Third Time’s A Charm
As much as it’s been highlighted in many various preceding reviews of Marvel superhero films that the aforementioned genre has indeed become the staple of blockbuster film-making, which has resulted in many cinephiles arguing and squabbling over its precedence and how they’re viewed as features that either entertain or stagnate a cinema-goers gaze, it’s equally imperative to state, in the wake of this particular Marvel cinematic-outing, the intricacies Auteurism and where, specifically, the creative outlet and artistry truly resides in the behemoth that is Marvel Studios. Despite the past endeavours of Marvel repelling quixotic creatives from the likes of Edgar Wright and Joss Whedon, it’s a studio that’s palpable of maintaining what they specifically want shown in their vast array of films and much of that is down to the likes of Producer Kevin Feige. While it’s tenable to suggest that the MCU is prominently ‘producer-driven’, a phrase which many cinephiles will recognise to be synonymous with an empty, soulless assembly-line of mediocrity, it is through the efforts of Feige and the writers of Christopher Markus, Stephen McFeely, Nicole Pearlman & Christopher Youst that have culminated each of the phases of the MCU and what these films represent to audiences today; even if many naysayers disregard these features for merely being ‘junk-food-esque’ entertainment (which at times they are). However, not to discount the efforts that both James Gunn and the Russo brothers have done in their respective franchises of Guardians of the Galaxy and Captain America, much of that mould of Marvel Studios puppeteering their characters and ever-shifting story-lines is, for sure, non-existent in their latest super-heroic venture of Thor: Ragnarok, a visceral yet outlandish feature which is spearheaded by Director Taika Waititi’s bashful, bold and comical stylisation…
Imprisoned on the other side of the universe, the mighty god of thunder, Thor, finds himself held captive on the planet Sakaar without his mystic hammer Mjönir and must win a gladiatorial contest against his former ally and fellow Avenger, the Hulk. Thor’s quest for survival leads him in a race against time to prevent the all-powerful Hela, goddess of death, and the impending doom of Ragnarok from destroying his world and the Asgardian civilisation…
In viewing the many Marvel properties that have come and either wowed or soured audiences viewing experiences, it’s very much evident to notice how the third film’s always the charm. Indeed, each hero starts with a carefully pitched yet rather formulaic origin story which then proceeds to a sequel that introduces new occurrences for the central protagonist to, once again, resolve. It’s not until the third film in the series when free reign is given to cut loose from the shackles of the inevitable over-arching and forever-interweaving story-line. While Captain America: Civil War saw favourable heroes stack-up against each other in a super-heroic bout, Shane Black’s Iron Man 3 portrayed Tony Stark in a more personal and subversive tone. Likewise, much of the same can be said in relation to Marvel’s latest feature of Thor: Ragnarok which see’s the macho god of thunder depicted in a rather bold yet comical light and enlivens a character that puts to shame the preceding and rather lacklustre Thor titles. If by any chance you’ve seen either the likes of What We Do In the Shadows or Hunt For The Wilderpeople, then you’ll know that Director Taika Waititi was never going to deliver a standard and conventional cape-and-mask flick; even if Marvel higher-ups demanded something more low-brow. Indeed, the extent in which Waititi has been allowed to comprise a superhero film that’s 80% improvised, filled with moments of humorous yet subtle gestures and clashes of absurdity, is not only refreshing to perceive, but extraordinary as well considering Marvel’s seventeen features, of which make up the MCU, are all doused in using the same structure. This is a Marvel film that, to an extent, has broken away from the ‘norm’ of an action-pic leavened by forced satire and has instead purposefully become a tongue-in-cheek comedy that uses the blockbuster spectacle tendencies as a backdrop for gags. From the get-go, in which see Thor graciously narrating how he’s unsuccessfully not managed to find the Infinity Stones whilst being held captive by the fire demon of Surtur, what’s evident to acknowledge what Waititi has done in Thor: Ragnarok is that it not only breaks the mould from what’s expected to see of a character such as this, but has altered a hero in Thor to be just as likeable as his other Avengers counterparts. It takes everything we know, everything that’s been established about Thor, and dismantles it. His hammer, Mjönir? Forget about it. His macho sense of right and wrong? Played and utilised for comedic purposes rather than saturated exposition. His ever long and graceful golden hair? Cut and shortened by Stan Lee. As much as the character retains much of his internal brotherly struggle he has with Loki, this is a very different looking and charmingly funny rendition of Thor that was appropriately needed to be seen. Aside the rather lacking expressionism that was completely devoid in the cinematography and colouring of the past Thor films, one of the more underlying and nagging aspects to take notice of with Thor and Thor: The Dark World was the way in which the aforementioned hero, quite literally, had to be brought down to earth and be relatable amid the obscurities that he brings towards the likes of Jane, Darcy and other human characters. It’s as if the creators didn’t think that Thor, without him connecting with Earth and other people and heroes, wouldn’t be engaging enough for audiences to connect with. Waititi, as subtle as it may seem, exemplifies that you don’t need a god-like character, such as with Thor and perhaps Loki, to be surrounded by the likes of Jane and Darcy to be relatable. Through the way in which Thor interacts with old and new characters in Ragnarok, he’s a hero that feels rather refreshing and likeable in contrast to what he was portrayed as in the earlier Marvel films. As much as it’s commendable that Thor: Ragnarok employs so much comedy into it’s contextualisation, if there’s one worry going into the said film, it would be the humour itself. There’s no denying that Waititi has constructed arguably one of the funniest Marvel films to-date. However, if there’s a criticism to be made of the style that’s renowned of the Director, it would be the excessive amount of satire quips that are bunched together in quick succession. The timing, in particular, of certain quips made do negate from the rather serious aspects that are happening on screen, as shown near towards the end when Thor yells at Hulk to “stop smashing!” Even the pacing treats everything so breezily and facetiously, that it undercuts any real sense of importance or menace. Nitpicking aside however, to relinquish Marvel’s latest outing simply because of the misplacement of a few quips here-and-there would be unfortunate considering Ragnarok‘s way of implementing Waititi’s dry-comedic style champions over the preceding Thor features and presents the aforesaid in a likeable tone.
Speaking of which, as Thor: Ragnarok jokingly portrays its main hero in a more likeable and comedic frame, it’ll come as no surprise to perceive that Chris Hemsworth, enacting the god of thunder once again, has never been more comfortable in Odinson’s skin. Throwing away the Shakespearean hamminess to one side, his appearances in the likes of Ghostbusters and Vacation have certainly lent Hemsworth a practised feel for comedy; particularly seen when his character and Taikia Waititi’s cameo as the gladiator warrior Korg discuss the magical properties of the now broken Mjönir further exemplifying the actors feel for comedy as he leans into the silliness with ease and familiarity. Much of the same can be said about Mark Ruffalo’s returning portrayal as Bruce Banner/Hulk who, like Thor, is displayed in a vibrant manner that feels more than appropriate. Inasmuch as Thor needed to be shown differently from his past super-heroic endeavours, so to did the likes of the Hulk since he’s one of, if not, the only member of the Avengers that hasn’t really had a moment of comedic intrigue. In the case of this film however, there are an abundance of scenes which erratically demonstrate the comical capacity that resides in the Hulk; especially showcased when the said character squabbles with Thor on who in fact is the strongest fighter between themselves. Even as a visual effect, Hulk looks the better than he ever was, demonstrating that the performance capture technology has come a long way since the last time the green-raging hero was seen in Age of Ultron. The nuances of his facial expressions, and even in quieter moments like when he’s chatting to Thor, are so detailed and life-like that you can see the essence of Ruffalo within the monster. It’s a delight to see for fans of the comics, as are the additions of Grandmaster, exquisitely portrayed by Jeff Goldblum who, pretty much, presents us with the most Goldblum-esque performance you can think of (which isn’t a bad thing!), and Hela confidently enacted by Cate Blanchett. Appearing herself to be an amalgamation of Maleficent and Slash’s long lost sister, Hela, like most of the characters shown in this film, commands the screen with her convinced antagonism and serves to be one of the better villains Marvel has ever had to offer. While the needless exposition of her background hinders her evil demeanour ever-so-slightly, it wouldn’t be shocking to see Hela, perhaps, make her presence known once again in a future MCU feature.
In taking a leaf from the visceral enjoyment that Doctor Strange and the past Guardian of the Galaxy films have effortlessly displayed, Ragnarok is riotous and colourful in every sense and puts to the past Thor features to shame. As arguable as it is to suggest that Ragnarok derives its tone and humour from James Gunn’s beloved space-heroic franchise, it’s clear to see where Waititi looked to in constructing his film when it came down to the visualisation. Along with the introduction of the planet Sakaar, Ragnarok boasts a deliberate 80’s space-opera aesthetic that’s come to bear fruit on other Marvel properties. Certainly, this makes for fun and visually appealing romp that certainly encapsulates the MCU”s increasing desire to mock its own absurdity. Even if the majority of the run-time is situated around the events that happen on Sakaar rather than Asgard, this third instalment of Thor belittles it’s predecessors by simply introducing us to a world that’s rich with minute and gritty details and makes us want to see more by the time the film concludes.
Instilled with many exciting, funny and, above all, entertaining tropes and ideas that many past Marvel films only hope to have adopted, Taika Waititi’s Thor: Ragnarok is a disorientating yet illuminating concoction of blatant comedy and conventional action that sets a new standard for its respective franchise as well as the other Marvel features set to come. It’s ever-irreverent nature is very much carried by its strong cast and characters; in particular the chemistry that both Thor and Hulk share with one another and the screen-grabbing appearances that the likes of Goldblum as Grandmaster and Blanchett as Hela respectively demonstrate. However, while the ever-noticeable improvisation and full-on banter help to show the character of Thor in a new and far more likeable way, the stories desire to pull-off gags in quick succession hamper the moments of importance and, in turn, somewhat stagnates our interest. It may not be the best superhero film that we’ve seen all year (so far…😉) but Waititi’s take on Thor certainly diminishes the foregoing titles and provides for glossy and rather colour escapism…
On that note, it’s time for me to end this week’s Film Review. As always everyone, thank you for reading my latest Film Review of Thor: Ragnarok and I hope you’ve all enjoyed the read! 😉 If anyone has an opinion on either my review or on the film itself, please feel free to drop your opinion down in the comments section. For next week, I’ll be back with another Film Review of Sword Art Online: Ordinal Scale. Thank you once again for reading this week’s Blog Post and I’ll be back, at the same time, next week! Have a nice weekend! Adieu! 😊😎🙌🔨💥⚡
★ ★ ★ ★ ☆ – Alex Rabbitte