Thor The Dark World Movie Download Apk
Wei Spinks
In the aftermath of Marvel's "Thor" and "Marvel's The Avengers," Thor fights to restore order across the cosmos...but an ancient race led by the vengeful Malekith returns to plunge the universe back into darkness. Faced with an enemy that even Odin and Asgard cannot withstand, Thor must embark on his most perilous and personal journey yet, one that will reunite him with Jane Foster and force him to sacrifice everything to save us all.
In the distant past, a cosmic event known as the Convergence occurs, opening portals between the Nine Realms. A sinister race called the Dark Elves attempts to use the Convergence as a way of unleashing the Aether, a force of destruction with the capability of destroying the entire galaxy. The exact origin of the Aether is unknown, but it is known that it is one of six powerful objects that predate the universe itself. The leader of the Dark Elves, Malekith, nearly succeeds in using the Aether to cause the instantaneous destruction of the Nine Realms under the misguided belief that he can recreate them in his own image. He is opposed by Bor, the then-king of Asgard and the father of Odin, who uses the Bifrost to rip the Aether from Malekith's grasp just as he attempted to enact his plan, robbing the Dark Elves of their most potent weapon. Driven back to their homeworld, Svartalfheim, it becomes apparent that the Dark Elves cannot defeat the Asgardians and are all but wiped out in the battle. While the Asgardians, unable to destroy the Aether, seal it away in a place it can never be found, Malekith, his lieutenant Algrim, and various survivors manage to escape into suspended animation, vowing to one day return and finish their plan.
Back on Earth, Jane Foster is in London, having been called there by Erik Selvig to investigate readings of unknown nature. After having not heard from Thor for some time, she goes on a date with a man called Richard Madison. Their date is quickly interrupted by Darcy Lewis, who explains that Foster's scientific equipment has been picking up strange signals, signals that have not been detected since the events that took place in New Mexico two years prior. They get in a car where Lewis' own intern, Ian Boothby is waiting for them, and drive to where the signal is the highest and end up at an abandoned storage house. They find that a number of portals have opened, linking the Earth to several different worlds and altering the laws of physics, causing gravity to shift without warning. While Lewis and Boothby continue to play around with the portals, Foster is swallowed up by one of them and transported to an unknown planet. She finds herself in a dark chasm, where a strange vault is located. Upon touching the vault, a red substance, the Aether, emerges from it and infests her body. Passing out, Foster is teleported back to Earth, waking up five hours later. She walks outside where Lewis and Boothby have been waiting. The police had been called there by Lewis and consequently attempt to arrest the three for trespassing on private property; a policeman tries to touch Foster, but the Aether forces him away. Prior to that, Thor suddenly arrives, seeking to investigate Foster's well-being, as Heimdall lost sight of her after she disappeared. While overjoyed to see him, Foster slaps Thor in the face for taking two years to visit her even though he was on Earth during the battle of New York. Thor apologizes to her and she quickly forgives him, but then takes her to Asgard to investigate the nature of the Aether knowing that it was beyond mortal ability to handle.
Meanwhile, alerted by Foster's use of the Aether, Malekith, and his ilk awake from their long sleep. Consumed with vengeance and eager to procure the Aether to once again transform the universe into darkness, the Dark Elves plotted their next offensive against Asgard. Under Malekith's orders, Algrim allows himself to be captured by the Asgardians while in disguise as a Marauder and, using vile technology, turns himself into Kurse, a superpowered warrior that the Dark Elves used frequently in their war against the Asgardians. He frees all the prisoners except Loki and they start a prison riot, distracting the Asgardians so that Malekith can lead his squadron of ships into Asgard with little opposition. A battle takes place, during which the palace is breached and heavily damaged. Frigga, having suspected the diversion, lures Malekith into a duel by creating a holographic replica of Foster. Frigga nearly succeeds in besting Malekith, but Kurse intervenes and mortally wounds her when she refuses to give up Foster and the Aether's location. In retaliation, an enraged Thor disfigures Malekith's face with a bolt of lightning, forcing the Dark Elves to retreat. Frigga then dies from her injury.
A funeral is later held for the dead Asgardians and Frigga, and a grief-stricken Odin has Jane Foster confined. Thor knows that Malekith will return for Foster, but Odin, blinded by hate and grief, refuses to release her and intends to destroy Malekith through whatever it takes. So, Thor comes up with a plan to move her, even though he would be committing treason. With Heimdall distracting Odin from them, Thor has Loki freed from his cell, as Loki knows of secret portals that could transport Foster to another world, drawing Malekith away from Asgard. With help from Sif, Fandral, and Volstagg, Thor, Foster, and Loki hijack a downed Dark Elf ship and make their way out of Asgard and to a hidden portal that teleports them to Svartalfheim. As they make their escape, however, Foster's body is slowly being infested by the Aether, draining her of life.
While Jane Foster has been in Asgard, Darcy Lewis has been fruitlessly trying to reach S.H.I.E.L.D. when she and Ian Boothby see on the news that Erik Selvig has been running around nude at Stonehenge, and has now been put in a retirement home for psychiatric care. They go there to get him out, and he tells them his sanity was shaken after being hypnotized by Loki during the Chitauri Invasion. For the past several months, Selvig has studied the effects of the Convergence and has developed devices which can teleport people to different worlds. They meet up with Thor and Foster, and Selvig tells them that the people who lived in England after the previous Convergence had built certain objects to create a secret map to where the Convergence would reach its peak. The location is revealed to be Greenwich. After putting two and two together, Foster theorizes that Malekith plans to spread the Aether through the portals so that he may destroy all of the worlds at once.
They travel to Greenwich the next morning, and when they arrive, they find that a number of portals have opened up above the city, a sign that the Convergence is nearing its peak. Malekith soon arrives, and Thor engages him in battle, with both evenly matched. The fight takes them through various portals throughout the city, transporting them to different worlds. While the two are fighting, the scientists use Selvig's devices to deal with the Dark Elf soldiers, accidentally summoning a Frost Beast in the process.
Late in "Thor: The Dark World," Chris Hemsworth's title character crash-lands on a British Underground platform. He's dazed but knows that he has to get back to fighting Malekith (ex-Doctor Who Christopher Eccleston), a malevolent dark elf. Thor asks for directions back to Greenwich, and promptly boards the train. As the train lurches forward, a woman falls onto his broad chest. He smiles knowingly. This scene is one of several high points in "Thor: The Dark World," a blocky fantasy-adventure whose plot is never as exciting as its characters. All three "Iron Man" films have this same basic problem, but story was never more important than personality in those earlier films. "Thor: The Dark World"'s characters are often very charming, but they're only so much fun when they're stuck going through the motions.
But there are just as many scenes where inherently exciting characters, like Thor, kill time connecting plot points. Watching Thor make quick work of an inconsequential enemy in an opening scene should be fun. But the scene has no flair to it, and feels like a perfunctory introduction to the character. The first scene in the film where Hemsworth gets to be really charming comes later, when he's squabbling with Hiddleston about operating a commandeered dark-elven space-ship. The squabbling itself isn't that funny, but the scene's pay-off is. Hemsworth's eyes light up as he gets the ship to fly, instantly reminding you why you came in the first place.
Still, more often than not, "Thor: The Dark World" is more busy than exciting. There are a couple sub-plots too many, like the one with frequently-naked super-scientist Erik Selvig (Stellan Skarsgard). And too many characters that are introduced with a promising scene, like Rainbow Bridge guardian Heimdall (Idris Elba), are forgotten during the film's climactic battle. The film's world also generally looks slapped together, especially the dark elves, who look like a cross between "Land of the Lost"'s Sleestaks and "Doctor Who"'s Cybermen. Visually, "Thor: The Dark World" is a step back after "Thor," which at least looked unique enough.
As it turns out, the evil red goo has awakened the ancient (and supposedly extinct) Dark Elves, led by Malekith (Christopher Eccleston, who is unrecognizable and excellent), and they follow it to Asgard to take it out of Jane and plunge the entire universe into darkness.
The film pivots around a dangerous energy source that has the ability to change the fate of the universe. This substance, aether, is displayed as a red, liquid like substance that often ebbs and flows in a bulbous form. Its tactile surface tantalises the viewer with the promise of touch when it is introduced at the beginning of the film but it is kept at a distance through its placement in mainly positive parallax space. This is a tendency that is maintained in the introduction of the characters and the actions scenes in which they are placed. Like many contemporary stereoscopic action films, the beginning of the film has relatively conservative 3D effects and most of the action is placed in positive parallax. This is true even when the opening battle amongst the protagonists and antagonists, the Asgardians and the Dark Elves, throws explosive and exploding material. Fast editing and an intense soundtrack give the sense of a chaotic unruly environment but little of the material breaches the traditional boundary between film and audience. In a later battle on another of the worlds, Vanaheim, there is a similarly unruly space created amongst a hilly landscape,but cascading showers of soil and splintering weapons seem to emerge only as far as a zero parallax plane before a cut takes place. Alternatively, this material spreads from left to right (or vice versa) rather than towards or away from the audience.
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