Movie synopsisThor is imprisoned on the other side of the universe and finds himself in a race against time to get back to Asgard to stop Ragnarok, the destruction of his homeworld and the end of Asgardian civilization, at the hands of an all-powerful new threat, the ruthless Hela.
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There, reunited with all the missing-since-Ultron Hulk, he has to battle his way to liberty, return home and unseat the usurper. As with Betelgeuse time the charm. Every hero begins with a source narrative; then comes a sequel. It is not until part three a string is given free rein to cut loose, let's hair down and be a bit reckless. But Black's most left-field participation, the superbly stupid Trevor Slattery, looks earnest alongside the bonkers escapade that's Taika Waititi's Thor The Third.
Marvel's most unorthodox employ thus far, the manager of What We Do In The Shadowsand Hunt For Your Wilderpeople was not likely to produce a conventional cape-and-tights yarn. However, the point to which he has been permitted to push the longboat outside - drifting directly throughout the bay of funny asides and deep in the straits of absurdity - is nothing short of extraordinary. For the very first time in 17 films, Marvel has given something which is not an action film leavened with humor, but a full-bore comedy utilizing blockbuster spectacle for a background for gags.
Thor: Ragnarok is a 2017 American superhero film based on the Marvel Comics character Thor, produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures. It is the sequel to 2011's Thor and 2013's Thor: The Dark World, and is the seventeenth film in the Marvel Cinematic Universe (MCU).
Waititi sets his irreverent booth in the get-go, rebounding out of a laugh-heavy prologue - where a dangling Thor continually interrupts demon Surtur's gloating monologue - right into a gleefully silly showdown using Loki-as-Odin which kickstarts the narrative proper. And the storyline is on no account slight. Anchored at genocide, slavery and the end of the days, this really is as significant an experience like the hammered one has undertaken. However, Waititi's feather-light signature imbues the entire affair with effervescent jollity, caring not a humor whether it is addressing mass impalements or a priceless response to the sight of Hulk's giant green manhood.
Hurled in the Bifrost mid-fracas and cried on junk-strewn Sakaar, Thor is immobilized, trussed and - following a virtual reality induction movie to the song of Willy Wonka's Pure Imagination - delivered to the custody of the Grandmaster. Riffing on 2006 comic story Planet Hulk, Thor is pressured to gladiatorial servitude along with the gamma-green monster, making a strange couple for those ages. More emotive than Hulk provides a knockout mix of gags because he struggles his former colleague. However, Ruffalo pleasures just as Bruce Banner: an motivated straight guy in too-tight pants, providing these lines as, "Guys, we are coming upon the Devil's Anus!".
Hemsworth himself hasn't been comfortable from the Odinson's skin, Shakespearean hamminess having left the point with Alan Taylor's stodgy sequel. His time Ghostbusters and Holiday has obviously repaid, giving him a practised sense for humor as he leans to the silliness with unerring talent. And it certainly is. Ragnarok's humour is as wide as it's eccentric, maintaining Waititi's sensibility when providing consistent stomach laughs at every turn. The manager himself is the humor standout. As rock-hewn gladiator Korg, Waititi asserts the winner's talk of killer lines, stealing every scene he is in with casually spoken Kiwi commentary.
The film is directed by Taika Waititi from a screenplay by Eric Pearson and the writing team of Craig Kyle and Christopher Yost, and stars Chris Hemsworth as Thor alongside Tom Hiddleston, Cate Blanchett, Idris Elba, Jeff Goldblum, Tessa Thompson, Karl Urban, Mark Ruffalo, and Anthony Hopkins. In Thor: Ragnarok, Thor must escape the alien planet Sakaar in time to save Asgard from Hela and the impending Ragnarök.
While striking as Alice Cooper's stroppy sister, she is one-note and outshone from Ragnarok's other important new personality, Tessa Thompson's surly Valkyrie, in each turn. Hela's scenes, although essential to the storyline, feel an undesirable distraction, leaving such as Mjolnir, aching to get a return to the Thunder God's side.
Meanwhile, joyful although its clowning is, that the film sometimes feels overly glib. Heavier psychological beats, such as wide-scale slaughter and also the reduction of a significant personality, are all but swept out in a structure ill-equipped to take care of sobriety. Just like a cosmic fever fantasy, Ragnarok is a disorientating cocktail of lush color and batty antics that look almost unreal after the actuality. Attempt and fit it in a recognized mould at your own peril, but roll with this and you will find not just a top-tier accession to the Marvel Universe, but among the very most enjoyable comedies of the year. Daft as a badger sandwich and twice as amusing, this is classic Waititi, along with the boldest, most entertaining movie Marvel has created.
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|Category: Action, Comedy, Adventure|