Three stars. Rated PG-13, for intense sci-fi action and violence
By Derrick Bang • Originally published in The Davis Enterprise, 11.3.17
Thor has succumbed to a case of
the sillies.
Perhaps concerned by the grim sturm und drang that has turned so many
recent superhero epics into dreary slogs, Marvel Studios has authorized a rather
drastic realignment of its cinematic God of Thunder. They shifted too far in
the opposite direction: The results here feel more like a new try-out team for Guardians of the Galaxy.
Having rather miraculously survived their first gladiatorial punch-out, Thor (Chris Hemsworth) and the Hulk discover they've been forced to become unlikely roommates in an oddly appointed cell. |
Granted, the myth-specific
costumes and flowery Shakespearean dialogue drew snickers in the first two Thor
films, but they nonetheless let viewers know that none of it was to be taken
seriously. The tone was light, particularly with respect to the sniping between
Thor (Chris Hemsworth) and his half-brother Loki (Tom Hiddleston), whose
villainy never was as dire as he would have preferred.
But Thor: Ragnarok is a full-blown comedy interrupted only occasionally
by super-heroics, and that’s an unfortunate miscalculation. The film’s three
credited writers — Eric Pearson, Craig Kyle and Christopher Yost — seem far
more interested in replicating the playful banter and witty one-liners that
were characteristic of 1930s and ’40s screwball comedies, little realizing that
crafting such repartee, and making it sound organic, requires far more skill
than is on display here.
Delivering such dialogue also
demands a level of thespic skill that Hemsworth sadly lacks. Co-stars Cate
Blanchett, Anthony Hopkins and Hiddleston have the acting background required
to chew up the scenery, but Hemsworth is far
outside his comfort zone. Too many of his line readings smack of desperation.
Worse yet, the core plot —
highlighted by Blanchett’s marvelously malevolent über-villainess, Hela — gets
sidetracked by an interminable second act that piles on the dumb-bunny gags.
It’s sad to see Thor become an object of ridicule in his own series.
The film’s subtitle — ragnarok, also known in Norse mythology
as “twilight of the gods” — refers to a final apocalyptic battle that
(depending on interpretation) concludes with the destruction of the world, or
the universe, or godly realms. For this story, the threat is to Thor’s
ancestral home of Asgard, gateway to the “nine realms” that include Midgard
(Earth).
Thor seems to have this threat
well in hand during a prologue; he handily defeats Surtur, an immense fire
demon who is the fabled harbinger of ragnarok. But Loki once again has been up
to no good, back in Asgard, having usurped the throne and stripped their father
Odin (Hopkins) of his magical power. In this weakened state, he’s no longer
able to secure the enchanted prison that has long protected the nine realms
from Hela (Blanchett), goddess of death ... and — surprise, surprise — Thor and
Loki’s hitherto unknown older sister.
Hela is one baaaaaaad babe; she
makes quick work of all adversaries, leaving her two brothers cast elsewhere in
the universe. Blanchett is terrific, radiating haughty contempt and
Machiavellian evil with every word and deed. She puts delightful malice into
each syllable, and it’s a genuine shame we don’t get to spend more time with
her.
Instead, we follow Thor as he
crashes onto the junkyard planet of Sakaar, ruled by a high-camp Grandmaster
(Jeff Goldblum) who stages gladiatorial bouts to the death, between enslaved
warriors kidnapped from throughout the universe. (These doings on Sakaar are
adapted loosely from a 2006 Marvel comic book storyline dubbed Planet Hulk.) Once fitted with an
“obedience collar,” Thor is forced to participate in these great games.
Not that he’s expected to live
long, because the Grandmaster immediately sets up a match against his
long-undefeated champion ... who, in a nice twist, turns out to be Thor’s
fellow Avenger, the Hulk.
Thor’s imprisonment is down to
Valkyrie (Tessa Thompson), a galactic scavenger/mercenary with an apparently
boundless capacity for otherworldly alcohol. She’s clearly A Woman With A
Tortured Past — A Bad Gal Secretly Needing To Be Heroic Again — but Thor
doesn’t have much luck with her.
Thompson is appropriately feisty,
with enough attitude to make up for her diminutive 5-foot-4 frame. (Mayes C.
Rubeo’s costume helps a bit.)
Sakaar’s gladiatorial pen also
has become home to the rock-creature Korg (voiced by this film’s director,
Taika Waititi), a Kronan from the planet Ria, who looks like a down-market
cousin of the Fantastic Four’s orange-hued Thing. Depending on one’s
expectations, Korg either is this film’s comedic saving grace, or a tone-deaf,
one-liner scourge far worse than Hela or Surtur.
Many (most?) of Korg’s frequent
attempts at humor fall quite flat; some are poorly timed and even eye-rollingly
tasteless. The film grinds to a halt every time, Waititi — as director —
apparently pausing to allow for audience laughter. In fairness, he got plenty
of chuckles from Monday evening’s preview audience ... but an equal number of
folks clearly weren’t amused.
Sad, but true: This isn’t the
Thor we grew up with.
Goldblum’s Grandmaster is even
worse: a chatterbox scoundrel in love with the sound of his own voice. Even
within the context of this ludicrous environment, one can’t help wondering how
such a dweeb ever could have maintained control of an entire planet.
Thank Odin for the likes of
Blanchett’s Hela, and Hiddleston’s sly-as-a-fox Loki, who often steals the
show. Loki gets all the best — and most story-appropriate — lines, and
Hiddleston delivers them with arch, oily insincerity.
Wherever Hulk goes, his alter ego
Bruce Banner can’t be far behind; Mark Ruffalo has his usual fun with this
deeply conflicted Jekyll/Hyde character. The primary note this time out is
wounded pride, Banner harboring the deep suspicion that Thor prefers his
meaner, greener personality.
The production design, special
effects and world-building are terrific, as always; we definitely can’t
complain about the look of this film. Thor’s introduction to Sakaar is
particularly impressive: an immense, horizon-spanning junkyard nightmare that
would have made Wall-E burst a processor.
Devoted franchise followers will
be pleased by a few surprise guests, and of course Stan Lee pops up for his
usual light-hearted cameo.
Mark Mothersbaugh’s thunderous
orchestral score is complemented by the continuity of familiar Marvel superhero
themes from Patrick Doyle (“Thor Theme”) and Brian Tyler (“Avengers: Age of Ultron
Theme”). Waititi also injects a few pop/rock classics; some work, while others
don’t. The use of “Golden Ticket”/“Pure Imagination” — from Willy Wonka and the Chocolate Factory —
is flat-out weird, and typical of Waititi’s kitchen-sink approach to this film.
On the other hand, Led Zeppelin’s “Immigrant Song” is placed superbly.
Marvel Comics purists are likely
to have the most trouble with this third Thor outing; the tone simply isn’t
right. On the other hand, fairness dictates that my own Constant Companion — by
no means a comic books reader — regards this as the series’ best yet. Marvel
Studios execs certainly knew what they were in for, based on the two jokey Team Thor shorts that Waititi directed
as end-credit inserts for earlier franchise entries.
But caution is advised. Sliding
too far into self-referential parody — a line this film definitely crosses — is
a fast path to irrelevance and viewer hostility.
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