The Thor movies have been the least interesting of the Marvel super
hero films. I don’t fault them for
improbability—all the Marvel films are improbable. But Thor is not very
interesting. He’s supposed to be a god,
but his powers rely directly on his big hammer.
The mythology of the mythic Asgarde in which he and his colleagues dwell
is haphazardly portrayed. His trickster
brother Loki is more interesting than he is.
For the most part the first two Thor films struck me as dull and
dimwitted.
Something happened between the
second and third film. Could it be that
the makers recognized, in a moment of clarity, after careful self-examination, that
the series was bogus? That it was lurching towards commercial extinction, that
involvement in the franchise meant personal and artistic compromise (as much as
artistry in these films exists, as much as compromise isn’t a given)?
Thor: Ragnorak (2017; dir. Taika Waititi) is a hilarious parody of
the characters and situations in the first two films. Not that it is any less improbable, just that
the makers recognized and exploited opportunities for satire and comedy.
Thor: Ragnorak offers most of the same characters: Thor, Loki, Odin
(briefly), and others. Their
personalities remain intact but are exaggerated for comic effect. Odin’s sister Hela is new to the series. She escapes
from prison, to which her brother had consigned her when he grew fearful of her
success and ambition. She hates
everything and everybody and is intent on assisting the fire demon Sukur in
bringing destruction to Asgarde: this is Ragnorak, the preordained destruction
of the realm of the gods in Nordic mythology. Sukur the fire demon is mainly
DGI. Hela, played in an intentionally
overstated way by an unrecognizable Cate Blanchett, is effective, though she is
mostly DGI too. Everyone in the film
overacts. Everything is overblown, exaggerated.
This lampoon of the earlier films is the best of the Thor films and in
general one of the best of the Marvel films—I’d watch it again. It made me
laugh.
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