own. Alas, not enough. She’s killed. And even with Asgard totally defenseless, even with the very fabric of reality hanging in the balance, Asgard takes the time for a good old-fashioned Viking funeral: boat, flaming arrow, waterfalls, pomp and circumstance.
Does Odin have a plan to deal with the Dark Elves? I forget. Thor has one, though, involving his friends, Sif, Fandral, Volstagg, Hogun and Heimdall, who are always underused in these movies, as well as his half-brother and chief nemesis Loki (Tom Hiddleston), who was a bit petulant in the first movie, became Hulk’s rag doll in “The Avengers,” and seems to be having a blast here. Thor’s plan is treasonous, requiring escape from Asgard. The big issue is trust: Can Loki be trusted? But that’s actually part of the plan. Thor, Loki and Jane make it into the dark realm for a faceoff with Malekith and Kurse, but Loki betrays him, cutting off Thor’s hammer-wielding right hand, rendering him powerless. Ah, but it’s a Lokian illusion! As Malekith is drawing the Aether from Jane’s levitating body, Thor cries, “Loki—now!” and retrieves his hammer and smashes the Aether into nothingness.
Except ... it then reassembles itself and enters Malekith, who becomes more powerful than ever, and just a step away now from returning the universe into darkness forever. So, yeah, bad plan, Thor.
The final battle takes place in London, Greenwich mean time.
As close to gay porn as mainstream movies get
It’s no surprise that in this epic battle between the forces of dark and light, Thor takes the side of light. What’s surprising is how much the movie embraces the light.
Since “The Dark Knight,” which made a mint in 2008, the trend in superhero movies has been toward the dark, gloomy and tortured. “Thor 2” bucks the trend by going light and comedic. At times it’s almost camp. Its tone is reminiscent of the first “Superman” movie with Christopher Reeve. The hero, tall, handsome and strong, plays it straight, while almost everyone around him, even the chief villain (Luthor, Loki), makes with the jokes. It’s a shame the jokes aren’t better.
They’re not bad. It’s just all a bit broad. I love me some Kat Dennings, playing Darcy, Jane’s cynical, down-to-Earth friend, but she’s on a sitcom now, “2 Broke Girls,” and there’s a sitcomy feel to some of her lines and line readings. Hiddleston plays it better but even his lines aren’t particularly good. Hemsworth as Thor is better than ever—my friend Ward calls “Thor” as close to gay porn as mainstream movies get, and an early torso-washing scene bears this out—but they’re having him do silly stuff. He enters a London apartment and hangs Mjöllnir, his hammer, on the coat rack. It’s amusing for a second. Then you go, “Wouldn’t that bring the wall down? Or the apartment building?” Later, Thor is battling Malekith and gets clobbered into a tube station. The doors to the subway open and there stands a pretty blonde, agog. “How do you get to Greenwich?” he asks. “Takes this train three stops,” she answers. Which he does, while she flirts. Oops, didn’t mean to lean into your broad chest but the train just started, tee hee. All of this while the very fabric of reality hangs in the balance. Shouldn’t he have just called Mjöllnir and gotten on with it? Shouldn’t the writers?
A lot happens in “Thor: The Dark World.” Loki dies but no he doesn’t. Erik Selvig (Stellan Skarsgard) does the Walter White thing in his tightie-whities. (Or is that the Will Farrell thing?) The universe is saved but for how long? And where’s Odin at the end? Do we care?
I do appreciate the attempt, by director Alan Taylor (“Game of Thrones”), and screenwriters Christopher Yost, Christopher Markus and Stephen McFeely, to go light rather than dark with this material, despite the title. They give us some great CGI battle sequences—particularly between Thor and Kurse, and Thor and Malekith. They try to have fun. But in the end the fun bits rarely feel organic to Thor’s story, just to ours, watching. In the end, it still ain’t Joss Whedon.
Twitter: @ErikLundegaardTweets by @ErikLundegaard