There have been a lot of unusual occurrences within the bloated superhero genre in the past few months. A Spider-Man reboot that was actually good, a DC comics adventure that was actually watchable, and now a third Thor vehicle that is somehow the best one so far. The original was mostly passable and the second was mostly filler, so this is an odd result. But the new direction they've chosen here is obvious from the outset. The look, the sound, and the tone have all been shaken up and indie film maker Taika Waititi has been given some measure of creative freedom. The dour plot elements and the doomsday world conquering villains are still here to some degree, but for the most part this is a step in the right direction.
The director himself is quickly becoming a favourite of mine after comedy movies like What We Do in the Shadows and Hunt for the Wilderpeople. It's obvious that this is a calculated move of course, and his choices are all placed within a standard blockbuster package with a giant monster showdown at the end. But it's not a bad choice for a character like the God of Thunder who was always a bit too grim in the face of so much ridiculous scenery. Previous instalments followed the usual Marvel Studios routine of a few jokes and quips here and there to keep that light hearted feeling; but in this case the overall texture feels a lot more fun and colourful.
Thankfully it also feels like it has a personality of its own despite the way it first appears to be taking cues from the Guardians of the Galaxy. The opening act alone is a pleasure to watch as we move from an opening that concludes an adventure off screen involving subterranean demons before swiftly jumping between Asgard and Earth to wrap up the loose ends from Thor: The Dark World. There are a lot of silly gags and humorous moments, a fun cameo scene and a great choice of licensed music during the action that lets us know exactly what is in store. It's also a relief that the dramatic scenes are separate from the farcical slapstick jokes which lets everything breathe without making the pacing feel too baggy.
Two main plot threads are set in motion here as the big bad, Hela the Goddess of Death (Cate Blanchett) arrives and Thor (Chris Hemsworth) finds himself trapped on battle arena obsessed junk planet Sakaar. The latter is where the best parts of the story take place and where all the most interesting characters reside. Hela is unfortunately relegated to posturing in a Jack Kirby style helmet and providing exposition as we get the same kind of Asgardian history lessons that were in the previous two instalments. In some ways this is appropriate thematically, and despite all the new additions this is still a film about ancient realms and the children of god-like beings. But it's often a distraction from the real core of the movie.
The really engaging stuff revolves around Thor and Loki (Tom Hiddleston) spending time with Jeff Goldblum as... Jeff Goldblum. His role as 'The Grandmaster' seems to have been purposefully designed so that he can be as eccentric as possible while executing his enemies and throwing people into gladiatorial matches. There are all kinds of weird comic book inspired visuals to match his personality that often look like the scrapped 1970s version of Dune or the 1980 version of Flash Gordon. There are also lots of fun moments with the other inhabitants such as rock-man Korg (Taika Waititi) and The Incredible Hulk (Mark Ruffalo) who finally gets to feel like a character as the big green rage monster. The visual effects are pretty impressive in this regard creating a series of outlandish gladiators and aliens with real personality.
However it's not all seamless. The action sequences are all great but there are smaller dramatic moments that look cheaper because of the green screens involved. A few key scenes have been re-composited to change the locations, and others suffer from lighting that doesn't quite match the actors to their surroundings. It's a minor complaint but I'd have though that with all the fights with giant wolves and all the spaceship battles this would be an easy to element to perfect. In terms of music and sound the film is fun (despite some repeated stock noises) although the mixture of classical themes and modern synth-wave tunes doesn't always mesh. As noted the use of a license song during certain action beats is a great inclusion, so it's a shame not everything is so effective.
Like the weirdness of an independent comedy clashing with the triteness of another giant finale full of explosions, things don't always come together. There are some realisations in the story as characters figure out there place in all of this, but just like the obligatory Loki illusions there are still the usual tired evil schemes and punch-out showdowns. Perhaps these same old third act moments should have been rethought in the same way. Hela looks great and it's a good performance, but it's just a little dull compared to everything else. They did at least bookend the narrative in a way that is pretty satisfying, and it's far better than Dark Elves doing a thing with a magic goo. Let's hope they continue this boost in charisma after the mandatory cross-over movies are complete...
4/5
BONUS REVIEW
MINDHORN (2017)
Shortly into this it dawned on me that it's yet another version of the plot from Three Amigos or Galaxy Quest.... and that it still works. Richard Thorncroft (Julian Barratt) once played the eponymous hero Mindhorn in a cheesy 1980s television show. After getting a call from the police on the Isle of Man where the series was shot, he becomes embroiled in a mystery involving a man who thinks that Mindhorn is a real person. Thorncroft has since become a washed up actor desperate for publicity and so he jumps at the opportunity to boost his own ego and get his face back in the news.
There's a lot of comedy to be mined from the situation as it's revealed how he ruined his career by leaving and trying to making it big in Hollywood, walking out on his girlfriend and co-star Patricia (Essie Davis) while a spin-off show involving rival actor Peter Eastman (Steve Coogan) became the biggest programme ever 'filmed on the Isle of Man'. The titular show was about a detective who solves crimes through the use of a bionic eye so the inspirations are obvious. But it's also modelled after the likes of Bergerac and Knight Rider which adds to the humour as all the Mindhorn merchandise appears, including the pop song he recorded (a hit in Eastern Europe).
Thorncroft is a self absorbed wreck with a beer belly and a bad comb-over, and they work hard to make him both utterly repellent and sympathetic as things progress. His acting methods are laughable and his career is on the rocks - bad habits and poor choices in public have taken their toll. Appearances from Kenneth Branagh and Simon Callow as themselves (John Nettles is mentioned in name only) cement the idea of how out of touch Thorncroft is, which of course plays into how he sees himself when the central murder mystery is investigated. The drama and humour isn't always on target particularly in the finale as the murder plot is concluded, but it's still pretty enjoyable in its own silly cringe-worthy kind of way.
4/5
