'Fast & Furious Presents: Hobbs & Shaw' Review

Synopsis: Lawman Luke Hobbs and outcast Deckard Shaw form an unlikely alliance when a cyber-genetically enhanced villain threatens the future of humanity.

Runtime: 135 minutes

MPAA Rating: PG-13 (for prolonged sequences of action and violence, suggestive material, and some strong language)

Who should see it? Fans of Dwayne "The Rock" Johnson, Jason Statham, and the Fast & Furious franchise.

Branching off from the central Fast & Furious series, Fast & Furious Presents: Hobbs & Shaw is the franchise's first spin-off. As each Fast & Furious entry drove further away from the series' starting point of street racing and small-time heists, real-world physics were chucked out the window. To no-one's surprise, Hobbs & Shaw continues that trend of escalated absurdity. If you bother scrutinizing the logic of Hobbs & Shaw, you will be miserable for two hours and fifteen minutes. To best enjoy this ride, you should suspend disbelief and mindlessly munch on popcorn.

Considering I haven't been impressed by recent projects involving "The Rock" and Statham, I approached Hobbs & Shaw with appropriate skepticism. The only Fast & Furious films I've really appreciated are the fifth, sixth, and seventh installments. I felt the franchise finally found its stride with Fast Five but grew concerned the franchise ran out of fuel when I didn't take to The Fate of the Furious. Directed by David Leitch and featuring a screenplay from Chris Morgan and Drew Pearce, Hobbs & Shaw rides the thin line between overbearing and entertaining. Surprisingly, this bombastic summer blockbuster won me over with the charm of its cast, technical merits, and outlandish high octane action.

Leitch's extensive background as a stunt coordinator and experience helming Atomic Blonde, Deadpool 2, and John Wick serves him well here. Leitch embraces the lunacy of the franchise's physics-defying spectacle, pairing it with the visceral intensity and visual flair frequently found in his filmography. I was occasionally disoriented by the use of quick cuts and shaky cam, but the action sequences are easy to interpret and impressively absurd for the most part. Carrying over from Leitch's previous projects, cinematographer Jonathan Sela lends an attractive aesthetic to the affair with stylish lighting and quality camerawork. I expected the entire movie to look like concrete, so I was delighted to see some stunning shots amidst the ludicrous action. Unfortunately, the film failed to really surprise me otherwise.

Regarding plot, Hobbs & Shaw is about as predictable as it gets. The buddy spy action-comedy plays out like most other flicks of its ilk, and the dialogue is equally ridiculous as the action. In Fast & Furious tradition, Hobbs & Shaw even champions the franchise's principle focus on family. Does it get any deeper than hearing that word spoken out loud from time-to-time? Not particularly, but when has it ever? Hobbs & Shaw is exactly as advertised, an over-the-top action movie with heart and plenty of cheesy one-liners. Exactly what you'd expect from a summer blockbuster.

Dwayne Johnson and Jason Statham reprise their respective roles of Luke Hobbs and Deckard Shaw to headline the first Fast & Furious off-shoot. The baseline charisma and star power associated with Johnson and Statham are probably enough to garner most viewer's interest, and the duo measures up to that presumption. The two actors possess the macho physicality as well as an engaging rapport since their back-and-forth banter is undoubtedly a highlight. They bicker endlessly, and while not every joke lands, those which do are hysterical. The insults, which felt primarily improvised, effectively critique the other's general Hollywood persona without seeming too self-aware.

However, it's Vanessa Kirby, the breakout star of Mission: Impossible - Fallout, who emerges as a scene-stealer. Kirby's Hattie Shaw rounds out the grouping of Johnson and Statham as an intriguing third-party and capable femme fatale. Her fight scenes were particularly impressive, as they were in Fallout, so Kirby is definitely cut out for action. She's reportedly up for the role of Catwoman in Matt Reeve's The Batman, which I'd LOVE to see pan out. 

Elsewhere, Eiza González is prominently featured in the marketing material but merely relegated to a single scene. She's serviceable in the capacity used but didn't really have much opportunity to leave a lasting impression. Other high-profile actors appear in a series of uncredited surprise cameos that are funny, but somewhat distracting. It's also worth noting that there are three comedic post-credit scenes and you may be fortunate enough to see a teaser for Christopher Nolan's next film Tenet beforehand. Don't expect teases towards a sequel or you may be disappointed.

Last but not least, Idris Elba's cybernetic terrorist Brixton was a formidable foe. Elba's screen presence coupled with the character's resilience compensated for the script's shortcoming characterization while providing a worthwhile villain.

Fast & Furious Presents: Hobbs & Shaw puts the pedal to the mettle as a prime example of an entertaining, over-the-top action-comedy. It won't be in contention for any awards, and you'll likely forget what happens soon afterward, but it's an ideal movie to close out the summer moviegoing season. Maybe this series still has gas in the tank after all.

Film Assessment: B-

Throwback Thursday Review: 'Pacific Rim'

I'm reviewing Pacific Rim to tie in with the release of its sequel, Pacific Rim: Uprising. Since March is almost over, I'm going to ahead and fill you in on the reviews you can expect to see through April, but I've made some changes to the previously outlined schedule because my finals are the same week that Avengers: Infinity War will be released. In order to get that review out as soon as possible for my readers, I'm easing my schedule by not reviewing anything else that week. Now that that's all cleared up, reviews you'll likely see through April include Throwback Thursday Reviews of Jurassic Park, Ocean's Eleven (2001), and The Avengers, a Triple-R for Avengers: Age of Ultron, and new reviews of Pacific Rim: Uprising, Ready Player One, Isle of Dogs, A Quiet Place, Rampage, and Avengers: Infinity War. 

'Pacific Rim' Review

Pacific Rim thrusts audiences into a far-flung future where humanity has been besieged by monstrous sea creatures called Kaiju. As the beasts emerged from a dimensional rift in the Pacific Ocean, mankind developed massive robot fighting machines to combat the Kaiju. These mechs, dubbed Jaegers, were designed to be piloted by two humans locked together in a neural bridge. However, even with weaponized robots at their disposal, humanity's efforts to extinguish the Kaiju three has proved futile. As the Kaiju approach for their final strike, a former pilot and untrained trainee pair up to pilot an old, obsolete Jaeger in a last ditch effort to save the world from an impending apocalypse.

Pacific Rim is helmed by the recent Academy Award winning director Guillermo del Toro with a screenplay co-written by del Toro and Travis Beacham. When perusing through del Toro's filmography, you'll quickly take notice that he has a knack for spearheading creature-features so it only makes sense that he would have felt drawn to a blockbuster of this nature. It's about robots fighting sea creatures after all... Which is precisely why he was the perfect fit for the project. 

Del Toro's passion seeps through every frame thanks to the exceptional work of cinematographer Guillermo Navarro and the various visual effects artists at del Toro's disposal. They each ensure the neon-infused atmosphere envisioned by del Toro was executed to the fullest. When researching the film to see if it was nominated for any Oscars, I was shocked to learn it wasn't nominated for Best Visual Effects in 2013 because I was sure it would have been, and it certainly should have been. Beyond its impressive visuals, Pacific Rim also features an epic score composed by Ramin Djawadi and some solid performances. However, the film falls a little short in the story department. 

Despite a clear effort to establish the core characters as empathetic individuals, they weren't fully fleshed out enough for me to invest myself completely in their struggle. Sure, I want humanity to emerge triumphant... But not for anything the characters did to draw my interest. Mainly because I too am human. Most of the characters are little more than two-dimensional avatars when all is said-and-done because so many of them lack a personality. With all that being said, it's difficult to fault del Toro considering he's well aware that this is a "B" monster movie all about sheer spectacle. 

For every criticism I could conjure for Pacific Rim, I'm able to come up with at least twenty more reasons why Pacific Rim is awesome as an action-oriented blockbuster. The concept behind it all is incredibly interesting, the Kaiju and Jaeger designs are unique, and the fight sequences are incredible. It's just the characters and story that are lacking. 

Leading the rock 'em sock 'em ensemble are Charlie Hunnam and Rinko Kikuchi, who each imbue their characters with the essential attributes. Hunnam portrays Raleigh as a loose cannon while Kikuchi's Mako is a troubled trainee. Even though they fit their respective roles well, I've never quite bought their romantic connection as there's not much chemistry between the two of them. The romance then feels forced into the narrative for the sake of including one.

Elsewhere, Idris Elba's magnetic screen presence as Marshal Stacker Pentecost positions him to be a cut above most movie military officials, but his stance as the most dynamic character only aids him in being the standout scene stealer.

Meanwhile, Charlie Day and Burn Gorman play a pair of eccentric geniuses whose silly side quest seems to be a contrived scheme to obtain pertinent information. Other cast members deserving of a shout out include Ron Perlman, Max Martini, and Robert Kazinski who all manage to make a unique impact with varying screen time. 

Despite adhering to the nuts-and-bolts of a traditional "B" monster movie, Pacific Rim remains an exciting popcorn movie that will scratch your itch to watch gigantic Jaegers punch it out with enormous Kaiju. While it underwhelms on a storytelling level, the interested audience members probably weren't even asking for that to begin with. 

Film Assessment: B

'Molly's Game' Review

Nominated For: Best Adapted Screenplay.

Molly's Game goes all in to tell the true story of Molly Bloom, a former Olympic class skier who ran the most exclusive high stakes poker game for a decade before being arrested by the FBI. Now, with only her criminal defense lawyer Charlie Jaffey at her side, Bloom must fight off a federal court indictment.

Renowned screenwriter, Aaron Sorkin, breaks in to adapt Bloom's book and he hits the jackpot with his directorial debut. Sorkin has had a straight flush of solid screenplays in the past, and Molly's Game is no seven-deuce. Sorkin shows his hand quite quickly, exuding style to spare in explaining the logistics of skiing and running high stakes poker games in the vein of recent films like I, Tonya, The Big Short, and The Wolf Of Wall Street. Sorkin's dialogue is sharp, snarky, and straight to the point. Just the way I like it... Sorkin's ace in the hole though is having accomplished actors such as Jessica Chastain, Idris Elba, and Michael Cera engage in the consummate conversation.

As much as I love Sorkin's dialogue, some scenes hedged their bets and overstayed their welcome. I think this was largely due to Sorkin's inexperience as a director though, because an experienced director recognizes when a scene starts to run a little long and identify what can be taken out without jeopardizing the rest of the film. However, I'm not sure Sorkin was too interested in cutting any of his own material to condense the running time. And it's not that my issue is that two hours and twenty minutes is too long of a running time, because I'd happily watch three hours of anything so long as the story is focused and maintains my interest. In this case, two hours and twenty minutes was too long for this story because I really felt length of the film's running time towards the end.

Thanks to a powerhouse lead like Jessica Chastain, Sorkin's blunders ultimately don't handicap the film too much though. Chastain simply has a such a commanding screen presence that you can't help but respect Molly Bloom for building such a powerful Poker empire. Chastain projects substantial strength, confidence, and determination in her performance, so you totally buy into the fact Molly was able to rise among a male-dominated arena. 

Having a strong supporting player like Idris Elba around doesn't hurt either, as Elba's Jaffey matches Chastain's Bloom word-for-word thanks to their dynamite dynamic. Michael Cera receives a rather interesting role as "Player X," one of the A-list celebrities Bloom rubbed elbows with in her escapades (assumed to be Tobey Maguire by many), and Cera plays his hand well by leaving a sizable impression with limited screen-time. Kevin Costner also lends his expertise as Bloom's father, Larry, and makes the most of every opportunity to chastise Chastain.

If there's one thing I ought to say about Molly's Game though, it would be that Sorkin went all in for his directorial debut. While he may not have laid down a royal flush, Sorkin certainly had no need to bluff about bringing a few aces to the table in the form of an expert ensemble and a superlative script.

Film Assessment: B

'Thor: Ragnarok' Review

[This review was originally written in November 2017 and is now being published that my internship is over. For an explanation of this, visit my Fall 2017 Important Update post.] 

Thor: Ragnarok picks up about two years after the events of Avengers: Age Of Ultron as Thor is following up on the visions he had regarding the destruction of Asgard, also known as Ragnarok. After seemingly stopping Ragnarok for good, Thor returns to Asgard only to learn Loki has been impersonating Odin since the end of Thor: The Dark World. The two adopted brothers then journey to Earth in order to retrieve the Allfather, but things don't go as planned when Hela, the Goddess of Death, escapes her eternal imprisonment, destroys Mjionir, and the two brothers wind up on the gladiatorial planet of Sakaar. Once there, Thor is made one of the Grand Master's champions and pitted in battle against one of his fellow Avengers, the Hulk. Thor must then find a way to escape Sakaar alongside his friends and make it to Asgard to stop Hela from bringing ruin and destruction to the Nine Relams.

Thor: Ragnarok happens to be the seventeenth installment in Marvel's ever-expanding catalogue of superhero films on top of being the God of Thunder's third outing, so naturally Marvel would want to shake things up, and they have done just that by bringing comedic director Taika Waititi onboard. The Thor franchise honestly needed a facelift, and Waititi rejuvenates the mighty Avenger by infusing his own comedic sensibilities and an electrifying eighties-vibe while fundamentally deconstructing the titular character. Ragnarok effectively integrates the cosmic fun of Guardians of the Galaxy with the world first established in Thor. It's the Marvel cosmos meeting Marvel's take on Norse mythology.

This change-up is made abundantly clear once Thor's mighty hammer is smashed to smithereens, his luscious locks are snipped, and he's thrown into an arena to battle the Hulk. Thor's also traditionally been the straight-man, but someone over at Marvel must have taken note of Hemsworth's natural knack for humor, so instead he spouts quips from the get-go. This departure is a tad unusual and admittedly jarring at first, but you'll settle into the adjustments as the film proceeds. In fact, that won't take too long due to the lightning-fast pacing of Thor: Ragnarok's opening. 

Once the film starts, it doesn't take time to breathe, so the beginning portion of the film effectively feels very rushed with the intention of hurriedly sweeping many of the remaining franchise elements under the rug. For me, the film didn't totally find its groove till Thor arrived on Sakaar. At that point, everything slows down a bit and we spend some sizable time on a Jeff Goldblum-ruled, gladiatorial utopia, which is glorious. 

One of the film's other predicaments was simply some ill-timed humor. Serious moments aren't permitted to hold the expected weight or gravity because Waititi or one of the screen-writers thought it'd be funny to throw in a joke. I feel Waititi missed the mark on providing appropriately-timed comic relief to match the more serious situations. Instead of inserting jokes as a source of levity AFTER the event, Waititi chose to throw them straight in the midst of these situations. I think this film is the prime example of what most DC fans point to when they say they dislike the Marvel brand of humor. I think previously, these jokes were more subtly incorporated in appropriate situations as opposed to their overt inclusion here straight in the middle of an intense moment. 

In regards to action, Ragnarok is fairly low on that front when compared to the other Marvel-fare. The Thor-Hulk gladiator fight itself is enormously entertaining with a wealth of great moments, Hela invades Asgard in spectacular fashion, and the brewing third act showdown on Asgard has enough surprises and stunning spectacle to leave a favorable impression on viewers, but there simply aren't any other striking sequences in Ragnarok's arsenal. The film does however manage to make up for the lacking action in the technical arena.

Thor: Ragnarok is easily one of Marvel's most colorful films thus far with an array of splendid shots, wacky wardrobes, and some especially psychedelic sets tributing the considerably influential comic artist Jack Kirby. Mark Mothersbaugh also successfully composes one of Marvel's most diverse sounding film scores to date with both sweeping, grandiose themes and pulsating, electronic music to accompany the crazy cosmic side of things. The visual effects for the most part are also quite good, but there are a few noticeable inconsistencies (mainly some poor green-screening in moments), although casual viewers are unlikely to take notice of these insignificant imperfections. 

My only other significant issue lied with the characterization of Hela. Prior to seeing the film, I believed Marvel was overcoming their villain issue in their third phase, and I had high hopes that Hela would rise to the occasion and be one of the very best. While she certainly came across as intimidating thanks to Blanchett's performance and her demonstrations of power, Hela's motivations seemed to fall in line with simply feeling entitled to the throne of Asgard. Even though I understand her reasoning, I found it to be lacking and simply didn't deem her a compelling antagonist. There just wasn't enough to her character aside from the obligatory lust for power in my opinion.

One very welcome change however, was a better balance between Thor and Loki. Previously, I felt Hemsworth was always overshadowed by Hiddleston, but I feel Waititi managed to successfully tip the scales in Thor's favor without undercutting Loki. On that note, Chris Hemsworth feels much more in his element now that he can hang loose and make full use of his comedic abilities. I wouldn't call this his best outing as Thor, but it's certainly the most fun. By his side, Tom Hiddleston continues to demonstrate Loki's reputation as the God of Mischief throwing tricks into the mix left and right. The duo's dynamic is just as charged as it has been previously, so any viewers craving more of the trademark witty bickering between the two will be more than satisfied.

Don't discount the big green guy though, because Mark Ruffalo smashes onto the screen with two-pronged portrayal of Bruce Banner and the Hulk. This is a very different Hulk than the one we're used to seeing as he speaks and throws tantrums like a two year old, which actually makes sense considering he's been Hulk for two years and therefore the Hulk's intelligence would have developed as such. Drawing ample inspiration from the Planet Hulk storyline in the comics, Waititi brings the mystery of what happened to Hulk at the end of Age of Ultron to a satisfying resolution and positions Hulk as a standout supporting character in ways previously unthought of. Ruffalo's camaraderie with Thor as both Hulk and Banner is one of the elements that really energized the movie. Otherwise, his take on Banner is rather relaxed when compared to his performances in the last two Avengers films because the script simply doesn't demand much from him in terms of acting. 

Rounding out the Revengers roster is Tessa Thompson's Valkyrie, who stands out as an impressionable newcomer and one of the coolest female Marvel heroes yet! Thompson remains a talent to watch as she adds Ragnarok to her list of standout supporting roles by granting Valkyrie an air of confidence comparable to the swagger of Han Solo. She also has great chemistry with Hemsworth, and I was relieved to see that a romance wasn't imposed on the two characters just yet, but I imagine I'd be accepting of it later down the line. 

As for the Asgardians, most are dismissed fairly quickly with scarce screentime or none at all, but Idris Elba's Heimdall is given some more prominence in the plot and Elba rises to the occasion. Honestly, the only other one worth mentioning is Anthony Hopkins, who once again imparts ancient wisdom on our characters. I will say that the dangling plot-thread regarding his character's disappearance was resolved a little too quickly, but Hopkins' status as an actor carries through and grants Odin the necessary gravitas as per usual. 

Elsewhere, director Taika Waititi voices the rocky gladiator combatant Korg. This is the character responsible for one of the most egregiously ill-timed jokes, but apart from that particular moment, Korg was a welcome source of soft-spoken comedic relief who would probably feel right at home in Waititi's other work (namely Hunt for the Wilderpeople).

All the while, Jeff Goldblum is clearly having a blast playing the Grandmaster as an especially over-exaggerated version of himself. If you love Jeff Goldblum, you'll be immensely entertained by his character because he's wacky, weird, and just about level of eccentric in between. Oh, I would also be remised if I failed to mention the wealth of easter eggs, references, cameos, and two post credit scenes lurking within Waititi's crazy cosmic comedy. Keep your eyes peeled, as per usual, and you'll be well rewarded with a Stan Lee appearance and substantial surprises.

On the antagonistic front, Cate Blanchett really elevates Hela through her performance despite the fact her character is especially underwritten. Blanchett ensures Hela is an imposing character, but the writing behind her character simply lacked the depth I was desiring. Karl Urban, on the other hand, interjects Skurge with a relatable viewpoint and surprisingly stood out alongside the superb supporting cast in a memorable stint. 

Thor: Ragnarok successfully stimulates the franchise with a bolt of electricity that should satisfy any who were displeased with his previous entires, but falls prey to many of the common criticisms associated with Marvel productions in addition to some poor pacing. Thor: Ragnarok may easily be the best Thor film yet, but it's far from thundering alongside the top tier Marvel Cinematic Universe installments in my eyes.

Film Assessment: B-

Throwback Thursday Review: 'Thor: The Dark World'

This review may wind up being published a little late due to all the World Series games I stayed up watching, my binge through Stranger Things, homework and work. This week I'm reviewing Thor: The Dark World to tie into the release of Thor: Ragnarok this weekend. The remaining November reviews I have planned are Throwback Thursday Reviews for Murder on the Orient Express (1974), Batman (1989), Ratatouille, and Pitch Perfect to tie in with Murder on the Orient Express (2017), Justice League, Coco, and Pitch Perfect 3. In the meantime, I'll do what I can to make some progress on the delayed Throwback Thursday Reviews of Inception, Stand By Me, The World's End, The Shining, the It miniseries (1990), Scott Pilgrim vs. the World, Risky Business (1983), and the Triple-R for Interstellar.

'Thor: The Dark World' Review

Thor: The Dark World finds Thor working to restore peace throughout the Nine Realms as a result of the widespread chaos enabled by destruction of the Bifrost in Thor. After successfully capturing Loki and retrieving the Tesseract in The Avengers, Thor must also grapple with the decision of succeeding Odin as king of Asgard while a cosmic event known as the Convergence aligns the Nine Realms. Meanwhile on Earth, Jane Foster accidentally encounters an ancient weapon, known as the Aether, that takes her as its host. This event then awakens an ancient race of dastardly dark elves lead by Malekith the Accursed who intend to wield the Aether to unleash havoc across the nine realms.

Thor: The Dark World saw significant shifts behind the camera as directorial duties passed down from Kenneth Branagh to frequent Game of Thrones director Alan Taylor. You'd think the pairing of a director accustomed to medieval surroundings with the world of Asgard would be match made in heaven, but only to a degree... The change-off in directors is especially evident in the production design and cinematography, because The Dark World looks drastically different from Thor. Taylor trades out the regal, otherworldly interiors of Asgard for a grittier, lived-in environment. On top of that, Taylor threw some sci-fi elements in the mix to show off the technological advancements of Asgard. It's almost as though someone meshed Star Trek and Game of Thrones with the pre-existing Asgard aesthetic.

The Dark World was a well-intentioned experiment for Marvel that shines in regards to the expansive, conceptual world-building, but fails in fleshing it all out. There are so many interesting notions sprinkled throughout Thor: The Dark World in the form of the Dark Elves and Asgard's weaponry/technology. Most action sequences are enjoyable, excluding the thoroughly average third-act showdown, and the film mostly looks terrific from start-to-finish. 

The thing about The Dark World is that the film safely walks through the opening of the gate, finds its footing in the midst of its jog, and then stumbles again on its way out the door. My analogy essentially means that the first act's formulaic, the second livens things up with one of Marvel's more emotionally-moving sequences and an electrically-charged team-up between Thor and Loki, and then the third act undercuts it all with a typical third-act battle where the fate of the universe is in peril... again... The high stakes action sequences are undoubtedly entertaining, but I'm becoming apathetic to the whole "I want to destroy the world" thing when the villain's motions remain entirely unclear...

The Dark World is stuffed to the brim with a copious amount of characters and overarching storylines, and it's Malekith that suffers from it most of all. The screenplay penned by Christopher Yost, Christopher Markus, and Stephen McFeely paints Malekith in a manner that he has no defining characteristics... There's almost nothing of substance to his character aside from the fact he's a dark elf who wants to spread... darkness... Boring!!! 

The film doesn't really take off till it around when it un-cages Loki, as the trickster proves to still be a valuable asset to the Thor franchise. Once Algrim becomes Kurse and the prison break sequence initiates, the film is instantly invigorated, and everything suddenly becomes so much more interesting.

**Spoiler Warning**

It's sounds strange to say, but the moment the film goes from good-to-great is when Frigga (Thor's mother) dies. It's so weird because her character was such an outlying figure in the franchise, yet her death feels incredibly impactful because of Hemsworth and Hiddleston's exceptional acting. Loki's reaction to learning Frigga died reveals a lot of the character's inner workings, communicating so much emotion through the slightest scene, and Loki is set on the path of a marvelous redemption arc as an enrapturing antihero.

Unfortunately, that's all undone by the reveal Loki didn't actually die. I still have such mixed feeling about Loki's "fake-out" death. The twist that Loki is impersonating Odin remains one of Marvel's best cliff-hangers, and I'm absolutely excited to learn the inner workings of it all tonight when I watch Thor: Ragnarok. However, it completely undercuts his sacrifice, so his "death scene" loses its luster on rewatches. 

**End of spoilers**

Thankfully the cast are all-in though, as Chris Hemsworth proves once again to be terrific as Thor. Hemsworth is afforded more to do in terms of demonstrating his acting range with incredibly emotional outbursts, a cool, collected composure, and spurs of comedic fish-out-of-water moments. Opposite Hemsworth, Natalie Portman's certainly charming as Jane Foster, but the script doesn't really utilize the actress or the character to their fullest potential. Their romance also just comes across as bland, but the actors have convincing chemistry at least.

It's just so sad that Hemsworth can't catch a break from Tom Hiddleston's Loki though, because he once again is overshadowed in his own movie. All the while, Hiddleston makes a case that he only gets better in the role as time goes on as he invigorates the movie once he becomes more involved. I believe this to be Hiddleston's best stint as the God of Mischief yet, and his dynamic with Hemsworth is absolutely electrifying.

The other Asgardians are offered enough screen-time to impress audiences, but none of the characters are offered some radical role in the story. Anthony Hopkins' Odin walks with the weight and wisdom of a stately ruler, while Idris Elba gets one cool moment as Heimdall and once again gazes into the cosmos with the hope he'll get more to do in the sequel. Jaimie Alexander, Ray Stevenson, Tadanobu Asano, and Zachary Levi are each fun inclusions as Lady Sif and the Warriors Three, but also are only afforded with scarce screen-time in comparison to the other ensemble members.

On the Earth-bound side of things, Stellan Skarsgård gets to go completely kooky as Erik Selvig this time around, Kat Denning's Darcy Lewis is grating, and Jonathan Howard feels like he's purely there for comedic purposes as the bumbling intern-to-the intern, Ian. Each of these characters have a few funny moments, but nothing funny enough to justify each character's inclusion. 

As I alluded to earlier, Thor: The Dark World falls prey to the plague of mediocre Marvel villains that's lately started to be turned around by a string of more interesting antagonists. Poor Christopher Eccleston does his darnedest to make extract some menace from Malekith, but he's unsuccessful in the end. Adewale Akinnuoye-Agbaje, who wound up over on the DC side of things as Killer Croc in Suicide Squad last year, leaves an impression as an intimidating henchman once he becomes Kurse, but he also isn't afforded much to work with.

Thor: The Dark World tried with all its might to be a worthy successor to Thor, and I feel it accomplished many of the goals Marvel had set for it, but the film just can't quite lift the metaphorical Mjionir with ease. The Dark World is buoyed by cool concepts, entertaining action sequences, a superb second act, and a capable cast made up of a likable lead, sturdy supporting players, and a scene-stealing God of mischief, but ultimately suffers from a slow start, an rather uninteresting central romance, an unexceptional antagonist, and a finicky finish.

Film Assessment: C+