MCU Retrospective: Thor: The Dark World

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Thor: The Dark World’s good scenes are a bit few and far between, however.

60/100

Thor: The Dark World often has the distinction of being labelled the worst MCU movie, a distinction which is not entirely unearned: Thor: The Dark World takes the worst aspects of its predecessor (unearned romance, too many things happening on Earth, not enough things on Asgard, boring non-Loki villain) and amplifies them. Instead of recognizing the inherent absurdity of the premise, director Alan Taylor takes his gritty Game of Thrones background and attempts to graft it onto the MCU, resulting in a gray-looking misfire that nonetheless has some good individual moments even as the film as a whole represents the first major misstep for a post-Avengers MCU. Luckily for the film, it still retains its stellar leads in Chris Hemsworth and Tom Hiddleston, who once again provide a saving grace here; at its worst, Thor: The Dark World is still a decent enough popcorn movie bolstered by a handful of standout scenes, and it remains more memorable than Iron Man 2 and The Incredible Hulk, the other two Marvel films that get relegated to the bottom of the heap. 

Like Thor, this movie starts with a flashback to Thor’s ancestors fighting some vague alien race, but this time instead of the Frost Giants we are introduced to the Dark Elves, led by Malekith (Christopher Eccleston). Eccleston has repeatedly complained (and rightfully so) about his Marvel experience: he was stuck in a makeup chair for hours upon hours, and on top of that, Malekith is underwritten and underutilized, giving Eccleston precious little to work with. Eccleston is certainly among the most talented performers the MCU has gathered, but all his talent gets wasted in a completely thankless role (other Marvel actors who will join Eccleston’s ranks include Lee Pace, Mads Mikkelsen, and fellow The Leftovers alum Carrie Coon). Malekith is just boring in a way that even bottom tier Marvel villains usually aren’t.

Malekith has a plan involving the mysterious substance known as the Aether, and wishes to use it to destroy the Nine Realms, something only feasible during the conjunction of the Nine Realms (yes, it sounds very much like The Conjunction of the Spheres from The Witcher). While Odin’s ancestors defeat Malekith, they can only bury the Aether, which will of course be foolproof and not come back to bite them in the ass. After this exposition dump, we get the title card, and off we go.

Back in present day Asgard, Loki gets imprisoned for the crimes he committed in The Avengers, including but not limited to: murder, attempted world domination, and stabbing his brother. Odin (Anthony Hopkins) continues to be the worst father imaginable, telling Loki that his “birthright was to die” and informing Loki that he will never see his mother, Frigga (Rene Russo), again. Honestly, this guy is supposed to be a wise and good king? He sucks. (Okay, yes, maybe Loki did some bad things. Odin is still terrible.) Meanwhile, Thor and his buddies Lady Sif (Jaimie Alexander), Fandral (Zachary Levi, replacing Josh Dallas due to scheduling conflicts as Dallas once replaced Levi in the first Thor), Hogun (Tadanobu Asano), and Volstagg (Ray Stevenson) are pacifying the Nine Realms. Why are the Nine Realms in conflict? It’s rather unclear, but Thor makes them stop it, so no worries.

Even as he goes off quelling unrest and furthering Asgard’s imperialism, Thor is feeling pretty down without his love, Jane (Natalie Portman). Jane has been trying to get over her own heartsickness by going on dates and putting herself out there, but she, Darcy (Kat Dennings), and Erik Selvig (Stellan Skarsgård) are all still searching for a way to reach Thor. Upon arriving at a gravitational anomaly in London, Jane gets sucked into Asgard’s basement where the Aether is kept, and it latches onto her and alerts Malekith to the Aether’s location. “The convergence returns,” he intones prophetically, as if this should make us quake in our boots. Alas, it does not.

So Thor and Jane are reunited, and for a supposedly epic reunion of lovers, it’s pretty uninspiring. It does give us a chance to explore Asgard a bit more, and it’s nice to see the place given a bit more fleshing out. It also allows us to hate on Odin some more as he compares his son’s girlfriend to a goat. However, as nice as this worldbuilding is, the plot now hinges almost entirely on Jane, and the writing does no favors to either Jane or Natalie Portman.

Perhaps a reason for Portman’s middling performance comes from the director—not the one they hired, but rather the one they didn’t. Thor: The Dark World cycled through multiple directors, including Patty Jenkins—who would go on to direct Wonder Woman and its sequel—before landing on Alan Taylor. Jenkins was initially brought on to the project but ended up leaving after two months due to “creative differences,” which she would later elaborate on: “I did not believe I could make a good movie out of the script they were planning on doing,” she said, which is a fair assessment, judging from the finished product. Her idea for The Dark World involved a Romeo and Juliet-type plotline revolving around Thor and Jane, the star-crossed lovers separated by space, but the studio didn’t go for it; when Jenkins departed the project, Natalie Portman was apparently furious, upset that Marvel had driven away a female director whose focus on the Thor/Jane romance would have undoubtedly given Portman much more to do than the original Thor, and certainly more than The Dark World presents her.

So Portman gets saddled with little more than a damsel in distress, given importance only because the plot MacGuffin entwines itself with her. Her middling chemistry with Chris Hemsworth from Thor vanishes here, replaced instead by a relationship so flat it makes even Loki and Jane seem more palatable: when Thor leaves Asgard to reunite with Jane in the post-credits scene, the result is an eye roll rather than jubilation. (Due to scheduling conflicts, and probably lack of interest, Portman couldn’t film some of this scene; instead, Elsa Pataky of the Fast and Furious franchise—and Hemsworth’s wife—doubles as Jane.) It’s little surprise then that Portman does not reprise her role for Thor: Ragnarok; instead we are informed that Jane broke up with Thor, and that’s that. She will, however, reappear in Thor: Love and Thunder, lured back in by Taika Waititi’s fresh take on the franchise along with many other Marvel fans. This time, Jane is sure to have more to do, seeing as Love and Thunder will adapt the comics arc which sees Jane become Thor, but in this film Jane does exceedingly little other than faint at various inconvenient times.

Read More of Anna’s Ongoing Marvel Retrospective Series Here

She is still a far more interesting character than Malekith, whose Dark Elves are among the dullest villains Marvel has created (which says quite a lot, as villains have always been a weak spot for the MCU). They infiltrate Asgard and kill Frigga, though they fail to acquire the Aether. Frigga’s Viking-style funeral scene remains a touching and impactful spot amidst a movie with many forgettable elements, and its visuals and music are among the strongest in the MCU—they evoke emotions that otherwise wouldn’t have been felt for a character with very little screen time and even less dialogue.

Reeling over the loss of his mother and fearing for his kingdom, Thor wishes to seek out the Dark Elves on their home turf of Svartalfheim rather than risk another invasion of Asgard. When Thor presents this plan to Odin, Odin refuses and, his mind bent on the total annihilation of the Dark Elves, says he will fight “till the last Asgardian falls, till the last drop of blood is shed.” 

“What makes you so different than Malekith, then?” Thor counters, to which Odin responds, “The difference, my son, is that I will win.” Thor calls him out on this megalomania, but the chance to truly dig into Odin’s failings as a king and father goes undeveloped aside from this handful of lines. At the end of the day, the film still tries to frame Odin as a good and just king despite the fact that he has repeatedly shown his failings, and so it falls to me to berate him instead. He’s the worst.

Forced to resort to subterfuge, Thor enlists the help of Loki. The reunion of these two results in some of the best bits of the movie, and proves yet again the potency of the Hiddleston/Hemsworth pairing: they make these moments sing in a way the rest of the movie doesn’t purely from the force of their chemistry. Once again, Loki in particular shines, proving why he has become such an enduring character in the Marvel universe. Like Iron Man 2, what makes Thor: The Dark World passable are its character beats, the moments where the movie takes a breath and lets its actors do the heavy lifting. (Heavy lifting might be giving too much credit to the script, but they do some lifting, at least.) 

So Thor, Jane, and Loki go to Svartalfheim, the home of the Dark Elves. While they (or, rather, Malekith) get(s) the Aether out of Jane, Loki becomes fatally wounded. What follows is a touching little death scene between Thor and Loki, with Thor promising to tell Odin of Loki’s heroics and Loki replying, “I didn’t do it for him.” (15-year-old me was absolutely distraught watching this scene in theaters for the first time. And the second time. And the third time. And… you get the picture.) Though the scene will get excellently parodied in Thor: Ragnarok, it is a nice moment of emotion before the movie becomes a mess of gray-tinged fight scenes.

Of course, despite this redemptive death scene, Loki still lives, as hinted at by the green shimmer appearing over an Asgardian soldier searching Svartalfheim and confirmed by the reveal at the end of the movie. Initially, Loki was going to perish permanently here, completing his arc and dying a hero (of sorts). However, test audiences refused to believe that Loki, the consummate trickster, was actually dead, so Marvel reversed course and added the reveal that Loki faked his death and is posing as Odin. Marvel’s decision was helped, no doubt, by the monstrous fan base that Loki spawned; when Tom Hiddleston made his infamous appearance in character at the 2013 San Diego Comic-Con, bringing the audience to their feet as they chanted “Loki” (someone even shouted out, “My wife loves you!”), Marvel chief Kevin Feige realized the full extent of Loki’s impact on the MCU. He took on a life of his own, his importance to the fans far outstripping his actual screentime as he consistently outshone his heroic counterparts. In a cinematic universe populated by charismatic and attractive superheroes, to have the primary villain of its biggest movie so far, The Avengers, turn out to be one of the most popular characters is no small feat. It’s a testament to the character and to Hiddleston’s ever-perfect performance that he has thwarted death twice; first here, and later in Avengers: Endgame (sort of). 

But his fake demise in The Dark World does mean Loki is out of the picture for the rest of the movie, and The Dark World becomes far less interesting as a result. The trappings of the film—the performers (the ones actually given things to do, that is), the humor, the music—all provide entertainment and emotion enough (though the humor does occasionally undercut the more impactful moments, a critique that has been leveled at Marvel more and more as the years have gone by), but when the plot shifts to the paltry villains and generic magic liquid, The Dark World loses its way; this becomes especially obvious for the last third of the movie, as Loki ceases to bring his charm to the screen and the focus narrows down to Malekith vs. Thor and company.

Had this been an introductory movie, The Dark World would have been a disaster. However, the strength of Marvel’s foundation is such that they can make mistakes and still triumph. (Obligatory “of course, it’s your opinion if Marvel triumphs or just succeeds in damaging cinema.”) Audiences are already invested in Thor, in Loki, in their world, even if they aren’t invested evenly between all the characters (if you can’t tell, I might be a bit more invested in Loki than those around him), and so there is a base level of enjoyment to be had even if the particulars of the film are a bit weaker than other MCU entries. There’s still plenty of fun: Thor hanging Mjolnir on a coat rack, Thor taking the tube, Dr. Selvig running naked around Stonehenge, everything Loki says and does. The music, like in the first Thor film, stands out as one of the more memorable Marvel scores, this time composed Brian Tyler, who will go on to compose Avengers: Age of Ultron, adding to a resume already including Iron Man 3 and the revamped Marvel fanfare.

Audience goodwill can certainly help gloss over the errors of this movie; unlike The Incredible Hulk or other Phase One films, by now viewers have a certain trust in Marvel that allows the MCU to make mistakes, as in The Dark World, and not suffer huge box office or cultural consequences. Without the middling response of this movie, we might never have gotten the zany escapades of Thor: Ragnarok, which completely revamp Thor’s world and do away with the self-serious Shakespearan stylings in favor of something that more fully embraces its absurd comics roots. It certainly ranks towards the bottom of the Marvel universe, but Thor: The Dark World still has its saving graces, and its falters forced some very needed self-reflection upon Marvel Studios; from here on out, it only gets better. 

Well, some of the time. Most of the time? At least sometimes.

Yes, this is from Comic-Con.

Groundwork: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • The Aether turns out to be the Reality Stone: “It is not wise to keep two Infinity Stones so close together,” Vosltagg says in the mid-credits scene. Cue audience gasp.
  • Benicio del Toro’s character, called “The Collector” and only appearing in the mid-credits scene, will show up again in Guardians of the Galaxy, and then later in Avengers: Infinity War. The payoff is a bit small for such a setup, but perhaps he’ll show up again. Who knows. 
  • In the play that Loki stages in Thor: Ragnarok, while Matt Damon’s Loki dies, the choir sings the piece that plays in this movie during Loki’s death (and Frigga’s funeral). Top tier comedy.
  • Dr. Selvig’s chalkboard sort of alludes to the multiverse, but mostly just the Nine Realms, though he does write “616 Universe” on it, referring to Earth-616, the main universe in which the comics take place.
  • The whole “Loki is secretly posing as Odin and now de facto rules Asgard” stinger at the end is left open-ended, but certainly does not seem to bode well for Asgard. Had the Thor franchise continued down its somber path, the consequences could have been a bit more dire; however, when Taika Waititi took the reins for Thor: Ragnarok, it turns out that all Loki does with this newfound power is make statues and plays dedicated to himself. Sometimes Marvel’s seeds do not bloom where you think they will.

Anna’s Favorite Scene: Frigga’s funeral or the scenes of Thor and Loki attempting to pilot a Dark Elf ship. You could make a whole movie about their tense reconciliation, though here it’s only a handful of scenes; luckily, they’re among the best in the movie. (I still wouldn’t say no to more, though.)

MCU Ranking: 1. The Avengers, 2. Captain America: The First Avenger, 3. Iron Man 3, 4. Iron Man, 5. Thor, 6. Thor: The Dark World, 7. Iron Man 2, 8. The Incredible Hulk

Thor: The Dark World Trailer

Thor: The Dark World is currently available to rent and purchase on most digital storefronts, and is streaming on Disney+.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

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