And now, a dramatic reenactment of a meeting at Marvel Studios discussing what to do with the next Thor movie:
“Ok so people kinda haven’t liked any of the movies we’ve done with Thor but we gotta make a third one because everyone gets a third one.”
“Well, we haven’t given Black Widow a mo..”
“So how can we make people like a Thor movie?”
“What if we made him like Deadpool?”
“Or Star Lord?”
“Or Tony Stark?”
“So………make him sound like a tool?
“….we could still do a Black Wido..”
Thor: Ragnarok opens with the God of Thunder (Chris Hemsworth) wrapped in chains cracking wise with a giant flaming demon monster, who warns him of the impending doom of his homeworld of Asgard known as “Ragnarok.” After swiftly defeating said monster (while still cracking wise), Thor returns to Asgard to see his brother Loki (Tom Hiddleston) running rampant in the absence of their father Odin (Anthony Hopkins). But right as Thor seems to be reeling things in, he and Loki learn they have a long-lost older sister: the Goddess of Death known as Hela (Cate Blanchett), who looks to enslave Asgard and reclaim the kingdom’s throne. She starts by exiling Thor and Loki to an offbeat planet ruled by the Grandmaster (Jeff Goldblum), who uses a liquored-up ex-warrior (Tessa Thompson) to capture Thor and force him to compete a gladiator fight. Fortunately, Thor’s opponent is none other than the Hulk (Mark Ruffalo), who Thor needs to help him escape and save Asgard from certain death.
The first and most glaring thing to know about Thor: Ragnarok is that it is, without question, a comedy. Yes, it has action scenes that incorporate fist-fights, swords and spaceships on top of the typical mythic lore tied to Thor’s lineage. But make no mistake, director Taika Waititi (Flight of the Conchords, What We Do in the Shadows, Hunt for the Wilderpeople) is entirely going for laughs. It wouldn’t be surprising to learn if they three screenwriters on Ragnarok just wrote the movie based on his offbeat style and sarcastic direction of actors. Ragnarok is also very much style over substance, not that it’s entirely a detriment to the movie. Waititi and his team of set and costume designers crafted a visual treat in the worlds and people of both Asgard and the junk planet bursting with color and personality. Waititi’s direction isn’t stifled either, as those familiar with his work will recognize his choice for the movie’s breakneck pacing and punchline-driven editing. Even the music, done by Devo mastermind Mark Mothersbaugh, is brighter and more fitting to an 80s sci-fi film than the typical bombastic Marvel music (the use of “Immigrant Song” doesn’t hurt either).
Ragnarok gives Thor a much-needed touch of levity, but that doesn’t mean the movie is all the way in the clear. There a plenty of laughs in Ragnarok, but the movie’s total attention to comedy ends up undercutting any kind of stakes or drama the movie might had. For a plot that revolves around the Goddess of Death and the destruction of an entire civilization, there seems to be no sense of urgency or threat coming from the characters. The movie’s addiction to belly laughs also undercut any moment of drama or heft, which are seen and even needed in superhero movies. Even something as disposable and pointless as Spider-Man: Homecoming had proper dramatic moments that made me invested in what was happening outside of an episode of Degrassi guest starring Spider-Man. It also makes Ragnarok feel like it’s running in circles during its 130-minute runtime where most comedies, especially action-comedies, are pretty brisk and run under two hours. Perhaps because this is a Marvel movie featuring one its premiere characters that it passes the two-hour mark, but there are scenes that feel stretched out.
There are plenty of characters meant to fill those spaces with varying degrees of success. Like most comedies, a lot of the highlights come from the supporting players. Mark Ruffalo may never get the chance to have his own solo Hulk movie, so he makes the most of his human appearance in Ragnarok as Thor’s stingy neurotic sidekick. Even his CGI alter ego gets big laughs as the dopey lughead sidekick. Despite his role being a glorified cameo, Jeff Goldblum is a delight as he eloquently waves his arms around in his half-invested but charming Goldblum-ness. The real star is far and away Tessa Thompson, a proven ace in drama (Creed) and comedy (Dear White People) that finally gets her blockbuster breakout. Not only is her character given the strongest arc of the movie, but Thompson’s snarky delivery and brazen presence onscreen holds any and all attention.
On the flipside of that is a handful of big names wasted, chief among them being Cate Blanchett who tragically suffers from Marvel villain syndrome. Hela merely shows up with little fanfare and gets very little screentime to establish her presence, which is a shame because Blanchett seems to be having the time of her life as the gothic death goddess. Even when she throws every sword she can conjure at the final fight, it’s only a reminder of how weak of a presence she was in the movie. Same goes for Karl Urban, who plays Hela’s right hand man that I don’t feel like naming since it would take longer than the time he was onscreen for. The great Tom Hiddleston, reprising his role as arguably Marvel’s greatest villain, is merely another comedic sidekick that yucks around with Thor and given nothing else to do. And then there’s Chris Hemsworth as our titular character. While admittedly more relaxed and totally willing to roll with the looney nature of the movie, Hemsworth’s presence feels lessened by the fact that he’s saying one liners. It worked better when he was the fish out of water still speaking the exaggerated Asgardian English in the Avengers movies. Here, his lines are so generically comic that it might as well be coming from Chris Pratt or Robert Downey Jr.
Bottom line, Thor: Ragnarok is a fun, funny action comedy that I most certainly will forget about by next week. It’s certainly the best of the Thor movies and it’s nice to see Marvel let a director have his full vision with a movie (poor Edgar Wright). It just seems like another pitstop in Marvel’s crafted business plan. Compare this to something like Marvel’s own Guardians of the Galaxy Vol. 2 or even Logan, two of the flat out best movies of the year. Those movies thrived on having legitimate emotion and heart tied to them, giving gravity to important scenes even in scenes that would be considered over-the-top or comical (especially in the case of Guardians). Ragnarok is certainly funny, over-the-top and successful at being a comic book movie. But no matter how shiny and funny it is, it’s about as meaningful and legitimate as a funny-looking hand puppet.