“Centr” is the name of Chris Hemsworth’s fitness application. They adore it. It encourages its readers to adopt Chris Hemsworth’s holistic approach to eating right, exercising, and engaging in mind-body practises. It elevates Chris Hemsworth to an aspirational status and solidifies the actor as a chiselled benchmark for better living. This is an integral part of Hemsworth’s public character rather than a byproduct of his experience. Hemsworth is so eminently attractive, sculpted, and gorgeous that, before anyone ever knew his name, he was chosen to play the Marvel Comics character God of Thunder in 2009. His career has been both made and tormented by that first impression.
The two halves of Hemsworth’s time in Hollywood are: On the one side, you have his work for Marvel Studios and that company’s ascent to becoming an all-pervasive monolith; on the other, there are a number of films by iconoclastic directors that want to push the boundaries of modern cinema. The former has achieved success, but the latter—like Hemsworth himself—is frequently misunderstood. The Australian actor has made a name for himself as a performer who enjoys pushing his emotional and physical limits, startling both himself and the audience in the process. He is constantly capable of developing and getting better. He is a creative force, thus it makes sense that he has an app. The top 14 Chris Hemsworth films are listed here, in order.
12 Strong (2018)
A fantastic movie doesn’t need Chris Hemsworth, Michael Shannon, Michael Pena, or horse troops. They ought to be, and “12 Strong” failed because of it. The story of a Special Forces force that mounted horses and defeated the Taliban sounds like a surefire hit for a dad-movie, according to filmmaker Nicolai Fuglsig. It is cliche-filled in practise. Every line of dialogue in the script is either overwritten or underwritten, and it is overtly nationalistic. Those hoping for greatness will be let down.
Nevertheless, “12 Strong” offers a wealth of thrills if you approach it with no preconceptions. The action-packed battle scenes have elements of both Neo-Western flair and war movies. Hemsworth is solid and competent in the role of the Special Forces commander, but Shannon, Pena, and Trevante Rhodes (of “Moonlight” and “The Predator”) are superior. In the end, “12 Strong” is a good movie, and considering Chris Hemsworth’s history is a study in cinematic ups and downs, a straightforward movie that holds up well deserves some praise.
A Perfect Getaway (2009)
David Twohy, who wrote and directed Vin Diesel’s “Riddick” trilogy and 1993’s “The Fugitive,” is the creator of “A Perfect Getaway.” Those movies are in varied degrees stone-faced, but they are in no way meta. It is “A Perfect Getaway.” The protagonists in “A Perfect Getaway” discuss red herrings and second act story twists, as well as Timothy Olyphant’s self-described American Jedi and Steve Zahn’s upstart screenwriter. They talk a lot about Nicolas Cage as well.
This is much easier to execute than it appears on paper, if that makes sense. Three couples who are on vacation in Hawaii are placed in the middle of a traditional potboiler in “A Perfect Getaway”: Zahn and Milla Jovovich, Olyphant and Kiele Sanchez, and Marly Shelton and Chris Hemsworth. On the island, a newlywed couple perished. Each spouse is suspicious of the other couples and each has absurdly dark secrets. Despite becoming more complicated, the movie is endearing from beginning to end. This is largely because of Olyphant and Jovovich, who both get into the distinctive personalities of their characters and let those personalities ooze onto the screen through daring, Nick Cage-worthy actions. Hemsworth, on the other hand, practises the icy cold aggression he will use later in his career with exactitude. Although “A Flawless Getaway” isn’t perfect, it is a fun excursion that you should do at least once.
Avengers: Infinity War (2018)
“Avengers: Endgame” enhances “Avengers: Infinity War.” The two are essentially inseparable. Marvel’s Infinity Saga’s epic conclusion is so jam-packed with spectacle, payoffs, and theatrical popcorn cinema that you start to think Kevin Fiege planned every single moment of it. “Infinity War” is one of the best Chris Hemsworth showcase movies ever made. From the first scene, in which Josh Brolin’s Thanos chokes out Tom Hiddleston’s Loki in front of Thor, the Russo Brothers’ movie demands Chris Hemsworth to stand in for the viewer and carry the weight of the tragic stakes. He goes above and above. Both Thor’s entry onto the Wakandan battleground and his effort to take out the warlord from Titan who craves stone are iconic Marvel moments.
That said, “Infinity War” is a poor standalone effort. It expertly places all of its pieces on the “Endgame” board, but it rarely delivers a gripping tale. Everything that came before the main event is what makes the movie work. Although Gamora’s death isn’t very well-shot, it is nevertheless tragic because the “Guardians” movies are masterpieces. Even the most memorable scene from “Infinity War”—when Thanos uses his finger to instantly turn heroes and half the world’s population into dust—depends on audience familiarity. Somehow, “Endgame” avoids this pitfall more frequently. There is no universe in this or any multiverse in which it and “Infinity War” are in balance, which is terrible to acknowledge because everything should be.
Avengers: Endgame (2019)
It’s challenging to evaluate “Avengers: Endgame,” and even more challenging to consider it as a movie. The three-hour finale of Tchaikovsky’s “1812 Overture” is “Avengers: Endgame.” Even its stillness is dramatic in The Infinity Saga’s concluding volley from the Russo Brothers. If the film isn’t dispelling scepticism about IP-driven blockbusters, it’s rewarding audiences who came to see it and ABC’s “Agent Carter.” Many movies attempt to capture the joy of playing with toys in a sandbox as a youngster, but only “Avengers: Endgame” succeeds. You either get it from the first frame or you don’t; it’s a dizzying feat.
It’s tough to stress how important Chris Hemsworth is to the success of “Endgame.” There has been a tonne of insightful writing about the triumphant highs and troubling lows of Thor’s storyline here, but the latter has nothing to do with Hemsworth. He presents a humorous, sharp, and subtly primitive depiction of PTSD. If he didn’t, it would be simpler to overlook such lows. His effort serves as a reminder that the MCU’s actors have been its not-so-secret weapon, along with every other performance in “Avengers: Endgame.” There’s a good reason why their autographs are at the end. “Avengers: Endgame” is the final scene in a movie. Let’s hope the encore is at least as good.
Bad Times at the El Royale (2018)
The sequel to “Cabin in the Woods,” “Bad Times at the El Royale,” was a failure, but Drew Goddard’s meta-horror movie is nothing less than a game-changer. It is hard to expect the same director to critique and modify another genre, much less noir. So here’s some advice if you haven’t seen “Bad Times”: forget who directed it. If in doubt, don’t look it up. Instead, pay attention to Cynthia Ervio’s breakout performance, in which she pulls off a genuine, tough-as-nails ingenue portrayal that’s equally deserving of a musical. Enjoy the complex, occasionally startling plotting. Enjoy Chris Hemsworth most of all. Hemsworth has never been known for having a wide range, but as Billy Lee, the movie’s archetypal devil, he uses every acting muscle he possesses. It’s fascinating to watch Hemsworth use his hotter-than-thou charms to become a legitimately terrifying cult leader. He makes having charisma and being well-built feel utterly inappropriate. His performance is possibly the movie’s best kept secret.
The problem with “Bad Times at the El Royale” is that it’s a movie that’s only made using secret weaponry. Each of its delights lasts longer than it does to land, yet they all do last. You merely need to search for the “Can’t Hurry Love” scene on YouTube to find that it has been seen more than 600,000 times. Like the best noir, “Bad Times at The El Royale” stays in the background of its viewers’ memories alongside other, more extravagant movies and the picture that made its director famous. It’s definitely not a failure.
Blackhat (2015)
Chris Hemsworth is essentially a huge movie star, but outside of the Marvel Cinematic Universe, his films haven’t had much success. These realities coexist side by side, without compromising one another. The type of movies that Marvel’s popularity is becoming increasingly unusual haven’t benefited from the success of the Australian star. That held true even for “Blackhat” by Michael Mann, a movie that ought to have some attraction to viewers. As a master of neo-noir, Mann is responsible for cult favourites including “Miami Vice,” “Heat,” and “Ali,” as well as blockbuster and indie flicks (“Collateral”). Mann is precisely the kind of director Chris Hemsworth should collaborate with since his natural style serves as a link between the industries the actor wants to work in. It’s unexpected that “Blackhat” is a blockbuster created from inaccessible components.
The banking system crisis and technology catastrophe are also topics covered in “Blackhat” with a steely eye. There are no saviours here to fly in and save the day. Hathaway (Hemsworth), a disinterested hacker, and two government organisations are already in crisis due to widespread cybercrime. This is only one of the many things that make “Blackhat” both great and misunderstood: it’s a blockbuster that purposefully puts the fundamentals of popcorn movies to the test before demolishing them like the terrorists it despises. No world exists where it thinks things are going well for humanity. Chaos will always exist. The systems are broken.
Cabin in the Woods (2011)
After “The Sixth Sense,” the “twist” film was revived. The prestige of “The Prestige,” “They Called Me Mr. Glass,” and the first Jigsaw reveal were all made possible by Bruce Willis’ death the entire time. The plot that turns Drew Goddard’s “Cabin in the Woods” from a very fine, recognisable horror movie into a genuine masterpiece is, in our opinion, the greatest twist. “Woods” is a scary movie for fans of the elements that make scary movies so compelling. It serves as a starting point for those who don’t understand it. There’s a chance that alien races might watch “The Shining,” “Hellraiser,” and a tonne more if you were to beam it into space in order to better comprehend humans.
Because “Cabin in the Woods'” story specifics are best appreciated without context, I apologise if it looks like I’m skirting around them. When things go full horror movie, you should be aware that it’s about five college students spending a weekend at someone’s cabin. Then comes the twist, and then the most unexpected twist of all: the convention that transforms Goddard’s film into a love letter to the genre while also strengthening the relatability of its main characters. It also serves as a brilliant analysis of free will. Make a reservation for a trip to this cabin right away.
Extraction (2020)
In the second half of “Extraction,” gun for hire Tyler Rake (Chris Hemsworth) engages in combat with a group of mercenary street children. Both “Extraction” and the children are blunt in their portrayals of the world. These kids experience knife attacks, vehicle door smashes, and motorcycle crashes. It’s a truly amazing and upsetting sequence. It serves as a gauge of how much you will love Sam Hargrave’s gritty action movie, which debuted on Netflix in 2020 to immediate acclaim. In many ways, “Extraction” is Chris Hemsworth’s most commercially successful independent film and the strongest extension of his brand outside of a fitness software.
Tyler Rake is excessively pessimistic and cold-blooded. Rake brutally manhandles his attackers rather than killing them; one unnamed bad guy is dispatched with, you guessed it, a rake between the eyes. Extraction is a big word! The movie was immediately renowned for its one-take action sequences and brutal violence, so Hargrave seems to be on the same wavelength as him as a director. Not much more than that, really. The Russo Brothers, who directed Hemsworth in “Avengers: Infinity War” and “Endgame,” wrote a narrative that is at best paper-thin. Any scene devoid of any type of combat falls flat, but the movie’s main draw is conflict, which “Extraction” is not shy about emphasising. When a fillet mignon is too delicate, a porterhouse is what you need. Blood flowing from the bone, “Extraction” is rare-meat film. Accept it or reject it.
Ghostbusters (2016)
The internet is rife with “Ghostbusters” discussion. It talks about how the movie’s poor box office performance supported a horde of poisonous, narrow-minded fanboys. They fanboys assert that “Ghostbusters” is an insult to artistic integrity. The amusing film by Paul Feig gets lost in this chitchat, which is unfortunate. While “Ghostbusters” from 2016 isn’t “Ghostbusters” from 1984, no movie could be. Instead, it’s a really amusing film with four extremely funny women as the main characters (Melissa McCarthy, Kate McKinnon, Kristin Wigg, and Leslie Jones), who blaze their own trail across the stereotyped landscape. The personalities are better, but the set pieces are better. “Ghostbusters” feels like a difficult movie to argue over or against, especially for a movie that has been so passionately disputed. It’s just so endearing.
Chris Hemsworth, who plays Kevin, the Ghostbusters’ receptionist, with the utmost vigour, is a big part of why Feig’s movie is so captivating. Kevin is as dull a bulb as he is cute, whether he calls his dog “My cat” (Mike Hat) or shows the team his shirtless, saxophone-playing headshots. Due to his ownership, he also briefly takes on the role of the bad guy in the movie, giving Hemsworth a chance to show off both his acting and physical prowess. Hemsworth is remarkably at ease and at home in a supporting part for a man who has been hailed as a movie star. He understands that this Ghostbusters squad is worthy of support, unlike a sizable portion of social media.
In the Heart of the Sea (2015)
Ron Howard directed “In The Heart of The Sea,” yet that fact is simple to overlook. To be fair, it’s challenging to narrow down exactly what makes a Ron Howard film unique. The “Happy Days” actor has a rich and varied filmography that includes cliched romantic comedies (“The Dilemma”), underappreciated thrillers (“Ransom”), and enduring masterpieces (“Apollo 13,” “Willow”). It hurts me to say that “In The Heart of the Sea,” their second collaboration with Chris Hemsworth, isn’t as strong as their first two.
In order to explore the depths of the actual incident that served as the basis for Herman Melville’s “Moby Dick,” “In The Heart of The Sea” adapts Nathanial Philbrick’s 2000 book of the same name. As a result, the film is a modest gem of traditional craftsmanship, beautifully shot, and full of growing dread. It also has a terrible pace and is full of clichés. Hemsworth, Cillian Murphy, Benjamin Walker, and a pre-Spider-Man Tom Holland are limited in what they can accomplish with the thin material. This movie would sound great playing on mute in a bar. The sights are stunning every time you catch a glimpse of them, and the plot works best left unexplored. It’s simple to lose track that it’s even a movie.
Rush (2013)
The movie “Rush” is amazingly ahead of its time for a movie from the 1970s. The rivalry that powered Formula 1 Racing’s heyday is the subject of Ron Howard’s razor-sharp and thrilling sports film. Chris Hemsworth and Daniel Brühl play competing drivers in it; the latter is on the cusp of becoming a famous actor thanks to Marvel. Formula 1 was a forgotten brand in 2013, but owing to a new generation of amazing drivers and Netflix’s docuseries “Drive to Survive,” it has become a worldwide hit. Everything about “Rush” is designed to get to the finish line in style because the script was written by Oscar contender Peter Morgan, who previously worked with Howard on the fantastic “Frost/Nixon.”
It’s amazing how “Rush” gets right to the heart of what makes racing so interesting and why we follow sports. Niki Lauda (Brühl), who is on his honeymoon during the middle of the movie, is gazing out towards the ocean following a very peaceful day. What’s wrong, he is asked by his wife Marlene (Alexandra Maria Lara). The reply from Niki is fantastic and terrifying: “The enemy is happiness. You become weaker as a result. All of a sudden, you stand to lose.” In most sports movies, the moment of victory is rushed to. Rush questions why victories are even necessary and why watching a car cross the finish line is cathartic rather than peaceful. People need to watch other people working hard so that their own unhappiness, dreams, and desires are brought to mind. “Rush” serves as a powerful reminder.
Star Trek (2009)
Many performers have used tiny roles to hint to their future greatness. Before betraying Indiana Jones in “Raiders of the Lost Ark,” Alfred Molina is famous for rubbing his fingers together. During a famous scene from “Animal House,” Kevin Bacon said, “Thank you, sir, may I have another?” In less than five minutes, Chris Hemsworth assumes leadership of a Starfleet vessel and, just before he dies, hears the birth of his son. Hemsworth is up to the amazing combination of circumstances.
Hemsworth’s creative output embodies much of the humanity that made “Star Trek” by J.J. Abrams so amazing. His debut film is everything but a grim reboot or a blatant effort to revive a “dead” franchise. Instead, “Star Trek” highlights the grace notes that were never given enough credit in order to focus on what made the original characters so lovable. The late Anton Yelchin did a fantastic job of capturing Chekov’s zeal. Chris Pine captures the core of James T. Kirk’s arrogant yet wounded and well-intentioned bravery that makes him the Captain he is. Importantly, Eric Bana’s Nero is a villain with a point and one whose story offers the social commentary that has always been a major vein of the Star Trek franchise. With or without J.J. Abrams, “Star Trek” would have been given fresh life, but his involvement produced one of the century’s more carefree popcorn movies.
The Avengers (2012)
Marvel’s monolithic cinematic experiment continues to look more and more magical as time goes on. For better or worse, Kevin Feige’s reputation is now well-known. Even though “Doctor Strange in The Multiverse of Madness” is undeniably Sam Raimi’s creation, it has the impression that Raimi is sneaking a “Evil Dead” sequel right into Phase Four. With each new instalment, the MCU tries to surpass and reinvent itself in an effort to dominate Hollywood.
But not “The Avengers.” The Avengers are ravenous. In order to create a completely new sum, Joss Whedon’s film aims to utilise established traditions from comic books, television, and blockbuster movies. Nobody anticipated what “The Avengers” would turn out to be. Many studios and IP aggregators have attempted to duplicate its arithmetic, but nobody has succeeded (RIP Dark Universe). Even ten years later, its character and tonal collisions still feel new. It’s an all-timer. Naturally, “The Avengers” is also the movie that makes Chris Hemsworth into Thor. The familial turmoil, which is less of the focus than it was in Braghnah’s “Thor,” plays better in small but impactful bits, sharpening the character’s sense of humour. Hemsworth’s first appearance may have led you to believe in the existence of the Norse God; “The Avengers” persuades you that he is a superhero. It really is miraculous.
Thor (2011)
The most significant Marvel film is “Thor,” despite not being the finest. Consider: When Tony Stark (Robert Downey Jr.) first sees Thor (Chris Hemsworth), he cracks a joke “In the park with Shakespeare? Do your mother’s draperies realise you’re wearing them?” That only makes sense because Kenneth Branagh, who has adapted six of Shakespeare’s plays for the big screen, directed “Thor” in this manner. Thor is transformed by Branagh into Groundlings-caliber theatre. Although its spectacle is subpar, its family drama is magnificent and enormous in the right ways. Thor and Loki’s sibling rivalry is much more akin to Edmund and Edgar from “King Lear” than “Game of Thrones.” The MCU’s Infinity Saga is built on their interaction, which is fueled by both envy and admiration, as well as the themes of paternal legacy that are explored between Odin and his sons. Iron Man makes the MCU entertaining, but Thor gives it gravitas.
Also provided is the MCU Christopher Hemsworth It’s difficult to overestimate Hemsworth’s accomplishments as the God of Thunder a decade and more after “Thor.” He not only does a star turn, but he also establishes the standard for the next 11+ years of MCU star turns. The rapidity with which Hemsworth became a household name after being cast as Thor served as a model for becoming an A-lister. Hemsworth would eventually perform better as Thor, but he would never be more memorable.
Thor: Ragnarok (2017)
Let’s be clear: “Thor: Ragnarok” is praised and remembered for its outrageous humour, but it’s also the most radical Marvel film. Taika Waititi, a self-described Polynesian Jewish filmmaker of Te Whnau-Apanui Mori heritage, narrates a tale of how one culture burys another in “Ragnorok,” and how the answer isn’t reunification but rather destroying everything and starting anew. When there is blood in the soil, you cannot save the land. A memorable scene in the movie has a character yelling, “Piss off, space ghost!” and impromptu monologues about Loki turning into a snake when he was eight years old. It also distinguishes “Ragnarok” as unique.
Waititi is aware that humour may simultaneously be furious and joyful. Waititi never tries to walk the fine line between yelling out in excitement and yelling out in fury. Instead, just after a gruesome act of mass murder, he leaps from side to side while the Hulk punches wolves to the tune of “Immigrant Song” by Led Zeppelin. A eye is lost by Thor. An orgy spaceship belongs to Jeff Goldblum. Each of these components fits in perfectly and is fantastic. If comic book movies risk becoming more similar with each new release, “Ragnarok” offers a field manual for keeping them interesting. Sometimes it’s necessary to start over and burn the rulebook.
