Thor

A Note from James: I will no longer be rating by stars, or any other quantitative system.  It’s an awfully rigid way to measure a fluid, dreamlike medium.

Summary: A solid, fun fantasy film with impressive performances, Marvel’s best cinematic villain to date, and the promise of a lot more to come.

Review:  Through its recently formed Studios branch, comic book giant Marvel is putting together the most ambitious sci-fi/fantasy effort since Peter Jackson’s ‘The Lord of the Rings’ trilogy.  Four superheroes — Iron Man, The Hulk, Captain America, and Thor — are getting solo cinematic treatments, then being tied together in next year’s ‘The Avengers’, which is shooting under Joss Whedon’s direction now.  While Captain America has yet to debut, Iron Man and The Hulk performed well, and now the burden falls to Thor.

With a rich fantasy backstory drawn from Norse mythology comes an inherit risk of camp.  Director Kenneth Branagh and Marvel’s team of writers crafted an effective, if not terribly fresh, story, but what sells the film is its leads.  Newcomer Chris Hemsworth — who previously provided a tear-jerkingly heroic performance as George Kirk in J.J. Abram’s ‘Star Trek’ — simply kicks ass as Thor.  He’s a miraculously good actor, someone who can sell subtle emotional changes and go toe-to-toe with great hams like Sir Anthony Hopkins.

Natalie Portman is his earthbound love interest,  physicist Jane Foster, and she refuses to play her as a typical determined scientist, instead letting her dissolve into a giggling schoolgirl around Thor, an amusing and sympathetic reaction.  Given her brief screentime, she deserves a good deal of praise.

Of course, no comic book film excels without a good villain, and the true distinctive of ‘Thor’ is Tom Hiddleston’s Loki.  He’s a truly Shakespearean baddie, a guy who thinks of himself as the hero of his story, a good guy gone bad by going mad.  While another villain might cackle and spit out threats with an uncompromised glee, Loki actually weeps when he confronts his heroic brother in the final battle, even as he laughs and snarls and throws down with the best of them.  He’s a manipulative liar, but he believes he’s doing the right thing, and we feel his pain.

Most of the film takes place on a cosmic stage, as war brews between noble Asgard and bitter Jotunheim, the home of the Frost Giants.  With fantastic CGI and refreshingly tangible sets, I found myself believing in it.  The action has a real weight to it, and while Branagh isn’t the best action director around, he and his team still know that matters is clarity and impact.  When it desperately needs to work, it does.  This isn’t the best superhero action, but it is on a larger canvas than most, and deserves recognition.

As excited as I am for ‘The Avengers’, even if that wasn’t on the horizon, I’d be game for a ‘Thor’ sequel, a chance to cut loose from the trappings of an origin story and really let the “God of Thunder” loose in an even bigger conflict.  I really hope they do.

Classic Review: The Silence Of The Lambs

Stars: ★★★★

Summary:  The only horror film to win Best Picture, ‘The Silence Of The Lambs’ is terrifying because it’s truthful.

Review:  There’s “theme park” scary movies and then there’s true horror. ‘The Silence Of The Lambs’, the only horror film to ever win Best Picture, defines the latter class. It originates from the same real-life story as Hitchcock’s ‘Psycho’. Instead of establishing distance from the psychopath, however, ‘The Silence Of The Lambs’ takes us up close and personal with not one, but two dangerous and terrifyingly realistic villains.

The most famous is Dr. Hannibal “The Cannibal” Lecter, a brilliant and seductive psychopathic psychologist played by Anthony Hopkins. He’s the most vile and convincing villain I have ever seen on film. FBI Agent Clarice Starling, excellently played by Jodie Foster, has to consult with the incarcerated monster to see if she can discover how to find a serial killer known as Buffalo Bill. Their interactions are not only the highlight of the movie, but some of the few perfect moments in cinematic history.

This is a brutal experience.  It is a descent into the darkest dungeons in the human spirit, into Tartarus.  It is a challenging picture that requires viewers of strong constitutions.  By not flinching, the filmmakers are putting us in absolute sympathy with Clarice; she’s vulnerable, naïve, and though she has an idea of where her journey will take her, it’s a horrifying ride that leaves her shaken.  Director Jonathan Demme takes the Hitchcockian ideal to its absolute limit, lets us chew through our nails and grind our teeth until the last logical moment, which results in a fantastic catharsis.  This isn’t a film for the faint of heart, and the weight of the thing goes beyond simple thrills.  Psychologically and philosophically, it sticks with you.  Every major religion has a theme of the descent into darkness and pain.  Consider the challenge of Christianity, as made by St. Paul, for believers to “crucify their flesh” — to endure the greatest suffering for the greatest reward.  ‘The Silence Of The Lambs’ is a filmic exploration of that challenge, both as a narrative (Clarice’s pursuit of Buffalo Bill) and as an experience.  Provided that viewers know what they’re after, ‘The Silence Of The Lambs’ is a uniquely rewarding film.

The philosophical theme of ‘The Silence Of The Lambs’ is that yes, indeed, monsters do exist, and to our horror, they’re people like us.  There’s something convenient about supernatural horror that separates the man from the monster, allows us the comfort given a victim, that when all’s said and done, history takes pity on the innocent.  Here, there’s no such comfort.  Instead, Clarice Starling discovers the bitter truth of how similar Hannibal Lecter and Buffalo Bill really are to “normal” people.  Being human is a dangerous idea.  Within each of us, there’s a devilish potential that we only think we’ve successfully sublimated.  Inside our private hells, we keep monsters locked away, but what about the ones that seem so attractive that they can lure us in to their homes for some fava beans and a bottle of nice Chianti?

In an interesting contrast, let’s compare Stanley Kubrick’s masterpiece, ‘2001: A Space Odyssey’ with Jonathan Demme’s ‘The Silence Of The Lambs’.  ‘2001’ is a film about, literally, heaven, space, evolution and the divine potential of humankind.  It’s a hopeful journey through time with a strangely (for Kubrick) optimistic point-of-view.   ‘Silence’, however, is about Earth and things underneath it, like basements and pits and darkened rooms.  It’s about devolution, complex, civilized man’s disintegration into a cannibalistic hunter, the diabolical potential of humankind.  Perhaps this Halloween, for a unique double feature, you ought to watch both.