Ready Player One

Genre: Sci-Fi

Director: Steven Spielberg

Screenplay: Zak Penn and Ernest Cline, based on the novel by Ernest Cline

Cast: Tye Sheridan, Olivia Cooke, Ben Mendelsohn, Mark Rylance, T.J. Miller, Simon Pegg, Lena Waithe, Win Morisaki, Philip Zhao, Susan Lynch, Hannah John-Kamen, Ralph Ineson, McKenne Grace, Letitia Wright

Running Length: 140 minutes

Synopsis: In the year 2045, the real world is a harsh place. The only time Wade Watts (Tye Sheridan) truly feels alive is when he escapes to the OASIS, an immersive virtual universe where most of humanity spends their days. In the OASIS, you can go anywhere, do anything, be anyone—the only limits are your own imagination. The OASIS was created by the brilliant and eccentric James Halliday (Mark Rylance), who left his immense fortune and total control of the Oasis to the winner of a three-part contest he designed to find a worthy heir. When Wade conquers the first challenge of the reality-bending treasure hunt, he and his friends—called the High Five—are hurled into a fantastical universe of discovery and danger to save the OASIS and their world.

Review: Without a doubt, Ready Player One is a fun time at the movies, especially if you have experienced the 70s or 80s while growing up. It’s amazing how many references have made it into the film – kudos to the team that managed the what must be insane rights negotiations for the hundreds of “cameos” and pop culture references peppering the movie – and it would be impossible to not feel a strong sense for nostalgia for anyone that’s above the age of 30. This film is one that deserves to be seen on the biggest screen possible at least once (IMAX 3D seems to be the only IMAX flavour locally, unfortunately), and should also find a healthy home video audience who will enjoy freeze-framing the film to catch the many small details.

However, Ready Player One is also clearly not going to rank in Spielberg’s best films, even though it is reminiscent of his earlier work (before he became a director of “serious movies”). While there’s really no need to compare and contrast films from Spierlberg’s own canon, there’s a nagging sensation that I had throughout the whole movie that it really could have been something more. Part of this can be attributed to the fact while the segments of the movie taking place in the OASIS virtual world is quite engaging, there’s a fair amount of time spent in the real world, which is honestly a fair bit less interesting. It’s understandably necessary to not turn Ready Player One into a really expensive animated movie, but there are times where the dichotomy hurts the film more than helping it.

The novel that Ready Player One is based on is accurately described as a “nerdgasm” but in all honesty, it simply doesn’t read that well except for a very niche audience (and this is coming from a self-professed geek). It was clear that a lot of work would be needed to transform the novel into something suited for the big screen, and in this aspect the creative decision taken by Zak Penn and Ernest Cline (surprisingly, the author of the novel himself) to base the movie on the novel, but not slavishly adapt it, really pays off. There are many changes from the novel, and even the hunt for the three keys (and the easter egg) have been pared down to a much simpler flow of events. Whole sections of the novel have been rejigged, and none more impressively so than a journey by the protagonists into the setting of a very well-known movie in the 80s. To say more would be to spoil an excellent surprise, but suffice to say if every sequence could have been equally well-executed, Ready Player One would have been a four-star movie for sure.

While the narrative for Ready Player One is improved over the novel, it is still a somewhat bumpy ride at times, especially toward the final reels of the film where the plot suddenly moves at a breakneck speed. The visuals, on the other hand, is near-faultless. While the OASIS is all CGI, the world has a heft and the animated characters have a “real-ness”, something that is actually quite rare even in the highly advanced state of CGI these days. The threat of sensory overload is real, however, because of all the details that are stuffed into virtually every frame of the movie and the sheer speed at which scenes move along at times. Lesser directors than Spielberg would surely have found themselves swallowed by the sheer spectacle, but since it’s Spielberg, the film manages to achieve most of what it sets out to do, and with a fair amount of heart to boot.

Rating: * * * (out of four stars)

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A Wrinkle in Time

Genre: Sci-Fi, Fantasy

Director: Ava DuVernay

Screenplay: Jennifer Lee, based on the novel by Madeleine L’Engle

Cast: Storm Reid, Oprah Winfrey, Reese Witherspoon, Mindy Kaling, Gugu Mbatha-Raw, Michael Peña, Zach Galifianakis, Chris Pine, Levi Miller, Deric McCabe, André Holland, Rowan Blanchard

Running Length: 109 minutes

Synopsis: After the disappearance of her scientist father, three peculiar beings send Meg (Storm Reid), her brother Charles Wallace (Deric McCabe), and her friend Calvin (Levi Miller) to space in order to find him.

Review: A Wrinkle in Time is a mixed bag – while it’s a high budget (over US$100 million) remake of the beloved novel and checks off many boxes in the diversity checklist (black female director, racially diverse casting choices), a very unevenly developed storyline, wooden performances and sporadically subpar visual effects detract significantly from the film. It’s undoubtedly still entertaining and should appeal somewhat to the YA and younger demographic, but it’s hard to imagine audiences being enthused enough to recommend this film to friends and family, unlike, for example, Disney’s immensely successful (and still running) Black Panther.

It would always be a challenge to adapt Madeleine L’Engle’s novel for the big screen due to the massive number of ideas and plot threads L’Engle had placed in a relatively short novel, and even with the deep pockets of this film’s production budget, the end result is hit and miss. The Christian subtext has been gutted from the screenplay, and a rather pivotal character (Aunt Beast) has been excised entirely, and even the villain’s appearance and methods have been altered somewhat. What does remain is thus even more confusing, and character motivations come across as being very muddled. While Storm Reid does a decent job as a Meg Murry, the same cannot be said of the remainder of the cast – Deric McCabe in particular is landed with a thankless role of trying to be a precocious child prodigy (but ends up being more Children of the Corn than anything), and the many famous faces that are in the film end up being celebrity cameos that bring nothing to the plate.

Some of the worlds that the ensemble “tesser” to are indeed gorgeous works of art (as are some of the crazy outfits that the Mrs Ws wear), but then there are also sequences where it just feels like the production ran out of budget to complete the CG work, none more egregious than the protracted (and ultimately unnecessary) visit to the Happy Medium (unfortunately played by a rather miscast Zach Galiafianakis), which is so terribly rendered it looked like a stage production more than a location in a film that cost many millions to make.

Most frustratingly, however, is how all the storytelling and world-building ends up for naught. The denouement of A Wrinkle in Time lacks any form of true coherence and concludes the film on a whimper, leaving many questions unanswered and most audiences who haven’t read the novel prior feeling puzzled and underwhelmed. It really is a darn shame, because there are moments where it almost seems like the film is destined for greatness, but it just falls short on so many levels that all it can do is be a somewhat entertaining diversion for a couple of hours.

Rating: * * (out of four stars)

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Oscar Predictions 2018

It’s been a very tumultuous year in Hollywood, as the industry was rocked by a seemingly never-ending list of accusations of sexual harassment and abuse of power, and many men of power and renown were toppled from their once very secure positions. While this is unlikely to affect the voting process (and hence the results) this year, one wonders if the issue would get much airtime during the ceremony. While The Shape of Water leads the nominations, I am skeptical of its winning chances apart from some of the key categories. Since I am not involved in any Oscar pool or viewing party (the norm these days), I will be abstaining from the documentary and short film categories. Now, on to the predictions:

Best Motion Picture of the Year

Should win: The Shape of Water

Prediction: The Shape of Water

The determination of the Best Picture winner is a very elaborate system, and without going into details here, it means that the second and third choices of voters who didn’t go for the popular vote also matter. The Shape of Water is a romantic, beautiful yet political movie, which I feel still stands a better chance because it will still be the top few choices of voters who go for the other potential frontrunners, namely Three Billboards and Get Out.

Best Performance by an Actor in a Leading Role

Should win: Timothee Chalamet, Call Me By Your Name

Prediction: Gary Oldman, The Darkest Hour

This one should be pretty locked for Oldman, especially when the alternate votes will be split between Timothee Chalamet’s excellent performance and Daniel Kaluuya’s riveting turn in Get Out.

Best Performance by an Actress in a Leading Role

Should win: Frances McDormand, Three Billboards Outside Ebbing, Missouri

Prediction: Frances McDormand, Three Billboards Outside Ebbing, Missouri

This to me is the most locked category of the night. While I personally didn’t really enjoy Three Billboards, the fine acting by the cast is undeniable, especially McDormand (and Rockwell). I also hugely enjoyed Margot Robbie’s performance in I, Tonya, but this award is McDormand’s to lose.

Best Performance by an Actor in a Supporting Role

Should win: Sam Rockwell, Three Billboards Outside Ebbing, Missouri

Prediction: Sam Rockwell, Three Billboards Outside Ebbing, Missouri

Sam Rockwell has been winning the precursor awards so there’s no reason to think otherwise here, though Willem Dafoe’s career-best performance in The Florida Project could prove to be the dark horse.

Best Performance by an Actress in a Supporting Role

Should win: Alison Janney, I, Tonya

Prediction: Alison Janney, I, Tonya

It’s a great list of nominees, all deserving, but Alison Janney really left an indelible impression for her performance in I, Tonya. Laurie Metcalf is almost as key an actress as Saoirse Ronan in Lady Bird, but my preference here still goes to Janney.

Best Achievement in Directing

Should win: Guillermo del Toro

Prediction: Guillermo del Toro

Of the five directors nominated, Jordan Peele may be the dark horse for Get Out, but I believe the nod will still go to del Toro for a more mainstream effort.

Best Writing, Screenplay Written Directly for the Screen

Should win: Get Out

Prediction: Get Out

I believe this will be Jordan Peele’s consolation prize for missing out on the big categories, though every nominee here are great efforts, and Three Billboards is a very strong contender particularly.

Best Writing, Screenplay Based on Material Previously Produced or Published

Should win: Call Me by Your Name

Prediction: Call Me by Your Name

James Ivory’s adaptation is excellent and heartfelt, and then there’s the father’s monologue at the end, which should help gain even more votes.

Best Achievement in Cinematography

Should Win: Blade Runner 2049

Prediction: Blade Runner 2049

Please just let Roger Deakins win already.

Best Achievement in Editing

Should Win: Baby Driver

Prediction: Dunkirk

While I personally prefer the editing bravura in Baby Driver, Dunkirk is still the more likely winner in the category.

Best Achievement in Production Design

Prediction: The Shape of Water

Best Achievement in Costume Design

Prediction: Phantom Thread

Although The Shape of Water beat out The Phantom Thread in the Costume Designers Guild Awards, it’s still very hard to see Phantom Thread losing out here.

Best Achievement in Makeup and Hairstyling

Prediction: The Darkest Hour

Hard to beat out a Best Picture contender, especially when the makeup and hairstyling is largely centred on the frontrunner for Best Actor.

Best Achievement in Music Written for Motion Pictures, Original Score

Prediction: The Shape of Water

The only other potential contender apart from Alexandre Desplat would be Hans Zimmer’s booming score and audio signatures for Dunkirk, but that score seemed to be a bit more divisive.

Best Achievement in Music Written for Motion Pictures, Original Song

Prediction: This is Me, The Greatest Showman

I would prefer Coco to win for Remember Me, and it may still clinch the award, but The Greatest Showman is most memorable for its songs and choreography, which may just be enough to push it past Coco.

Best Achievement in Sound Mixing

Prediction: Dunkirk

I would not be unhappy to see Baby Driver win this one, though the war films tend to win by default.

Best Achievement in Sound Editing

Prediction: Dunkirk

Best Achievement in Visual Effects

Prediction: Blade Runner 2049

I don’t know if enough people would care enough about War of the Planet of the Apes to give it their vote here, but Blade Runner 2049 would likely have the better showing.

Best Animated Feature Film of the Year

Prediction: Coco

It’s Pixar and Coco is a great film. Enough said.

Best Foreign Language Film of the Year

Prediction: A Fantastic Woman

Pure guesswork as I have not seen a single one of the five films here, unfortunately.

 

 

 

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Black Panther

Genre: Action

Director: Ryan Coogler

Screenplay: Ryan Coogler, Joe Robert Cole, based on the Marvel comics by Stan Lee, Jack Kirby

Cast: Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, Angela Bassett, Forest Whitaker, Andy Serkis

Running Length: 134 minutes

Synopsis: Marvel Studios’ Black Panther follows T’Challa (Boseman) who, after the death of his father, the King of Wakanda, returns home to the isolated, technologically advanced African nation to succeed to the throne and take his rightful place as king. But when a powerful old enemy reappears, T’Challa’s mettle as king – and Black Panther – is tested when he is drawn into a formidable conflict that puts the fate of Wakanda and the entire world at risk. Faced with treachery and danger, the young king must rally his allies and release the full power of Black Panther to defeat his foes and secure the safety of his people and their way of life.

Review: Just when you thought there’s no possible way to further push the envelope within the Marvel Cinematic Universe after 17 movies, Black Panther is here to prove us all wrong once again. Much like how Wonder Woman managed to break the mould for female superhero movies, Black Panther stands out amidst what has mostly been a white Caucasian superhero universe by featuring an almost all-black ensemble cast, and largely basing the film in Africa (albeit the fictional country of Wakanda). Although the chief villain still has a personal agenda, he also has a politically-driven goal that gives a bit more depth to the villain than usual. If only the conclusion wasn’t so rote, we would have had a superhero movie that fired on all cylinders and be the one to beat for the 2018 roster.

While Black Panther does have enhanced abilities, his arsenal of technology and weapons is what makes the superhero complete, and in this aspect the film almost feels like an installment in the Bond franchise. All the standard superhero action set pieces still apply, and everything one would expect from such a movie – gunfights, car chases, ritual battles (ok this one not so expected) – is present and accounted for. However, it’s a little disappointing to see the great action devolve into a comparatively uninteresting spandex suit versus spandex suit fisticuff in the final reel that’s easily the least involving action sequence in the whole movie, which takes away a bit of the power of the denouement.

Not only does Black Panther feature an almost all-black cast, it’s a very talented cast particularly for the women. If you thought Wonder Woman would be the sole superhero movie that celebrated feminine empowerment, wait till you see what goes on here with the uniformly excellent female cast. Chadwick Boseman and Michael B. Jordan (a Coogler veteran, appearing in all of his movies thus far) are both charismatic young men with a great physicality, though their spotlight is repeatedly stolen by the likes of Lupita Nyong’o, Danai Gurira and even Letitia Wright.

Black Panther also features fantastic costume design and art direction – while it’s not the first colorful Marvel movie (Guardians of the Galaxy and Thor: Ragnarok are equally, if not more colorful), this is the first film where the usage of colors and motifs feel like they bear a greater cultural significance without coming across as pandering. The costumes harken back to African history and tribal culture, yet bear some marks of technological advancements – a truly impressive hybrid, and combined with the other stylistic flourishes like hairstyles, jewellery and tattoos, a feast for the eyes. It’s hard to think of any recent movie as visually dazzling as this one.

One thing that truly sets Black Panther apart from its brethren is its political subtext – I can safely say no superhero action movie thus far have delved into the issues that Black Panther touches on, be it the legacy of colonialism, the argument for and against both pacifist activism and militant action, and the conflict between familial ties and leadership of a country. The screenplay by Coogler and Cole is smart and well-written, elevating the film to a level that few MCU movies manage to attain. This is truly one of the best standalone origin films in the MCU, and given the quality of films thus far in the Marvel canon, is high but deserved praise.

Rating: * * * ½ (out of four stars)

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Star Wars – The Last Jedi

Genre: Sci-Fi, Drama

Director: Rian Johnson

Screenplay: Rian Johnson, based on characters created by George Lucas

Cast: Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Andy Serkis, Lupit Nyong’o, Domhnall Gleeson, Anthony Daniels, Gwendoline Christie, Kelly Marie Tran, Laura Dern, Benicio Del Toro          

Running Length: 152 minutes

Synopsis: Rey develops her newly discovered abilities with the guidance of Luke Skywalker, who is unsettled by the strength of her powers. Meanwhile, the Resistance prepares to do battle with the First Order.

Review: Now that we’re at the halfway mark of the six planned Star Wars movies, it’s time to put together a report card for the franchise, and take stock of both the new movie and the overarching Star Wars cinematic universe. It’s a mix of good and bad news – while it’s certain that The Last Jedi would be a winner at the box office, it also comes across as the most inconsequential film so far, surprisingly so especially considering that it follows last year’s Rogue One, a story that literally had a scorched earth denouement to ensure its characters would not “taint” the canonical Episodic installments. Although it aims high for its emotional impact, The Last Jedi ultimately comes across as being a bit hollow, despite the luxury of having the longest running time of any Star Wars movie so far.

While The Force Awakens understandably had to slavishly stick to the original trilogy’s canon, it was also the reason why the film felt like it didn’t manage to meet its full potential. Unfortunately, The Last Jedi continues this trend and feels like a reboot of The Empire Strikes Back, and while it will continue to please fans of the franchise, I am not sure that three movies in, audiences would be as forgiving of the flaws found in The Last Jedi. The three key plot threads are haphazardly woven together, and there’s so much padding in the middle of the film that I for one wished the film was cut down to a more manageable length, where digressions need not seem to go on interminably (particularly egregious is the entire sojourn onto the casino planet Canto Bight) before focus resumes on what truly matters.

All is almost forgiven in the final third of the film, where the plot thread involving Kylo Ren, Rey and Luke Skywalker comes to a head, and everything that makes Star Wars great is present and accounted for – rousing space battles, an amazing lightsaber confrontation, startling character revelations and plot twists – and enhanced further by truly breathtaking visuals and an excellent performance from Adam Driver (Daisy Ridley seems to be coasting on her far stronger turn in The Force Awakens). If only it didn’t take so long to get there.

Star Wars is so firmly ingrained in our culture that it is impossible to not feel the thrill when the opening title card crawls into the horizon, accompanied by John Williams’ iconic cinematic score. It is very hard to squander away the goodwill accumulated over 40 years (as evidenced by Episodes I to III), and The Last Jedi is still largely a triumph, ranking in the upper echelons of the Star Wars cinematic universe. Rian Johnson has crafted a technically excellent film in the franchise, but again it seems the collective financial expectations put on such an important film has made it impossible for him to stray too far from the tried and tested. While there is a chance that Episode IX would be able to take the story down a path less travelled, it does seem increasingly unlikely. The sequels now feel more like reboots of the original trilogy, and though that’s really not a bad thing, one wonders now if what George Lucas said is true – the reason why he didn’t move forward with Episodes VII to IX himself was because there were no stories left to tell.

Rating: * * * (out of four stars)

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Justice League

Genre: Action

Director: Zack Snyder

Screenplay: Chris Terrio, Joss Whedon

Cast: Ben Affleck, Henry Cavill, Gal Gadot, Amy Adams, Ezra Miller, Jason Monoa, Ray Fisher, Jeremy Irons, Diane Lane, Connie Nielsen, J.K. Simmons, Ciarán Hinds

Running Length:  120 minutes

Synopsis: Fueled by his restored faith in humanity and inspired by Superman’s (Henry Cavill) selfless act, Bruce Wayne (Ben Affleck) enlists the help of his newfound ally, Diana Prince (Gal Gadot), to face an even greater enemy. Together, Batman and Wonder Woman work quickly to find and recruit a team of metahumans to stand against this newly awakened threat. But despite the formation of this unprecedented league of heroes – Batman, Wonder Woman, Aquaman (Jason Momoa), Cyborg (Ray Fisher) and The Flash (Ezra Miller) – it may already be too late to save the planet from an assault of catastrophic proportions.

Review: Where to start…? Justice League commits mistakes on so many levels that it’s hard to pinpoint exactly where it starts to unravel – is it the choice of a bland, generic supervillain? Or the whiplash-inducing changes of pace, probably due to the replacement of Zack Snyder (who quit the show due to a family tragedy) with Joss Whedon, who allegedly reshot 15% – 20% of the movie? Or that the narrative is confused and lacks any coherent focus? Or the decidedly subpar CG visuals (made worse by a very insipid 3D presentation – please stick to 2D for this one)? While it remains a serviceable action film and should make pretty good bank at the box office, the writing is on the wall: the DC Extended Universe is in deep trouble if this movie represents the real trend, and Wonder Woman but a mere anomalous bright spot in what looks like an increasingly untenable franchise.

One of the biggest problems faced by the DCEU is that of tardiness – there’s no denying that Warner Brothers is playing a desperate game of catch-up, being only five movies deep into the DC cinematic mythos, while their Marvel counterpart is far ahead with 17 films already done and dusted. The fact that Justice League is coming before most of the characters’ standalone films (if they even materialize) is a sign of this, and the Justice League film itself suffers narratively because of this. With the need to set up the backstories of multiple superheroes in this ensemble film, the first hour of Justice League moves at a snail’s pace, punctuated only by the occasional murkily choreographed fight sequence that does not feel like central to the plot (see: the battles at Themyscira and Atlantis). Overall, the storytelling in Justice League is a huge, ungainly mess, because it needed to do so many things that nothing really worked.

This is exacerbated by the fact that the buildup of getting the team in place ends up being inconsequential, as the unmemorable Steppenwolf (in a rare feat, Ciarán Hinds’ performance is expensively motion captured and yet looks like a cheap render from a B-movie) is portrayed as being so powerful that it requires a literal deus ex machina to overcome, rendering much of the team-building process moot. That the deus ex machina segment actually is one of the high points of the movie is one of the many little ironies that pervade Justice League. Fortunately, the cast all put in passable performances and exhibit sufficient chemistry with each other, barring Affleck whose turn as an aging Batman is rather insipid and generic.

While it was clear that the pitch-black treatment that Snyder applied to the DC Extended Universe was a wrong move, the reparative actions taken to steer Justice League in the other direction fails to fully convince. It’s clear that Whedon is the one that injected the comedic moments into the film, and while these are fun to watch in silo, it simply does not jibe with the rest of the film. The result is a tonally fragmented film that requires a lot of patience to wade through, and feels like an eternity despite being just two hours long.

Now that Justice League is finally a done deal and likely to be a critic-proof box office hit, Warner Brothers can hopefully finally take some time to let the DCEU develop and steer entirely clear of the shadow Snyder had unfortunately managed to cast on the entire franchise. If the Aquaman movie in 2018 is more akin to Wonder Woman, then at the very least we have some hope that the DCEU will eventually shape up to be a worthy contender to the MCU. That Justice League 2 is still in development without any announced cast, crew or release date is actually good news.

Rating: * * (out of four stars)

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Thor: Ragnarok

Genre: Action

Director: Taika Waititi

Screenplay: Eric Pearson, Craig Kyle & Christopher L. Yost

Cast: Chris Hemsworth, Tom Hiddleston, Cate Blanchett, Idris Elba, Jeff Goldblum, Tessa Thompson, Mark Ruffalo, Karl Urban, Anthony Hopkins, Benedict Cumberbatch

Running Length:  130 minutes

Synopsis: In Marvel Studios’ Thor: Ragnarok, Thor (Chris Hemsworth) is imprisoned on the other side of the universe without his mighty hammer and finds himself in a race against time to get back to Asgard to stop Ragnarok – the destruction of his homeworld and the end of Asgardian civilization – at the hands of an all-powerful new threat, the ruthless Hela (Cate Blanchett). But first he must survive a deadly gladiatorial contest that pits him against his former ally and fellow Avenger – the Incredible Hulk (Mark Ruffalo)!

Review: Throw your preconceived notions of what a Thor movie is like out of the window. Thor: Ragnarok subverts not just the Thor franchise but essentially almost the entire Marvel Cinematic Universe, and in one fell swoop, manages to dethrone BOTH Guardians of the Galaxy movies to become the singularly funniest, most offbeat movie in the MCU’s (current) 17-film canon. This is no mean feat, and being the first truly mainstream directorial effort from Kiwi director Taika Waititi, this is an even more impressive achievement.

While Chris Hemsworth is firmly in the top echelon of Hollywood heartthrobs, he’s also an actor with excellent comic timing. There have been glimpses of this in previous excursions of Thor (in his own films and in the ensemble films) but only with Waititi’s equally quirky directorial sensibilities does this come to the forefront. And boy, does it get milked for all it’s worth – never mind the fact that Waititi kept some of the best one-liners for himself (he voices a blue Thing-like alien called Korg) – at times it almost feels like the audience has been invited to a comedy club night out headlined by a Norse God. Thor: Ragnarok is quite easily one of the most entertaining movies released thus far in 2017.

The rest of the cast are also very open to hamming it up, none more so than Cate Blanchett’s scenery-chewing turn as Thor and Loki’s vengeful sister Hela, but followed very closely by Jeff Goldblum’s homage to Liberace as the Grand Master ruling over Sakaar. Newcomer Tessa Thompson also impresses as Valkyrie, a sassy female bounty hunter that is haunted by her past. There are also a number of cameo appearances and side plots that do nothing much in terms of advancing the main narrative, which kind of begs the question of whether the film would have felt better in terms of pacing and length if it didn’t cross the two-hour mark (yes, you have to sit through the entire end credits like every other Marvel movie if you don’t want to miss any of the codas).

Fans of the action sequences and CGI-fests omnipresent in the superhero movie genre are not going to walk away disappointed, but it’s apparent that while well-choreographed, these action scenes in Thor: Ragnarok are not Waititi’s strongest suit, and much of it feels rather rote (except when played for laughs). However, the depth of the MCU ensures that even when not at their finest, there is enough precedent setup that the film can coast by with ease. It does devolve into a rather perfunctory final act, but when the lead-up is so strong, it’s hard to begrudge the film’s need to still check off some boxes for the MCU and lead into Thor’s next outing in 2018’s Avengers sequel. While it will be quite some time (if at all) before Thor gets another standalone movie, Marvel has another bona-fide hit on their hands, and the soon-to-follow Justice League movie would likely face an uphill challenge in its efforts to dethrone it as the superhero movie of the year.

Rating: * * * ½ (out of four stars)

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