Ask an average movie goer what their top
five Marvel Studios films are, and chances are the Thor series
of films wouldn't be anywhere near that list. It’s reasonably safe to say that
if it weren't for The Incredible Hulk (2008), either Thor (2011)
or Thor: The Dark World (2013) would fall at the bottom. While
both films were commercially successful, they ran the spectrum critically. Even
the Honest Trailers crew succinctly summed up what most people
were probably thinking: "Prepare for a film that only exists so non-nerds
will recognize the blonde guy in The Avengers."
The truth is that Marvel's Thor, both as
character and cinematic concept, gets a bad rap. If they carried any fault,
it's that they're too “lofty”, suffering from the so-called "Superman curse"
in that he's too powerful and otherworldly to be even remotely relateable…this
despite the fact that, embarked on a character journey from a narcissistic
(albeit charming) Nordic frat boy to the hero he is. Yet audience reception was
not as kind to him as it was to, say, Chris Evans' interpretation of Captain
America. The argument against the Thor series was that it was
some was too "dry". Except these films have had one not-so-secret
weapon in their arsenal. A weapon that have carried both these films yet still
remained untapped of their full potential...one that the recent otherwise
ill-fated Ghostbusters reboot recognized and exploited to the
fullest; making it the highlight of an otherwise derided film.
That weapon is Chris Hemsworth.
In films like the aforementioned Ghostbusters and
the Vacation reboot, Chris Hemsworth has shown he's more than
just a pretty face; he's got comedic chops to spare. Director Taika Waititi and
screenwriters Eric Pearson, Craig Kyle, and Christopher Yost understand that
and utilize this resource, and creating one of, if not the, best Marvel Studio
films.
The film throws out the proverbial baby
and bath water by jettisoning the majority of Thor's previous supporting cast
to focus on Thor's own journey. Thor (Hemsworth) has been seeking the Infinity
Stones to no avail. Upon his return to Asgard and discovery of Loki's (Tom
Hiddleston) deception from the end of The Dark World, he embarks on
a search for Odin which puts him at odds against the evil Asgardian Goddess of
Death, Hela (Cate Blanchett). The ensuing battle leads to both the loss of his
fabled Mjolnir and strands him on the battle planet Sakaar, captured by the
warrior Valkyrie (Tessa Thompson) who, in turn, sells him to a being known only
as The Grandmaster (Jeff Goldblum) and is forced to face off against his
one-time teammate, The Incredible Hulk (Mark Ruffalo, playing the green giant
in both motion capture and voice for the first time). Thor must free himself to
save Asgard from Hela's evil lest Ragnarok finally consume it.
That description doesn't even begin to
describe the controlled madness that Waititi presents on screen. The film as a
whole is not only a love letter to Thor co-creator Jack “The King” Kirby (in
more than just visuals come to life), and fellow Marvel artists Walt Simonson
and John Bescuma, but also to Frank Frazetta, Boris Valejro, and whole
1970's/1980's fantasy aesthetic; one that is bolstered by the sublime score as
provided by Devo co-founder Mark Mothersbaugh. The film is a sight to behold,
one that fully embraces its source material in a way that few films of this
type do, yet manages to stay grounded in humanity. As a title,
"Ragnarok" completely fits contextually for all its protagonists are
beaten and stripped down both figuratively and literally. Given that Thor
is arguably the “least popular Avenger”, Waititi is allowed to take more risks
with the characters. Thor is “shorn” in more ways than one. Normally, such a
deconstructive approach would be a cause for the type of sturm und drang the
films of Marvel's "Distinguished Competition" are mostly known for.
However, the director manages to strike a very satisfying balance between
pathos and humor. This film doesn't eschew “fun”, but fully embraces it. It’s
sense of wonder and humor evolves organically from the story, yet this is
no Guardians of the Galaxy riff. Ragnarok has
its own distinctive voice, created in chorus by a cast of actors looking like
they’re having the best time of their careers.
Devoid of supporting players specifically
designed to humanize his character, Hemsworth finally is allowed to shoulder
the burden of carrying the film…if a burden it was. This is the most relaxed
and at home Hemsworth has ever been as Thor; his natural charm and comedic
timing come out effortlessly, but still manages to carry the weight of his
character's heroic arc. It's easily his best performance as the character. Tom
Hiddleston’s “Loki” is as mischievous and rakish as ever, but he undergoes his
own character arc that sees highs and lows and engenders not a small amount of
poignancy. As does Sir Anthony Hopkins as “Odin”, who manages to provide the
most startling yet affecting character arc in the little screen time afforded
him.
Given that the story is heavily adapted
from Marvel's "Planet Hulk" comic book storyline, it's a no-brainer
that The Hulk would feature...and almost single-handedly steals the film.
Ruffalo's Hulk has evolved despite still being very much an "Id"
creature. He has his own deconstructive character arc; one that will presumably
pay off in the forthcoming Avengers films. He is by turns
frightening and petulant, yet altogether entertaining. Thompson's
"Valkyrie" provides an antagonistic foil for the Thunder God, a
departure from the star-crossed lovers conceit provided by Jane Foster (whose
absence is explained in clever yet perfunctory manner), which provides a spark
that was lacking. Jeff Goldblum...is Jeff Goldblum (Go with it. Here, it's a
very good thing). Waititi appears (in motion capture) as “Korg” a gladiator fearsome
of presence but benign in demeanor who provides his own moments of comic
relief. As "Skurge the Executioner", Karl Urban manages to be both
vile and sympathetic all at once. Idris Elba wanted a more prominent role as
“Heimdall” after his limited action in The Dark World, and here he
got his wish and he looks like he’s having a ball. But special mention must go
to Cate Blanchett as "Hela". Hers is a very measured performance.
With all the freedom of expression afforded to the other characters, Blanchett
knows that her performance must be dialed down. Not an easy trick when the
character is supposed to be menacing and nigh-unstoppable. It's not to
say she doesn't have her own moments of mirth, for she does. She avoids going
over the top lest her character delve into parody. Hers is easily the best
villains of the Thor films, and on par with the best the
Marvel films has offered thus far. The smattering of cameos, both in character
and celebrity, don't hurt either.
Some of Marvel Studio's critics have cried
foul on their "cookie cutter" approach film making. However, Ragnarok cannot
be accused of that, for all the flash and humor, there is a substantive heart.
Pay close attention and you realize that its infused with a mythic hero's; one
that entails themes loss and sacrifice, of remorse and redemption. It also does
away with any consideration of "the status quo". It's "anything
goes" aesthetic reaches far beyond the visuals, infused in the story
itself.
Thor: Ragnarok, in essence, surpasses any promise the
previous films hinted at. It's a visual free-for-all which embraces its
concepts and realizes them in visually striking fashion. The storytelling is
tight and no character feels like a throwaway (well, almost none). What few flaws exist are so
minor that they’re not even worth mentioning. If this film isn’t the best of
the Marvel staple, it certainly ranks above them. Never thought that would be
said about a Thor film? Go experience it on the big screen because if this film had a mission
statement, it would be “How d’ya like me now?”
>Hammer drop<
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