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Thor Ragnarok Full Movie
Category: Action, Adventure, Comedy
Release Date: 80September, 2017
Director: Taika Waititi
Starring: Chris Hemsworth, Tom Hiddleston, Cate Blanchett
Age Restriction: 18 years
Duration: 130 minutes
Thor Ragnarok is a 2017 American Action film directed by Taika Waititi and written by Craig Kyle
The director Joss Whedon has already said: for him, ‘Thor: Ragnarok’ is a masterpiece of modern cinema. And we are not going to contradict him. The third installment of the adventures of the Norse god has found Taika Waititi’s sense of humor as his best ally, and together they have signed an extraordinary eighties and multicolored oddity that is undoubtedly the best superhero movie of the year. Quite possibly, one of the best movies -a dry- of this 2017.
But talking is very easy, and here we are going to give strong reasons why this movie seems to have bathed in LSD. Why do not we care that he does not follow the usual Marvel line or why his comedy is so groundbreaking. Here we analyze the keys to success – at least on paper; the reaction of the box office will have to wait – for this new fantastic adventure of the MCU.
The majority of Hollywood blockbusters are characterized by having a functional director behind the cameras, that is, they will carry out the story without leaving their personal mark on the screen. That is why, seeing the third installment of the saga of Thor, everything seems extraordinarily new and original: this is a filmmaker who if something is left over is personality. And outfits of pineapples. We speak of Taika Waititi, a peculiar man where there are, who has turned the Nordic God played by Chris Hemsworth into a funny, human and absolutely round superhero.
How a New Zealand indie director arrives to shoot this film is a curious story, and happens in the first instance for his triumphs in Sundance (‘What we do in the shadows’, ‘Hunt for the Wilderpeople’) and his participation in another great project, ‘Vaiana’ from Disney. At some point, Marvel thought it was a good idea to give carte blanche to a man who rolls a fake documentary with vampires, who left the movie of the Polynesian princess half-hearted because he was bored and when he was nominated for an Oscar in 2005 for one of his short films slept in the chair (quiet, it was a gag … No?). In spite of all that, the franchise saw in him an opportunity to give a return to one of his superheroes of head, and he has done it.
Oh, Thor, who has seen you and who sees you. He went through a first era in which he was amused only by his ignorance of the modern world (the first ‘Thor’ directed by Kenneth Branagh) and a second in which he was more self-conscious, but too locked in his hypermasculinity (his shareholdings in the collective of The Avengers). Suddenly, not taking yourself too seriously has made you feel great.
It is impossible not to see ‘Thor: Ragnarok’ as a rebirth of the character. Everything indicates: the haircut – made in the film, to make matters worse, by Stan Lee himself – the apocalypse of Asgard and the flight aboard a sort of Noah’s Ark in search of new hope for his people , already officially crowned king after the death at the beginning of the film of Odín (Anthony Hopkins). Thor has been reborn. It is a fact. No more blondes on his face, no more dependence on the hammer: now he is a god with all of the law, with a power that he had never fully mastered until this third installment of his individual history. Now yes, the thunder lives in him.
And we can not forget the one that made it possible for that reunion with his true self: Chris Hemsworth, an actor who seemed destined to exhibit his muscles on screen without much interest and who has turned out to be a brilliant comedy actor. He already surprised in his secondary role in ‘Ghostbusters’ (Paul Feig, 2016), as secretary tontito, but here again demonstrates an admirable control of their body language (those awkward gestures next to the shelf, unpayable) and an expressive rather than effective . Hemsworth had never felt so good about Thor’s suit.
There is a constant play between the mythical and the real, between the classic slow motion of epicity and the gag of discredit. While Valkyrie played by Tessa Thompson walks in her suit as if she had a fan in front of her waving her hair, Mark Ruffalo’s Hulk launches from a ship to transform and what it ends up doing is making a frightful ridiculous crashing into the ‘bifröst’ (the bridge-rainbow of Asgard). This praise of the awkwardness, which runs throughout the film in each of its characters (Valkyria also falls drunk in the rubble, Thor sticks himself with a ball to bounce off the glass, etc.), is skillfully combined with the epic component of Nordic mythology, which finds its best representation in the ‘flashback’ of the slaughter of the Valkyries in the hands of Hela (Cate Blanchett).
A winning combination without a doubt, that would not be what it is without an aesthetic and a retro music in brilliant consonance. As acknowledged by Waititi himself, the sci-fi fantasies of the 70s and 80s have been his main visual inspirations. In fact, his idea was to recreate that spirit and merge it with the u