While Hela puts a reluctant Skurge ( Karl Urban) to work as her henchman, Thor somehow manages to become a prisoner again, this time on the planet Sakaar. Once she smooths back her hair and her antler headgear appears, she’s capable of laying waste to whole armies single-handedly. A Norse terror with a Goth streak who lives up to the title of Goddess of Death, she’s been redacted from Asgard’s history and isn’t happy about it. Further competition for Odin’s throne arrives in the form of the brothers’ long-lost sister, Hela ( Blanchett). Returning to his native Asgard after escaping imprisonment, Thor is drawn back into the cosmic sibling rivalry between him and the devious shape-shifter Loki, who’s impersonating their father, Odin (Hopkins), after dumping him on the earthly plane. Soon, with a jolt of Led Zeppelin’s 47-year-old “Immigrant Song” fitting the action like a custom-made gauntlet, he brings majestic spectacle down to rock ‘n’ roll showtime. He sets the party-on tone in the movie’s first, jokey moments. Waititi’s interest in intimate stories was evident in Hunt for the Wilderpeople, but it’s the knack for dry comedy that he brought to the mockumentary What We Do in the Shadows that shapes the new Thor. But the emphasis is on character dynamics over fantasy-world symbolism - heck, even the usually uncommunicative Hulk opens up. Doctor Strange makes an appearance, Tony Stark gets a shout-out, and another of Thor’s fellow Avengers plays a pivotal role. Yost, works to catch us up, to a point, with minimal dialogue clunkiness.
The screenplay, credited to screenwriters Eric Pearson, Craig Kyle and Christopher L. Why fight it?”īesides its assortment of new characters, both live-action and digital, the film indulges in the kind of Marvel Universe crossover storyline that thrills fangirls and their brethren and leaves the rest of us guessing at the degrees of separation. At any rate, as it arrives poised for a megalithic box-office haul, it might be helpful to keep in mind the advice offered by one character: “You cannot stop Ragnarok.
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If the antic chords of “See? We don’t take ourselves too seriously!” are at times hammered home too insistently, the movie is engaging enough to hold the attention of even those uninitiated in the lore of the Nine Realms. Even Anthony Hopkins’ high-ground patriarch feels a tad looser, while Tom Hiddleston offers more of the seething sarcasm that makes Loki, with his ever-shifting allegiances, the best thing to happen to bad hair in the new millennium. He does it expertly, and the self-mocking humor is all the more welcome given Thor’s essential blandness.
The relatively laidback angle on all the murderous spree-ing gives Chris Hemsworth a chance to find the comic groove beneath the title character’s beefcake godliness.
Giant fire monsters in stygian underworlds notwithstanding, even the story’s central bad guys are silly fun, hammed to the hilt by Cate Blanchett and Jeff Goldblum.
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With Taika Waititi at the helm, the clash-of-worlds CGI extravaganza blasts free of the previous installment’s leaden Dark World. One of the most surprising things about Thor: Ragnarok is that it forgoes the umlaut in the title - that winking diacritical mark would have been a nifty signal of the movie’s tongue-in-cheek attitude toward its mythology, a comic stance that makes Thor’s third outing his breeziest by far. Mainly, though, it’s a handy excuse for the latest edition of Marvel-branded sensory overload.
Ragnarök, a prophesied catastrophe in Norse legend, is apparently some kind of a big deal, even by superhero standards.