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Thor: Ragnarok (2017)

<strong class="MovieTitle">Thor: Ragnarok</strong> (2017)

(Video On-Demand, April 2018) I really wasn’t expecting Thor: Ragnarok to be anything more than a self-imposed completionist task on the way to Avengers: Infinity War. I found the first two Thor movies to be among the weakest of the MCU so far, both dull and imbued of their own nonsensical self-importance. Thor-the-character I liked largely because of Chris Hemsworth’s charm, and Loki is fine as one of the MCU’s most compelling antagonists, but the rest of the series was a chore—a small-town battle in the first film made for a poor high point, whereas the second film’s gleeful waddling in its own uninteresting mythology had me despairing about its self-referentiality. But a change of pace can do wonders, and it doesn’t take a long time for Ragnarok to highlight its difference. Under screenwriter/director Taika Waititi’s particular sensibilities, Thor become much funnier, much looser, and far more interesting. The ponderous visual atmosphere becomes influenced by rock music iconography, and a pitch-perfect use of The Immigrant Song makes for a showcase opening sequence that tells out that it’s fine to forget about the two previous movies. As a matter of fact, the opening of Ragnarok is so jolly, fast paced and self-deprecating that it made me worry that the film would be an insubstantial series of jokes without weight. But as it turns out, the film actually becomes more efficient once its charming hooks are deeply embedded: As the film builds its dramatic tension, the humour is balanced by action and drama and the result is quite effective despite almost completely destroying one of the MCU’s major settings along the way. It helps that Hemsworth meets a worthwhile match in Tessa Thompson’s Valkyrie in terms of charisma—once you factor in Jeff Goldblum as an antagonist, Cate Blanchet proving that she can do darkly sexy and surprise appearances by a few MCU regulars, the film remains great good fun throughout. Waititi knows how to make a film that moves (his Valkyrie sequences are visually spectacular and innovative, which isn’t something we often say within the MCU), and the trip to another planet isn’t a distraction from the overall series. Ragnarok leaps over its limp prequels to become one of my favourite MCU films, which really wasn’t something I was expecting when I started to watch it.