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But he also matches Waititi’s tonal lurches magnificently, beautifully moving from bumbling idiot to emotionally adrift to majestic warrior as easily as the script does. Hemsworth let slip his gift for comedy a number of years ago (he was the only thing watchable in the dire Ghostbusters: Answer the Call in 2016), but he has now perfected these chops with his rendition of the God of Thunder. And it’s mainly thanks to its near-perfect cast. It all somehow works as a strange and weird, but ultimately satisfying whole. These tonal and even genre swings should destabilise the film completely… and yet they don’t. More subtly, the character throughlines that run the gamut of the film and begin as overtly comedic also segue into more rounded territory as the film progresses – Thor’s run-in with ex Jane Foster (the returning Natalie Portman), now also a Thor, manages to be laugh-out-loud funny, adorably sweet, affecting, heartfelt and ultimately desperately emotional, yet another sign that the film doesn’t just want to be one thing. It’s a film that desperately wants to have it all.
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And this continues throughout the first two acts of the film, with giant shrieking space goats and Russell Crowe’s Zeus doing a brilliantly odd Mario impression nestling right next to terminal cancer and how to live a life with such a disease hanging over ones head.
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The opening act gives an immediate idea of the disparate tones the film balances on a knife edge – the loss of a child and the burden that places on a soul immediately segues into a goofy, dayglo romp, stuffed full of throwaway gags, pratfalling physical comedy (and insane JCVD homages) and 80’s rock n’ roll.
However a distress call from old friend Lady Sif (Jaimie Alexander) and an introduction to the handiwork of Gorr suddenly leads him back to New Asgard and a run in with the town’s newest inhabitant… someone he hasn’t seen in a good few years. His superheroing days are simply not fulfilling him any more as he yearns for that special someone to help give his life purpose and meaning. Or to be more precise, someone is missing. Helping species in trouble with his new shipmates, the aforementioned Guardians, something is missing. Meanwhile, Thor is at an emotional crossroads.
But after meeting said God and realising the old adage of ‘never meet your heroes (or gods)’ was all kinds of true, he becomes Gorr The God Butcher, his mission to seek out all deities and rid the universe of them, armed with the one weapon that can do such a thing – the Necrosword.
It's very Thor, it’s very Taika and its simply, very goodĪ dark and bleak opening, eerily reminiscent of Guardians of the Galaxy, introduces us to Christian Bale’s Gorr: a devout worshipper, he sacrifices everything, including the life of his precious daughter, in pursuit of total fealty to his God. And with Waititi returning for this fourth film, even after the tumultuous events of Infinity War and Endgame, there was a sense of would he try and maintain the laughs or attempt something a little bit different this time? Thor: Ragnarok was and remains at the top of many people’s MCU rankings for good reason: it was just uproariously funny.
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Free from the shackles of fate and of duty, Thor found his funny. Especially when his scamp of a brother hogged all the funnies in the room.īut something strange happened in 2017 when antipodean comedy legend Taika Waititi was brought in to helm the third standalone Thor movie. With the weight of his familial legacy and an entire realm to rule, there was no time for frivolous japes. Sure, there were moments of levity there, but Thor Odinson (Chris Hemsworth) was an altogether more serious individual. No-one could really have predicted The God of Thunder’s Marvel Cinematic Universe journey from his slightly po-faced beginnings back in Sir Kenneth Branagh’s 2011 Phase 1 origin story.
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