Taika Waititi | 130 mins | cinema | 2.35:1 | USA / English | 12A / PG-13
It’s been a busy year for the MCU. Long gone are the days of Marvel Studios putting out one or two movies a year — this is their third theatrical release in 2017, alongside three full seasons of Netflix shows and two network TV series currently running. Whew! Nonetheless, according to Rotten Tomatoes this Thor threequel is the best-reviewed thing they’ve released this year (so far). Some critics have even said it’s the best Marvel Studios movie ever made. Well, let’s not get too hasty.
Two years on from Age of Ultron, Thor (Chris Hemsworth) has been scouring the universe in search of Infinity Stones, to no success. After the Goddess of Death (Cate Blanchett) emerges from her prison intent on conquering Asgard, the God of Thunder is cast out to a remote world ruled over by the Grandmaster (Jeff Goldblum). There he must compete in gladiatorial championships in order to escape and prevent Ragnarok, the long-prophesied destruction of Asgard.
Having previously attempted to make the Thor movies Shakespearean (by hiring Kenneth Branagh to direct the first one) and Game of Thrones-esque (by hiring Alan Taylor to direct the second), to diminishing returns as far as critical reception and audience responsiveness went, Marvel have tried a different tack for this third instalment. Essentially, they’ve done what they’ve done to most of their movies of late: made it funny. Tonally, you could be forgiven for thinking this was a Guardians of the Galaxy sequel (apart from it not starring any Guardians characters, that is).
To this end, they hired director Taika Waititi, who’s been gaining attention with this comedies What We Do in the Shadows and Hunt for the Wilderpeople. Waititi’s influence is definitely felt in the film’s splashes of irreverent humour, but everything else about Ragnarok is a typical Marvel Studios blockbuster. Critics who’ve said it’s more a Waititi movie than a Marvel movie were overselling it. The plot, the locations, the characters — they’re all your standard Marvel stuff. It’s colourful, it’s fun, it’s exciting — all standard Marvel operating procedure.
Therefore, just as with almost every Marvel movie, the devil is in the details. Ragnarok is a good one because of Waititi — because of the extra humour he injects, a consistent presence throughout the film, but also because he clearly has a good eye for imagery. If you want a taster, a lot of the most striking stuff is, unsurprisingly, included in the trailers. (Though, interestingly, there are several shots in the trailer that have been modified for the sake of spoilers. But to say more would be, y’know, a spoiler.) Action and more dramatic material are handled as well as ever. That’s the way the cookie crumbles with Marvel Studios movies: a bad or unremarkable director will make a bad or unremarkable Marvel movie, but a good or unique director can seemingly only make their presence felt so far as making “a good Marvel movie”, perhaps with a few of their own flourishes.
You may have heard some reports claim Ragnarok is an intergalactic buddy movie. It isn’t. Or, if it is, it’s a buddy movie where one of them’s Thor and the other one’s constantly changing. As the eponymous hero, Hemsworth gets to flex the comedic chops he revealed in movies like Ghostbusters. Everyone’s favourite Marvel movie villain, Loki (Tom Hiddleston), is back as well. While Ragnarok may ignore its predecessors tonally, it does a good job of continuing to build on Loki’s character arc. Blanchett is, if anything, under-hammy as the villain, pitching it too low when she’s sharing space with the likes of Goldblum. The expansive cast list means that both returning characters (such as Heimdall (Idris Elba) and Bruce Banner (Mark Ruffalo)) and newcomers (such as Skurge (Karl Urban) and Valkyrie (Tessa Thompson)) can only snag so much screen time each, but several of them are given efficiently-told arcs nonetheless (as usual, Heimdall mostly misses out).
Arguably the film’s standout character is Korg, voiced by Waititi and spewing lines that feel very much from the director’s wheelhouse, even though he’s not credited as a writer. Most of the biggest laughs come from him, especially as bits like “friend from work” are now very familiar from the trailers. There’s also a cameo from Dr Strange (Benedict Cumberbatch), which feels like it’s there just because they included that credits scene in his movie and so were committed to paying it off. I suppose it may have future benefits, as I believe Thor is now the only Avenger to have met Strange, but we shouldn’t be thinking about that — what have we all said before about the MCU being needlessly over-connected?
Talking of credits scenes, you may wish to know that there are two here, Marvel’s default number nowadays. Without spoiling anything, one is the vaguest of vague teases, the other a funny button on one of the film’s subplots. Neither are going to be remembered among the studio’s best credits additions.
If Thor: Ragnarok has a problem it’s the hype that’s been attached to it since the likeable trailers and glowing reviews started coming out. For those with appropriately managed expectations, make no mistake, it is a highly entertaining couple of hours. But it doesn’t break the Marvel mould, instead just filling it with more colourful materials. The best Marvel movie ever? No. The best thing they’ve released this year? Maybe.
Thor: Ragnarok is in cinemas in the UK and various other countries now. It rolls out across the world in the coming weeks, ending with the US on November 3rd.