Thor: Ragnarok Review

It took one of the most popular Hulk comic book stories ever, Planet Hulk, to make Thor: Ragnarok the most entertaining Thor movie yet. But in a story ostensibly about Ragnarok – the end of Asgard – a crazy subplot set entirely apart from those events and inspired by an entirely different hero’s story really shouldn’t be the best thing about the film, should it?

Thor: Ragnarok is as glib and cheeky as the Guardians of the Galaxy movies, and embraces a deliberately ’80s space opera aesthetic and synth score (composed by Devo’s Mark Mothersbaugh, providing the Marvel Cinematic Universe’s most distinctive original music yet). This makes for a fun and often hilarious romp, and a film that looks as vibrant and out there as an old Jack Kirby Marvel comic. But it also encapsulates the MCU’s increasing desire to go for the gag, to mock its own innate absurdity, even at the expense of the characters and settings Marvel Studios has spent years now establishing.

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