Thor: The Dark World toggles between cloying and disinterested. Between Alan Taylor’s limp direction and the tepid script, it never really has a chance. Either the world will end or it won’t. The film doesn’t waste any time getting the viewer (or even the characters) invested in caring about it. The lack of danger is palpable–even with supporting cast members dying.
The front half, which mostly deals with futuristic people fighting with the Bronze Age technology, is long and boring. The finale, inexplicably–or for tax breaks–set in London, isn’t bad. The script establishes Natalie Portman, Kat Denning and Stellan Skarsgård as goofy scientists–but the only ones who can save the world–and running them through a disaster scene is fine.
The film completely flops regarding Chris Hemsworth and Tom Hiddleston. Around halfway, someone remembers the characters are brothers; there’s drama and history and a really weak scene.
The film doesn’t just ask for suspension of disbelief regarding flying men, it also asks the viewer to ignore the idea characters should have depth. Portman does a good job hiding her embarrassment, actually.
Hemsworth is appealing as always, Hiddleston is good. Anthony Hopkins is awful, so’s Christopher Eccleston as the villain. Taylor really can’t direct actors.
Both Rene Russo and Idris Elba do fine in their bit parts.
Truly atrocious music from Brian Tyler doesn’t help things.
Someone really should have come up for a reason for the film except the first one’s box office warranted the investment.