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Director – Taika Waititi
Cast – Chris Hemsworth, Mark Ruffalo, Tom Hiddleston, Cate Blanchett, Tessa Thompson, Jeff Goldblum, Karl Urban, Anthony Hopkins
Rating – 4.5/5
TUESDAY AM UPDATE, WRITETHRU with actuals: Launching in about 52% of the world a week before entering the domestic arena, Disney/Marvel’s Thor: Ragnarok hammered out a $109.1M international box office start this session. The strong debut on the Taika Waititi-helmed threequel was more muscular than the Sunday estimate of $107.6M. Through Sunday, it’s running 6% ahead of Guardians Of The Galaxy Vol 2 and 24% above Doctor Strange when looking at the same suite of 36 material markets this frame, and using today’s exchange rates.
It is astounding, frankly, that Thor: Ragnarok got made. It’s astounding that presumably thousands of people saw bits and pieces of it during the two odd years they spent in production, and didn’t slip into a full-blown, shrieking panic. It is astounding that at no point did the bosses get a bout of cold feet, and hurriedly pull the plug before too many people noticed.
And it is astounding, but more encouraging really, that somehow Marvel – a studio notorious for the rigidity of its ways – found both the will and the freedom to pay heed to what their audiences had to say, and decide that it is finally time to let their hair down. So Thor, the stoic hero we’ve grown to admire (but crucially, not love) over the course of a half-a-dozen movies, looked himself square in the mirror, sheared away his long locks, smeared his face with some bright war paint, performed a quick wink at his own reflection and strutted into what appears to be an ‘80s discotheque. There, he successfully managed to drown his sorrows in colourful cocktails, and regaled anyone within earshot with tales of adventures past.
And while these adventures have seen deliriously stratospheric highs, the lows have – as lows tend to be – been hellish, like an involuntary chinwag with fire demon Surtur. It’s no secret that – even among Marvel apologists – Thor: The Dark World is the series’, and the sprawling Marvel Cinematic Universe’s weakest film. Even its director, Alan Taylor, has since come out and publicly voiced his dissatisfaction with the final film – he didn’t own up to it, but instead pointed the blame squarely in Marvel’s direction, accusing them of redressing his film beyond recognition.
But with Ragnarok, not only has Marvel learnt its lesson, but in a fit of underdog ambition, they’ve produced a movie that eclipses some of this iconic franchise’s best works. Everything from the font used in the titles, to the synth-infused rock opera score by Mark Mothersbaugh, to the gloriously retro set design and visuals clearly inspired by the art of Jack Kirby, there is no Marvel movie quite like it, and there is no Marvel superhero who has starred in such a disconnected, and seemingly spontaneous series of films. Each of his solo outings – Kenneth Branagh’s Shakespearean first movie, Alan Taylor’s blatant Game of Thrones ripoff, and the live-action cartoon that is Ragnarok – feels like it is aggressively distancing itself from the others, like a brother scorned.
It is my theory – supported by much smarter minds – that the best Marvel movies are the ones in which the directors are (mostly) left to their own devises. Which is why to this day, Iron Man 3, the two Guardians of the Galaxy films, and the first Avengers stand proudly apart from the rest – which has, unfortunately, congealed into one giant spandex mess.
With a great bellow (and a cheeky nudge), Thor: Ragnarok earns its place among those movies, and maybe even a notch or two above them.