Until now, the Thor movies were not among the strongest entries in the Marvel Cinematic Universe (MCU). The first Thor was a serviceable origin story, with standout performances from Chris Hemsworth and Tom Hiddleston as Thor and Loki—the latter being the MCU’s most well-rounded antagonist. Thor: The Dark World was an unfortunate misstep for the franchise; although it set up a monumental conflict around vengeful Dark Elves and cosmic convergences, it felt like an obligatory sequel instead of its own. Whether this was a symptom of existing in a shared universe with better films or the result of sub-par execution, it was clear that this franchise needed a great chapter to close out its trilogy.
Enter Taika Waititi. The New Zealand-born director of What We Do in the Shadows and Hunt for the Wilderpeople seems like an odd choice superficially; while his comedic and dramatic instincts are sound, his experience was limited to low-budget, independent productions outside of the studio system. This isn’t unheard of for Marvel’s hiring practices, however: consider James Gunn’s success with the wildly popular Guardians of the Galaxy franchise, or Jon Watts’ excellent Spider-Man reboot. Needless to say, the company’s search for emerging talent with vision has paid off in spades, with Waititi’s anarchic interpretation of the God of Thunder being the latest triumph for Phase 3 of the MCU.
Thor: Ragnarok takes place after the events of Avengers: Age of Ultron, finding its titular hero travelling across the cosmos in search of information about the Infinity Stones—a collection of all-powerful objects that, when united, make their wielder omnipotent. Meanwhile, Loki has banished their father, Odin (Anthony Hopkins) and impersonated him in the process. As Thor searches for answers and Asgard becomes a vehicle for Loki’s vanity, two threats emerge—that of the impending Ragnarök, or the apocalyptic destruction of Asgard, and Hela (Cate Blanchett), the mysterious goddess of death, who seeks to rule the realm.
Waititi’s personal touch is exactly what makes this movie so successful. From the hilarious rock creature Korg (voiced by Waititi), a fellow gladiator in an arena where Thor finds himself captured, to the banter between the many odd personalities, his zany approach is occasionally exhausting but largely refreshing. The inclusion of the Hulk, in a loose adaptation of the fan favourite “Planet Hulk” storyline from the comics, is a great example of this; his slightly developed vocabulary allows for hysterical exchanges between him and his fellow Avenger. In the midst of world-ending stakes and whirlwind pacing, these interactions anchor—and reinforce—the insanity.
It’s also not usually a superhero film without some incredible action. Ragnarok provides that in droves, with excellent showcases for everyone’s abilities—especially Thor’s and Hela’s. The visual effects are top-notch, delivering a number of colourful set-pieces, including a show-stopping climactic fight. Everyone gets their time to shine, even those without extravagant powers such as Valkyrie (Tessa Thompson), a cynical Asgardian bounty hunter with perhaps the strongest character arc in the entire film, can command the screen with her natural presence alone. The action is exciting, but above all, it is consequential—there are repercussions that give the various conflicts weight, but don’t diminish the sheer fun to be had. Thor: Ragnarok is easily the best of its series, delivering a phenomenal standalone story, and serving as a satisfying precursor to Avengers: Infinity War.
