Eureka!, a shrewd filmmaker gives Thor what he deserves

Rating: 8/10 (22 November 2017)

"Thor: Ragnarok," the latest entry in Marvel universe directed by Taika Waititi, that acts as an official introduction to the mega- production awaiting for us next year after Ryan Coogler's upcoming "Black Panther" (2018); in the same way, the studio reasonably experience the sweet smell of film success thanks to a sidesplitting flick that has a more grandiose wrapper than its content.
Just like Luke Skywalker, Odin is still off the Asgardian radar. While Thor and his fallacious stepbrother Loki move to Earth to discover the whereabouts of their father — with a helping hand included —, Hela, their cruel (step)sister, a powerful goddess, rises up from the ashes of the past to send, by force, the pair of brothers to Sakaar, a planet ruled under the jolly way of acting of the Grandmaster, in order to get the throne of his former nation, Ragnarok. To address this, Hemsworth will face a staggered succession of mishap without his legendary hammer, making use exclusively of his worldly abilities and picking up on the way an irreverent and irregular group of allies who crave, from the deepest part of their hearts, to eliminate vile Goddess of Death before it is too late.
Narratively, "Ragnarok" possesses heroic avant-garde conjunctures, such as introducing— although under a circumspect filter — the very first bisexual character within this mega-franchise, fencing two characters (on the same side) in the same Roman war area, playing with more than one antagonist in the same plot, going for broke to cut main hero's powerful blonde long hair, changing abruptly settings by amusingly ordinary circumstances that are poured into utopian and fantastic molds as the coexistence of our stouthearted superhero with a sour-faced roomie into a galactic apartment for a few days, holding dear really the possibilities that comic books have and hundreds more that enable the feature film to differentiate itself radially from the multitude of film genres Marvel Studios has managed to run: whether comedies ("Guardians of the Galaxy", "Deadpool", "SpiderMan: Homecoming" and "Iron Man"); action thrillers ("Civil War", "Logan" and "Captain America: The Winter Soldier"), fantasy ones ("Thor", "Thor: The Dark World" and "Doctor Strange") or light flicks ("Hulk" and "Ant-Man"); Taika Cohen's celluloid fits in each of these genres with results as irregular as unbelievable.
Perhaps most of the spectators don't agree with my perception, but, in personal terms, visual imagery and artistic work exhibited in the film did not impress me as I expected.Marvel has assumed the hard task of distinguishing, thoroughly, every of its film ideas in any of the work fields, either frictions lying in the lexicon of characters, the distinctive nature of them, the film genre or the artistic scenarios that serve as a home for the stories. "Ragnarok" was advertised as a deluge of colors and hilarious events — both in its narrative strangeness and its splendor in film execution — never seen before; the posters have been one of the best among the competition and the trailers had a high expectation, in fact, this was fulfilled, however, it worked as a desired allergen for me. In short: "Thor: Ragnarok" is like eating up your favorite candies without any limit, after an hour, you're terribly cloyed. Color saturation, paraphernalia and spectacularity attempt to fill a lack of real new landscapes, imaginations that are absent, bombarding with color and artistic eccentricities to excess. It does not necessarily mean a patent defect, however, perhaps it can be translated into a double-edged weapon.
Analyzing the sound condition, the feature film seems to have been produced by a mix of talents between Edgar Wright, James Gunn, and Mark Mothersbaugh. Under a prominent influence of classic hits of yesteryear, Waititi's movie promised great things in regard to the original motion picture soundtrack, including, as a starter, no more no less, that Led Zeppelin's revolutionary "Immigrant Song" as a fundamental music accompaniment at the first official trailer, a song that also mean a key point in the closing colossal bout. Garnished by compositions created explicitly for the film, the flick switch between classics and proper musical creations at a good pace, it ranks third in the top list of the best scores in the MCU, a merit achieved even though when they aren't entirely original sounds.
From the same mind behind "Hunt for the Wilderpeople" and "What We Do in the Shadows", comes "Thor: Ragnarok"; no doubt, the main cause of the triumphant revival of Thor is thanks to this funny filmmaker— an adjective justly gained. Sinewy God of Thunder has passed through the hands of Kenneth Branagh ("Murder on the Orient Express") and Alan Taylor ("Terminator Genesys"), however, neither of the two didn't get the opportunity to draw forth his potential in all its splendor, a flaw faded only until the nifty and creative vis comica of the New Zealander emerged as a genuine elixir of life to the character. Without fear of being mistaken, in the marrow of every fascinating feature is this proficient director, his diversity of ideas is absolutely comedic and his film determinations fit in the profile he desires for his projects with great diligence. By dint of a sharp, irreverent and daring perspective, this man has raised a pic of interesting properties, with a heart and a dramatic weight that exceeds in size and visual quality the creative display.
In sum, "Thor: Ragnarok" can be synthesized adequately in a brief and exciting name: Taika Waititi— of course, not downplaying the fabulous work done by the different areas of the film. Hilarious, visually oppressive and entertaining, Marvel Studios remains high on its prestige as it prepares for a wave of spasmodic and challenging releases, Among which stand out its very first motion picture starring an entirely black cast ("Black Panther"), its film with a female in the stellar role ("Captain Marvel") and the mega-event that will mean "Infinity War" when arrives our hearts in May 2018.