My Top 30 Films of 2012: 10-1

Here comes the final part of this year's epic list. If some of the entries seem shorter than in the last two articles, as it comes down to the very best films of the year, then that's probably because I find it harder to talk about the films I really love. It's intimidating and you want to do them justice. In some cases you don't want to spoil anything about them and in others it feels like there's little more that needs saying than "every single aspect of this is perfect".

Here is the top 10:

10) Dredd, dir Pete Travis, UK/SA

What I said: "Where the movie really shines is that this high-minded and timely political commentary is ever-present without being heavy-handed or suffocating how much sheer fun the movie is. The action is brutal and bloody in a way you really don't see any more - even in stuff like 'The Expendables', which exists solely as a throwback to that 1980s action era. It's handled imaginatively, never gets repetitive and there are plenty of clever twists along the way."

A film I wasn't looking forward to at all before it came out - I think I had possibly seen one trailer (or half of one) and been uninspired - 'Dredd' is without doubt the year's smartest comic book movie. In fact it's the year's smartest and most satisfying action movie of any stripe: packed full of bone-crunching violence and spectacle, but also neatly satirical - critical of its main character and the horrid dystopian future he inhabits. Judge Dredd, born of comic books from British publisher 2000AD, is not a character who has ever appealed to me before, perhaps due to a combination of the awful mid-90s Stallone movie and an assumption that its fascistic protagonist represented the world view of the book's authors and/or intended readership. However, it's apparent watching this adaptation that there's far more to the character than that. British TV director Pete Travis and screenwriter Alex Garland manage to get a lot of mileage out of using Dredd's uncompromising form of justice as a way to critique knee-jerk right-wing concepts of law and order, whilst also telling a really tight story. Not bad for a low-budget Brit-flick.

9) Everybody in Our Family, dir Radu Jude, ROM

What I said: "'Everybody in Our Family' could obviously be seen as a call for increased father's rights (a hot contemporary issue), with the heartbreaking reality that Otilia could stop Marius from seeing his daughter at the forefront of the drama. Yet it's equally the story about how otherwise quite gentle people might suddenly snap if pushed too far. The fact that Marius' actions, born of increased distress, are only adding to the likelihood that he'll never see his daughter again creates a sense of deep, inevitable tragedy."

Radu Jude's debut feature, 'The Happiest Girl in the World', was near the summit of this list back in 2010 and his follow-up proves that was no fluke. 'Everybody in Our Family' is every bit as naturalistic and maddening in its representation of a frustrated protagonist who seems incapable of articulating themselves. Here we follow a father as he attempts to visit his daughter at the home of his ex-wife. But a combination of the stubbornness of his ex-wife's new boyfriend - who refuses to allow him to take his daughter out - and his own obnoxious behaviour sees the situation escalate to a point where you can't see a clean way out for any of the characters. An extremely tense film, characterised by its boundless empathy and compassion.

8) Killing Them Softly, dir Andrew Dominik, USA

What I said: "It's a phenomenally violent film in short bursts, though the emphasis is on characters having conversations - about sex, money and business - against the backdrop of the 2008 recession and Obama/McCain presidential election. The whole thing is, as you might expect from the man behind 'Jesse James', shot incredibly stylishly, though without fetishising violence - again, like a Coen movie, there is an abiding humanism. There are no strictly good or bad people, just opportunists, idiots and dispassionate businessmen for whom hiring a contract killer is greeted with a world-weary sigh. Here murder, adultery and theft are just good capitalism. 'Killing Them Softly' is a modern American fable."

Smart and stylish in a way that shouldn't surprise anybody who saw Dominik's previous films - the anarchic and irreverent 'Chopper' and the elegiac, lyrical 'Assassination of Jesse James by the Coward Robert Ford' - this is the best Coen Brothers movie the Coens never made. It's very funny, with the humour coming from the repeated use of certain phrases or peculiar words rather than gags, and a really tight crime thriller to boot. There's a Coen-esque quality to the story too, as it follows bundling criminals out of their depth, pursued by Brad Pitt as an ice-cold hitman (this is a great companion film to 'Killer Joe'). But this isn't some pale imitation without any style of its own, Dominik has his own visual style, whilst the film's heavy political subtext and running critique of the American dream sets it apart.

7) ParaNorman, dir Chris Butler & Sam Fell, USA

What I said: "The stunning character animation, detailed (and gloomily lit) scenery, clever script and well-cast voices would be enough to recommend the film, but the fact that it has such a delightful message - with the baddie ultimately being intolerance and fear of difference (rather than a nefarious person) - is what sets it apart. Especially as it has the strength of its convictions and seemingly none too worried about causing offence. The film is also terrifically well paced, with an economy of storytelling reminiscent of vintage Pixar."

Coming from Laika, the animation studio behind 'Coraline', it's no surprise that 'ParaNorman is good. What did surprise me though is just how good - how funny and unexpectedly moving it is, carried off with genuine maturity and respect for its intended young audience. One early sequence depicting Norman's walk to school is so beautiful and bitter-sweet, not least of all due to Jon Brion's score, that you'd have to be some sort of black-hearted cynic not to swoon. And for a kids' horror movie with the emphasis on comedy and kooky characters, there are some really scary things at play here psychologically. Clearly the best animated film of 2012.

6) Once Upon a Time in Anatolia, dir Nuri Bilge Ceylan, TUR

What I said: "An honest-to-gods masterpiece, this Turkish drama from Nuri Bilge Ceylan has a lot in common with the almost equally excellent 2009 Romanian film 'Police, Adjective'. Both share the same fascination with the banal side of police work not usually explored in cinema, as ordinary cops perform quite boring duties. Both films have patience in common, allowing us to observe these men at work without any embellishment. But whilst the Romanian movie explored whether the semantic definition of law should hold more weight than our own understanding of morality, this feature ponders how such men can maintain their humanity when forced so often to encounter acts of barbarism."

That rare piece of European slow cinema that exceeds two hours without causing me to check the time, this is a captivating instant masterpiece. A police procedural, much of it taking place in real-time, in which you simply observe quite a lot of mundane stuff - a lot of it unrelated to police work, as colleagues chat about their home live's and whatnot. The photography is the year's most stunning, capturing natural light and Turkish landscapes in a way that leaves you in awe from the first shot.

5) The Avengers (AKA Marvel Avengers Assemble), dir Joss Whedon, USA

What I said: "'The Avengers' succeeds on every level it's trying to and gets everything right when it comes to making the ideal comic book movie. The various superpowers are used (and combined) imaginatively, the balance between action and dialogue is perfect, and Hiddleston's villain is deliciously charismatic, every bit as entertaining as the heroes. The gags work and even moments of pathos find the target when they arrive. It's a very different beast to Christopher Nolan's 'The Dark Knight'... being unabashed, escapist fun rather than a rumination on The Patriot Act or an exploration of how a costumed vigilante might really be viewed by the world as we know it. But in being so proud of its pulpy routes, giving us daring deeds painted broadly and in bright colours - as Norse gods battle men in Star-Spangled spandex - it's arguably a far braver and much tougher movie to get right. And Whedon gets it completely right, painting this epic battle on a suitably large canvas."



I don't think I've ever sat in a cinema with a bigger grin on my face than I did during this one, even on my third viewing. 'The Avengers' is the most fun I had this year doing pretty much anything, let alone in a cinema. It looks easy and straightforward now, but how Joss Whedon managed to combine characters from a half-dozen previous films without making a cluttered and uneven mess is a cause to wonder. This could so easily have been a car crash, with egos, audience testing and box office figures dictating what percentage of relevance each member of the ensemble would have - but instead we get almost equal amounts of Captain America (Chris Evans), Thor (Chris Hemsworth), Iron Man (Robert Downey Jnr) and Hulk (Mark Ruffalo) combing and playing off each other in ways both humorous and exciting. The perfect super hero movie.

4) About Elly, dir Asghar Farhadi, IRN

What I said: "We follow a group of middle-class friends from Tehran as they go on a weekend getaway to the seaside, bringing along a relative stranger - Elly (Taraneh Alidoosti) - in order to introduce her to their recently divorced friend. However, when Elly goes missing (presumed drowned), the group is forced to confront how little they really knew about their guest. There are moral dilemmas and grave twists that will be familiar to those who saw 'A Separation' (in a good way) and, like much contemporary Iranian cinema, the film is rich with social critique for those willing to look below the surface."

Released in Iran in 2009, Asghar Farhadi's film prior to the sensational 'A Separation' (2nd on last year's list) only received its UK release earlier this year. There's not a lot I'd like to say about it because, like that previous film, the less you know the better. But I will say that it's every bit as immaculately acted and written as that more famous follow-up. A supremely humanist film of ideas populated by characters of stunning depth.

3) Moonrise Kingdom, dir Wes Anderson, USA

What I said: "Though I personally loved 'The Life Aquatic' and 'Darjeeling Limited', those films seemed to represent Anderson's movies becoming bigger and, to some extent, less tightly focused. The star-studded ensemble is no less eclectic here but 'Moonrise Kindom' instead feels stripped back somewhere closer to the simplicity and economy of 'Rushmore'. It's a change that's kept the director's formula from wearing thin, coming at the right moment. It's a film that makes Wes Anderson exciting again, as opposed to the master of an increasingly predictable framework (however lovely). I used to say that 'Bottle Rocket' was my favourite but conceded that 'The Royal Tenenbaums' was Anderson's most mature and accomplished film. 'Moonrise Kingdom' calls into question both ends of that statement."

Anderson's style changes just enough so that it's still recognisably there but it feels fresh, whilst his recent excesses have been toned down to make something that still feels ambitious and imaginative but also uncharacteristically tight. It's also perhaps his best looking movie to date and one of his most touching, as it deals with young love. The gathered ensemble (including Edward Norton, Bruce Willis, Frances McDormand and Bill Murray) is perfectly cast and the young leads (Jared Kilman and in particular Kara Hayward) are revelations. Anderson's near-obsessive attention to detail and penchant for naive and wholly non-cynical characters have not been this inspiring since 'Rushmore'.

2) A Royal Affair, dir Nicolaj Arcel, DEN

What I said: "Everything about 'A Royal Affair' is stunning. Its ambitious scope in terms of subject matter, its intelligence, its brilliant cast of actors (I'll now happily watch anything with Alicia Vikander in it), and its lavish production values. I cried at the end... and I laughed far more and far harder than I have at the last dozen or so comedies. The story of a doctor who gives a king new confidence and inspires him to greater things, it could easily be billed as Denmark's answer to 'The King's Speech'. It's far better than that."

I don't know if this is any indication of how they make period movies over in Denmark, but 'A Royal Affair' is lightyears away from the staid, conservative, heritage bollocks we serve up here in the UK. If the sight of monarchs wearing ruffled shirts and extravagant ball-gowns is - not unreasonably - enough to put you off a movie by this point then you'll really be missing something special here. Along with the titular story of forbidden love, and the visceral sense of heartbreak and tragedy that goes along with it, 'A Royal Affair' is at heart a film about ideas: about compromised idealists and revolutionaries ahead of their time. It's about social change and how difficult it is to impose lasting improvements to the lot of the rest of us as long as they run counter to the wants of the super rich. It may be set in the 18th century Danish court - where it tells a sensational and scarcely credible true story - but this is a film of 2012.

1) Tabu, dir Miguel Gomes, POR

What I said: "Despite the fact the entire film is black and white, framed in a 4:3 aspect ratio, a lot of it reminded me of the hyper-colourful films of Wes Anderson: with Portuguese language cover versions of 60s popular songs, childlike romanticism of the colonial spirit of adventure, characters with obscure quasi-celebrity status, and a highly precise sense of composition. Funny, bizarre, imaginative, unique, and emotional in that way that hits the hairs on the back of your neck - I'll be surprised if [this year's Berlin film festival] goes on to present a better film than 'Tabu'."

Wow. A work of genius and a probable future contender for film of the decade. A tale of love and loss which begins in Lisbon, showing us the final days of a bitter and extremely infuriating old and lonely widow - estranged from her daughter and a drain on her neighbours - only to then spend the second portion with the same woman as an impossibly beautiful and accomplished person in her 20s, living a romanticised colonial dream in Africa. The decision to follow a different protagonist in the first half (a well-meaning, busybody neighbour), with the elderly woman seen through her eyes, is especially interesting as it positions the main character as less relevant in her old age, making the subsequent flashback tale even more interesting - and perhaps saying something about our attitudes towards older people. The vibrant and ultimately tragic second half of the film makes the first half even sadder. It says a lot that whilst 'Tabu' is entirely shot in black and white (with the second half free of dialogue save narration from an estranged lover), in my mind it exists in full colour - so evocative and powerful the imagery, so ingenious the storytelling.

If you missed the earlier parts of this list, here they are: 30-21 & 20-11

'Iron Man 3' trailer hits!

Couldn't not post this: the first trailer for next year's 'Iron Man 3' - the first post-Avengers Marvel movie. With Shane Black now taking over as director from Jon Favreau, it seems the third entry has a very different tone to the first two. Darker and more brooding in keeping with the idea that this is the character's darkest hour. Interesting (to me at least) is Tony Stark (Robert Downey Jr's) monologue here, which references how the events of 'The Avengers' are haunting him and preventing him from sleeping. I like that they seem to be including that movie as part of the character's arc, whilst (at least from this first look) not going overboard.

We also see Ben Kingsley as Iron Man's arch nemesis Mandarin, and somebody sporting a Star-Spangled Iron Man suit which, in the comics, belonged to Spider-Man foe Norman Osborn (AKA the Green Goblin) as he called himself the Iron Patriot. Of course, with Sony holding the movie rights to that character, it is curious which villain is behind the armour this time.

'Iron Man 3' is set to come out in April as the first part of "Phase Two" - the next set of movies that will lead to the next big Avengers adventure. Following hot on its tail will be 'Thor: The Dark World' next summer, then 'Guardians of the Galaxy' and 'Captain America: The Winter Soldier' in 2014. 2015 will bring us that Avengers sequel and Edgar Wright's 'Ant-Man'. I couldn't be more of a fanboy at this point. You don't even want to know how much money I've blown on comic books since 'The Avengers' came out...

Marvel's Next Avengers?

Last Update: Sunday 27th May: I've been adding the latest character profiles as they've got online, so check the expanding list below. Also, here is another Marvel-based piece on five weird things from the comics the movies still wouldn't dare do.

OK, so you're all sick to your eye teeth (is that a phrase?) of 'The Avengers' by now, with its worldwide box office glory and almost unanimous critical praise meaning that we're probably right on the cusp of the backlash. However, I'm still pretty obsessed by the whole thing at the moment and - with all the films I've seen of late embargoed for a few weeks - I've been working on an ongoing feature for What Culture called "Marvel's Next Avenger".

It's pretty simple: Marvel has now confirmed that an Avengers sequel is on the cards and - with hundreds more characters in their comic books, many of whom have been members of the superhero team - it seems likely that they might try to add more characters to the roster. There are two Marvel movies currently slated for release next summer: 'Thor 2' and 'Iron Man 3', whilst only 'Captain America 2' has been confirmed for 2014. This has led many to suspect that another previously unannounced project could be sharing that summer with the returning Mr. America. But who's movie will it be?

My candidates so far? The articles are linked below:

Ms. Marvel
Doctor Strange
Luke Cage and Iron Fist
Ant-Man and Wasp
Black Panther
Namor
Scarlet Witch and Quicksilver

Several of the site's other contributors will be writing their entries and I intend to do at least two more myself, so check back soon for more of that. Also, come back soon for film reviews. I promise I've not given up this blog despite recent appearances! I also have yet to write my FilmQuest 2012 entry for 'Blue Velvet', so expect that in the next few days.

'The Avengers'/'Marvel Avengers Assemble' review:

Regular readers of this blog will know that I've long been a shameless, rambling cheerleader for this summer's first major comic book movie, Marvel's ambitious 'The Avengers': a film which brings geek-friendly comic book-style continuity to the big screen in a way never previously considered possible. It's a bold move from the company, recently acquired by Disney, which - had it failed - might easily have sent the entire house of cards tumbling down, risking tentpole solo properties 'Iron Man', 'The Incredible Hulk', 'Captain America' and 'Thor' in the process. In fact combining these heroes in one movie should have been an almighty mess and perhaps one for fanboys rather than the diverse cinema audience required to enjoy global mega-success.

Yet 'Buffy the Vampire' creator Joss Whedon has, as director and co-writer, delivered not only the best Marvel movie to date (not a bad accolade in itself), but also the very best (or at least the most enjoyable) superhero movie ever. It's a relentlessly thrilling and frequently laugh-out-loud funny affair which manages to provide each of its characters just enough to do to avoid feeling like a clumsy bag of cameos. It's a rare beast that exceeds the two hour mark and yet leaves you craving more and, as has been noted by almost all who have seen it thus far, it manages to pull off the feat of making the Hulk interesting. Mark Ruffalo is cast as the irradiated Dr. Bruce Banner/lumbering green rage beast and does an exceptional job both in the flesh, as an anxious and introverted genius, and in CGI mo-cap as the show-stealing titan.

The other Avengers combine well, in terms of their disparate skill sets and distinct personalities. Pleasingly each even finds time to grow and complete their own small arch. Captain America (Chris Evans) is still the guileless embodiment of goodness that struck such a pleasant note in last year's solo vehicle, though now he's learning to assert himself as the natural born leader familiar to readers of the comics. Thor (Chris Hemsworth) remains that slightly haughty man from another world with a penchant for grand, almost Shakespearean turns of phrase, now faced with the embarrassment of having his brother Loki (Tom Hiddleston) at the head of an alien invasion of Earth. And Robert Downey Jr is still a terrific force of nature as cocky billionaire, playboy philanthropist Tony Stark (AKA Iron Man), here learning a thing or two about subjugating himself for the greater good whilst chiding his more obviously noble teammates.

Even Black Widow and Hawkeye (Scarlett Johansson and Jeremy Renner), who have yet to benefit from their own solo features, are given ample time to demonstrate their prowess and (though not as developed as the others) both feel like interesting and valuable parts of the ensemble. This time we even get to see a little more of Samuel L. Jackson as eye-patch sporting S.H.E.I.L.D director Nick Fury, getting involved in the action and playing a genuine part in events as opposed to being a bombastic guest star in another person's adventure. Alongside Fury are the returning fan favourite Agent Coulson (Clark Gregg) and new supporting character Maria Hill (Cobie Smulders) - who doesn't get a lot to do but whose inclusion presents an interesting option for writers of the probable sequels, for those that know her from the books.

'The Avengers' succeeds on every level it's trying to and gets everything right when it comes to making the ideal comic book movie. The various superpowers are used (and combined) imaginatively, the balance between action and dialogue is perfect, and Hiddleston's villain is deliciously charismatic, every bit as entertaining as the heroes. The gags work and even moments of pathos find the target when they arrive. It's a very different beast to Christopher Nolan's 'The Dark Knight' - commonly acknowledged as the holder of the "best comic book movie" crown - being unabashed, escapist fun rather than a rumination on The Patriot Act or an exploration of how a costumed vigilante might really be viewed by the world as we know it. But in being so proud of its pulpy routes, giving us daring deeds painted broadly and in bright colours - as Norse gods battle men in Star-Spangled spandex - it's arguably a far braver and much tougher movie to get right. And Whedon gets it completely right, painting this epic battle on a suitably large canvas.

It helps that Whedon, a past writer of Marvel comics (notably an acclaimed run on Astonishing X-Men) knows and loves this world. From a fan point of view, he ensures that Captain America takes the lead rather than the more commercially popular Iron Man and that S.H.E.I.L.D's motives are uncertain, with the organisation not truly trusted by the gang. He knows that fans want to see Thor smash his hammer upon Cap's shield and see Iron Man hold his own against the Asgardian prince and promptly delivers this spectacle without it seeming like the most cynical act of fan service, probably because he wants to see all this just as much.

'Marvel Avengers Assemble', known internationally as 'The Avengers', is out now in the UK, rated '12A' by the BBFC.

'The Avengers'/'Marvel Avengers Assemble' trailer:

I'm about as excited for the upcoming 'Avengers' superhero movie as it's possible to be, and the latest trailer (above) has done nothing to diminish my anticipation. In fact, my girlfriend and I are going on holiday to Rome at the end of April and I'm honestly more excited about getting back just in time for the film's April 27th UK release date. Which is pretty sad, I guess.

Now titled 'Marvel Avengers Assemble' on these shores, presumably to avoid confusion with the British 1960s spy series 'The Avengers' (already adapted into a universally panned mid-90s movie), the film sees Captain America (Chris Evans), Iron Man (Robert Downey Jr), Hulk (Mark Ruffalo), Thor (Chris Hemsworth), Black Widow (Scarlett Johansson), Hawkeye (Jeremy Renner) and Nick Fury (Samuel L. Jackson) combining forces to fend off a threat to our planet - with Tom Hiddleston's Loki, brother of Thor, so far the only known villain. If this is a big hit then it could be a real game changer - ushering in a new era of inter-film continuity projects, particularly in the superhero genre. Once Christopher Nolan finishes with Batman this summer, perhaps Warner Brothers will attempt a similar arrangement with the DC heroes?

It's certainly an ambitious move and it remains to be seen whether director/writer Joss Wheadon can make a satisfying individual movie juggling so many characters. Will he feel the need to introduce all the heroes again and, in so doing, undermine the previous movies? Or will the film be inaccessible for those not already versed in the Marvel universe? It's an intriguing problem and I look forward to seeing how (if at all) it has been solved.

With this, 'The Amazing Spider-Man' and 'The Dark Knight Rises' all sharing a single summer, 2012 looks set to be another year dominated by comic book heroes.

'Captain America: The First Avenger' review:

'Captain America: The First Avenger' is out now in the UK, so I thought I'd remind y'all about my review from last week over on What Culture.

I saw the film again yesterday, partly because it's the best blockbuster I've seen in years, but also so I could catch a glimpse of the teaser for next year's Joss Wheadon directed 'The Avengers' after the credits (not attached to the press version I first saw).

Joe Johnston's film was great a second time and I'm really glad the film held up to an additional viewing. A few things I didn't mention in my review which I'll take up space with here: Red Skull (Hugo Weaving) reminded me, not only of Werner Herzog, but of 'Who Framed Roger Rabbit?' villain Judge Doom. The whole thing actually made me think of episodes of Spielberg's TV series 'Amazing Stories'.

Anyway, go see the movie if you have even a passing interest in superhero fare.

'Captain America: The First Avenger' review:

My review of 'Captain America: The First Avenger' just went up on What Culture. So check that out.

Also, I have written a DVD review for The Daily Telegraph arts section tomorrow. I reviewed 'The Lincoln Lawyer' which is apparently DVD of the Week. I've got a few more gigs with them coming up too, which is certainly a pleasure.

'Thor' review:

Iron Man, The Incredible Hulk and Captain America are popular and, to varying degrees, iconic comic book superheroes. With this in mind, Marvel Studios decision to make big, blockbuster films based on these "properties" is understandable and even inevitable. But Marvel, now owned by Disney, have bigger plans for their so-called "cinematic universe" which involve interlinking their different characters in the same way they did with the comic book continuity years ago. It makes obvious financial sense: like Iron Man but not so fussed about the Hulk? Well, chances are you're going to pay to see the big green guy anyway because of that Tony Stark cameo.

The ultimate goal for Marvel, as announced way back in 2005, is to make what (they hope) will be a massive super-blockbuster in the form of 'The Avengers' - the superhero equivalent of the Travelling Wilburys. And they have been steadily and unsubtly promoting that future franchise ever since by shoehorning cameos, in-jokes and geek-oriented references into each film - often via Samuel L Jackson. 'Iron Man 2' was so concerned with setting up the Avenger origin story that parts of that film felt like an extended trailer. The problem with this game-plan is that, in order to form the on-screen Avengers, Marvel have to set-up some less iconic and potentially less cinematic heroes for that movie to make sense. That's what brings us to 'Thor'. A superhero movie no one asked for.



Thor is somewhat harder to buy into than his future co-vigilantes. Iron Man is a normal guy - albeit a billionaire scientist with a fancy suit - whilst Hulk and Captain America are just victims of experiments in radiation. Crucially, they are all human beings. However, Marvel's Thor supposes that the realm of Asgard is real and exists on a distant planet, with the Viking "gods" of Norse legend being super-powered, space-travelling aliens. Thor, an Asgardian, throws a huge mythical hammer, Mjöllnir, that can only be lifted by those considered "worthy". In contrast to the likes of Spider-Man, his family aren't "normal" either: dad is Odin and his brother Loki. How could this story of a fallen god landing on contemporary planet Earth possibly seem credible? Ancient myths, like that of Hercules, are full of such stories (as are texts as diverse and evergreen as The Bible and Superman), but 'Thor' has to fit in with the likes of 'Iron Man', which featured the War in Afghanistan as a plot element. How can planet Asgard and the War in Afghanistan possibly co-exist in the same filmic universe?

The daunting task faced by director Kenneth Branagh has been to construct a film which marries both worlds - the fantastical realm of Asgard and a dusty New Mexico town - in a way which makes sense. And, surprisingly, he somehow does this rather well, aided by 'I Am Legend' screenwriter Mark Protosevich who solves the principal problem by using self-effacing humour. When the brash and violent Thor (Chris Hemsworth) lands on Earth (stripped of his powers), after being cast out of Asgard by Odin (Anthony Hopkins) for starting a war with a race called the Ice Giants, the film immediately becomes a fish out of water comedy of sorts. Thor tries to beat up a hospital full of doctors who are trying to heal him before being knocked out by an injection, and later he smashes a coffee cup and loudly demands a refill in a busy cafe. He acts pompously and is lampooned as a figure of fun whilst he adjusts to alien surroundings.



This jesting is an effective slight of hand that keeps us from laughing at the transition between the two worlds. As with a stand-up comic who cracks jokes about their own obesity, the film heads off any potential tittering cynic at the pass because it's meant to be funny.

From then on the young "thunder god" adjusts to his new surroundings fairly quickly and the world of Thor comes to makes sense to us. By the time he dons his faux-Viking battle fatigues and does battle with The Destroyer (don't ask) on Main Street, we have successfully suspended our disbelief. Instead we can enjoy the fights which - let's face it - are the reason we go to the cinema to watch superhero movies. Branagh perhaps commits the crime of shooting too much action in disorienting close-up and some of the effects work is a little ropey, but 'Thor' is nevertheless good value entertainment with its share of climactic fist-pumping moments. It's also not as shallow as you might expect, with pretty well-rounded characters and a sympathetic villain. Its director is best known for adapting Shakespeare for the screen and, had the Bard penned a treatment of the screenplay, it would be easy to imagine this story from the point of view of Loki (Tom Hiddleston) as a great tragedy.



This unexpected depth owes much to the actors. Hemsworth, for his part, is pretty good as Thor and his transition from, as Protosevich has put it, "an Old Testament god to a New Testament god" is carried off well. It doesn't feel like the usual sudden third act u-turn when he becomes worthy of reclaiming his powers because he has genuinely changed before our eyes, becoming more humble and gentle through his association with scientist Jane Foster, as played by Natalie Portman. It may seem as though Portman, a recent Academy Award winner, is slumming it in 'Thor' (an accusation also levelled at Branagh) - and who could blame her after 'Black Swan'. But she gives her all to the role regardless and elevates a love-interest character into something more interesting and appealing. Like Hopkins, Hiddleston and veteran Swede Stellan Skarsgård, she adds believability to this obscure Marvel tale, and in doing so eases what must have been the studio's greatest concern.

Fun, light-hearted and - at times - morally complex, 'Thor' is more than just a cynical means to an end (even if it does feature a completely pointless and convoluted cameo for another Marvel hero). That is not to say, however, that it isn't also serving as a Trojan two-hour advert for 'The Avengers'. It's just that it's good enough that you won't mind. For comic book fans, summer 2012 can't come soon enough.

'Thor' is out now in the UK and has been rated '12A' by the BBFC.