In the last five years or so, every studio in Hollywood has tried to start a shared cinematic universe, mostly to mixed results. Whether it’s new cinematic universes like the DCEU or the Dark Universe, or even long-established franchises like Star Wars and Transformers, everyone wants to not only get onboard the bandwagon, but force their way into the driver’s seat along with enough luggage to fill the Auto Train’s autoracks. Even though there have been a few hits along the way, most of the time we’re left wondering why they even bother making these movies. Then every few months, we get another entry in the everlasting Marvel Cinematic Universe that reminds us what everyone else is trying to copy, and Thor: Ragnarok of all movies has come to teach the world once again that Marvel is king.
Set two years after the events of Avengers: Age of Ultron (2015), the film once again stars Chris Hemsworth as Thor, the Asgardian god of thunder, in the middle of a long journey through the cosmos to find the Infinity Stones (don’t ask, we’ll be here all day). His quest is interrupted when Thor encounters Hela (Cate Blanchett), the goddess of death, and is literally thrown to the other side of the known universe where he must find a way back to Asgard and stop Ragnarok, the end of all Asgardian civilization. Along the way, he must recruit old and new allies such as his adopted brother Loki (Tom Hiddleston), a distraught and alcoholic Valkyrie (Tessa Thompson), and fellow Avenger the Hulk (Mark Ruffalo).
Look, I’m gonna say it right now, it’s a Marvel movie. As enjoyable as every Marvel movie is, each one has its share of problems that are common throughout the MCU, and Thor: Ragnarok is no exception. The two that stand out the most in this film are the villain and the score. I’ll start with the score because it is a nice homage to the first movie’s score, albeit as an 80’s retro remix. Having said that, it’s still not a very memorable score. I actually remember the score for Thor: The Dark World (2013) better because that theme was played before every MCU movie for a few years after, and I don’t see that happening with this one. I also didn’t care for the use of Led Zeppelin’s “Immigrant Song”, as much as I loved hearing it in the trailer. That kind of soundtrack fits perfectly with Guardians of the Galaxy (2014) when the tone and story are both established to fit in with it, but not so much during the opening action scene in Muspelheim or the climactic battle on the Bifrost Bridge.
As for the villain, it’s also a mixed bag. When I heard Cate Blanchett had been cast as Hela, the goddess of death, I was very excited. Whenever she walks into a room, she instantly commands the atmosphere without even trying. The way she walks, the sound of her voice, her speech patterns, all of those stellar qualities have propelled her to two Oscar wins, as well as a well-deserved status as one of the greatest actresses of our generation. Here, her talent is barely utilized. Her posture is great throughout, and the character fights with a graceful brutality that you don’t see often in superhero movies. But I feel like either the projector was sped-up for her scenes or she was talking much faster than normal because her elegance in voice was gone. I get that it’s a Marvel movie and she wanted to have fun, but you can take your time and savor the moment like an exquisite beef steak, which is exactly what the GODDESS OF DEATH would do in this movie.
I feel like I just went on a rant there, so I’ll move over to the positives before the Internet assumes I hated this movie (spoilers: I really liked it). As always, Chris Hemsworth is the same likable, headstrong, one-note hero that we’ve come to love over time. Tom Hiddleston is still the same devious, sympathetic, charismatic trickster that we’ve come to love. Mark Ruffalo, now more than ever, carries Bruce Banner like he’s been through Hell and back and is both ready and hesitant to face the devil again. Franchise newcomers Tessa Thompson (Creed) and Jeff Goldblum (Jurassic Park) bring their own known and distinct acting styles to the characters of Valkyrie and the Grandmaster. May they never change.
Most everything else about this film is standard Marvel, so what is it that makes Thor: Ragnarok one of the best-reviewed superhero films of all time (93% on Rotten Tomatoes as I write this review)? I have two theories, and I’m inclined to agree with both of these common compliments myself. One is director Taika Waititi (What We Do in the Shadows), who infuses the franchise with a new energy that Thor hasn’t seen when he’s not teaming up with the other Avengers. He brings a lot of comedy and fast-paced action to the mix, something that the Thor movies have struggled to balance in the past. The other is that, without giving too much away, there are actual consequences to just about every action that is made in this movie. Thor loses his hammer fifteen minutes in, then he has his hair chopped off by one of the best Stan Lee cameos ever, and that’s not even scratching the surface of it. By the time we see him in Avengers: Infinity War (2018), Thor will be at a much different place than he was in his 2011 debut film, as will both Loki and the Hulk. Or maybe it’s because Natalie Portman (Black Swan) decided to sit this one out, I don’t know.
Whatever the case may be, Thor: Ragnarok proves that Marvel is constantly finding new ways to stay fresh while also staying true to the tried-and-true formula that has worked for Marvel over the last ten years. Is it the best Marvel movie ever? No, and I wouldn’t even say it’s the best Thor movie. But it’s fun, funny, and full of the things we love about the MCU.
Rating: GO
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