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Watch Thor Ragnarok (2017), Story, Stars, Reviews & All You Want To Know About A Great Movie

 

Thor Ragnarok (2017)

Imprisoned on the planet Sakaar, Thor must race against time to return to Asgard and stop Ragnarök, the destruction of his world, at the hands of the powerful and ruthless villain Hela.

Thor Ragnarok is a 2017 American superhero film based on the Marvel Comics character Thor, produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures. It is the sequel to Thor (2011) and Thor: The Dark World (2013), and is the 17th film in the Marvel Cinematic Universe (MCU).

The film was directed by Taika Waititi from a screenplay by Eric Pearson and the writing team of Craig Kyle and Christopher Yost, and stars Chris Hemsworth as Thor alongside Tom Hiddleston, Cate Blanchett, Idris Elba, Jeff Goldblum, Tessa Thompson, Karl Urban, Mark Ruffalo, and Anthony Hopkins. In Thor Ragnarok, Thor must escape the alien planet Sakaar in time to save Asgard from Hela (Blanchett) and the impending Ragnarök.

A third Thor film was confirmed in January 2014, when Kyle and Yost began work on the screenplay. The involvement of Hemsworth and Hiddleston was announced that October. Waititi joined the film as director a year later, after Thor:

The Dark World director Alan Taylor chose not to return. Ruffalo joined the cast reprising the role of Hulk from previous MCU films, which allowed elements of the 2006 comic storyline “Planet Hulk” to be adapted for Ragnarok. The rest of the cast, including Blanchett as Hela, was confirmed in May 2016, with Pearson’s involvement revealed at the start of filming that July. Principal photography took place in Brisbane and Sydney, Australia, with the film also having exclusive use of Village Roadshow Studios in Oxenford, concluding in October 2016.

Thor Ragnarok premiered in Los Angeles on October 10, 2017, and was released in the United States on November 3, 2017, as part of Phase Three of the MCU. The film received praise for its acting and Waititi’s direction, as well as the action sequences, visual effects, musical score, and humor, with many critics considering it to be the best installment of the Thor franchise. It grossed $854 million, becoming the highest-grossing film of the series and the ninth-highest-grossing film of 2017. A sequel, Thor: Love and Thunder, was released on July 8, 2022.

 

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Thor Ragnarok (2017) Trailer

 

Thor Ragnarok (2017) Reviews

I wouldn’t have picked Chris Hemsworth as Marvel’s breakout comedy star when he was first cast as Thor, God of Thunder, but he turned out to be one of the best things about this never-ending mega-franchise. He’s tall, brawny and impossibly handsome, but there’s a self-mocking twinkle in his eye.When Thor is in gung-ho jock mode, Hemsworth’s wry machismo evokes the young Sean Connery as James Bond, raising an eyebrow at the corniness around him. When he bumbles and stumbles, there’s a touch of Cary Grant to his embarrassment. And when he’s playing things more or less straight, there’s an average guyness to his reactions. All this humanizes an actor who’s perpetually at risk of being treated as a life-sized action figure.

Hemsworth’s charisma holds “Thor Ragnarok” together whenever it threatens to spin apart, which unfortunately is often. Written by Eric Pearson, Craig Kyle and Christopher Yost and directed by Taika Waititi (“Hunt for the Wilderpeople,” “What We Do in the Shadows”), this is almost but not quite a stand-alone picture, tethered to previous “Avengers” entries only by Thor’s opening search for the Infinity Stones, which has led him to be imprisoned by the fire demon Sutur.The demon tells him that his father Odin (Anthony Hopkins) is no longer on Asgard and that their homeworld will soon be destroyed in Ragnarok, a prophesied apocalypse. After that, the film splits into a couple of parallel narratives.

Fully half the film is a court intrigue/war picture, charting the takeover of Asgard by Thor’s long lost sister Hela (Cate Blanchett), a black-clad force of nature who seems to turn into a demonic stag-beast when she fights: her head sprouts elegant antlers that might have been sketched in the air with a brush dipped in India ink.

The other “Thor Ragnarok” is a largely comedic gladiator movie with prison thriller accents: Thor is trapped on the planet Sakaar, where he’s forced to fight the planet’s reigning champion, the Hulk (Mark Ruffalo).

As revealed in trailers, Tom Hiddleston’s Loki is back, too—and why wouldn’t he be? He’s easily the most entertaining villain, or antihero, in the franchise, so beguiling that when Thor inevitably succumbs to his charisma and fights alongside him, both he and the audience momentarily forget how much death and property destruction he’s caused in prior chapters.

The overqualified supporting cast does a lot with not-quite enough. Sakaar’s “Grandmaster” is Jeff Goldblum, who gives exactly the sort of performance you’d want Jeff Goldblum to give in a project like this: intellectually detached, droll and smart-alecky, yet also somehow petty, arbitrary and sadistic.

Goldblum’s unique genius is his ability to toss off lines that might’ve seemed as overripe as week-old avocados on the page, like, “Let’s have a hand for all of our undercard competitors who died so gruesomely.” (From the inventive way he adds “ums” and “ahhs,” you can tell that he’s also a jazz musician.) The worst thing I can say about him is that he’s more appealing here than well-used.

Either there should have been a lot more of him—though not at the expense of Blanchett, who’s a slinky hoot—or his efforts should’ve been more finely shaped by the filmmakers, so that his brilliance cohered into a bona fide character or else pushed on towards toward Dadaist madness, like Tim Curry as Dr. Frank N. Furter in “The Rocky Horror Picture Show” or the late Gene Wilder’s title performance in “Willy Wonka and the Chocolate Factory.”

(The latter seems to have been what Waititi and company were going for in casting Goldblum: when Thor is introduced to Sakaar, “Pure Imagination” plays on the soundtrack.)

As Valkyrie, an alcoholic bounty hunter who once fought against Hela and now works for The Grandmaster, Tessa Thompson more than holds her own in scenes opposite Hiddleston, Hemsworth and Ruffalo. She’s hard-boiled, like a tough dame in a 1940s detective film spitting wisecracks.As Skurge, a warrior who survives Hela’s destructive takeover of Asgard and joins her in order to survive, “Lord of the Rings” star Karl Urban captures the unhappiness of a  sellout who knows he’s better than the life he’s expediently chosen; but so much of his performance is reduced to anguished reaction shots that you may wonder—as you might with Thompson—whether the best bits got cut for pacing.

In the run-up to release, much was made of the allegedly drastic shift in tone that would make this project unique. It was sold as a light, funky, largely comedic effort—practically a spoof of Marvel’s usual, with Thor and the Hulk serving as the anchor of, basically, a buddy movie, like the kind  Bob Hope and Bing Crosby used to churn out.

There are times when it gets close to that promised film, and when it hits pay dirt, it is delightful—particularly during very broad slapstick moments, as when Hulk enters the arena and Thor laughs with relief and announces, “I know him—he’s a friend from work!”; and in moments of relatively subdued character development, as when Thor and Hulk commiserate in private and we learn that the big green guy loves it on Sakaar because the people treat him as an athletic superstar and folk hero, in contrast to the pariah treatment he gets back on Earth.

(When you’re mainly good at Hulk Smash, it’s a relief to land a job that asks you to do nothing but.)

When Hulk turns back into Bruce Banner, Ruffalo reminds us that he’s giving two performances here, both superb. He revels in the looming physicality of Hulk—a motion capture performance on par with Andy Serkis’ best—but when he turns back into a regular man, he seems to shrink within himself.

He’s unafraid to use his shortness for laughs, appearing side-by-side against the towering Hemsworth in wide shots like the superhero answer to Laurel and Hardy. Banner’s complaints are small, too—and yet they aren’t, because of their recognizable humanity: “You’re just using me to get to Hulk,” he whines. “It’s gross. You’re a bad friend.”

Unfortunately, as is often the case with Marvel films, the adventurous aspects aren’t adventurous enough, and the more predictable aspects—the CGI-saturated fight scenes, with bodies whirling through the air; the wide shots of cities burning and giant creatures on the rampage; the images of whooshing, twisting star gates and bodies falling from the sky like meteors—are more frenzied and loud than inspired, and eventually become monotonous. The movie’s final third, yet another Marvel Big Battle, is as tedious as the first two-thirds are endearing.There’s a whiff of post-colonialist critique in the presentation of Asgard as an empire that was founded on war but that now hypocritically congratulates itself for being peaceful, but the screenplay doesn’t develop the idea as well as it might.

A climactic twist, which I won’t reveal here, is presented in such a tonally inappropriate way that it calls the film’s entire approach into question. (“Ant-Man”’s status as the best off-brand MCU film remains unchallenged.) Only the comic chemistry of the main quadrangle—Hemsworth, Hiddleston, Thompson and Ruffalo—prevents “Thor: Ragnarok” from devolving into another standard-issue superhero crash-and-bash fest.

Still, there’s plenty to like here. Waititi, his cinematographer Javier Aguirresarobe (“Blue Jasmine”), and his production designer Dan Hennah take their cues from pop art-influenced comic book adaptations of the ‘60s and ‘70s, like TV’s “Batman,” “Logan’s Run,” “Flash Gordon” and “The Black Hole,” filling the screen with kitschy costumes, furniture, artifacts and machinery envisioned in the tiled, knobby style of the late, great illustrator Jack Kirby, and presenting it all in oversaturated color.

The disco-drug-trip gaudiness is a welcome change of pace from superhero cinema’s default bled-by-leeches look. At one point, Thor gripes about the red-and-white patterning of the capital city’s interiors, as well he should: they’re hideous.

Mark Mothersbaugh, the onetime Devo co-founder and composer who scored four Wes Anderson films, creates a retro-synth soundtrack suited to the era of science fiction cinema in which characters wore jumpsuits. This is a close-but-no-cigar movie, but so enjoyable for the most part, and so modest in its aims, that its disappointments aren’t devastating. I’d watch the first 90 minutes again anytime.

  • Matt Zoller Seitz –  Roger Ebert
  • Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Thor Ragnarok (2017) Credits

Thor: Ragnarok movie poster

Thor: Ragnarok (2017)

Rated PG-13 for intense sequences of sci-fi violence and action, and brief suggestive material.

130 minutes

Cast

Chris Hemsworth as Thor Odinson

Tom Hiddleston as Loki

Cate Blanchett as Hela / Halja

Mark Ruffalo as Bruce Banner / The Hulk

Jeff Goldblum as The Grandmaster

Tessa Thompson as Brunnhilde / Valkyrie

Idris Elba as Heimdall

Karl Urban as Skurge / The Executioner

Anthony Hopkins as Odin

Benedict Cumberbatch as Stephen Strange / Doctor Strange

Taika Waititi as Korg / Surtur (mo-cap)

Director

  • Taika Waititi

Writer (based on the comics by)

  • Stan Lee
  • Larry Lieber
  • Jack Kirby

Writer

  • Craig Kyle
  • Christopher Yost
  • Eric Pearson

Cinematographer

  • Javier Aguirresarobe

Editor

  • Zene Baker
  • Joel Negron

Composer

  • Mark Mothersbaugh

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Thor Ragnarok (2017) Plot

Two years after the battle of Sokovia, Thor is imprisoned by the fire demon Surtur, who reveals that Thor’s father Odin is no longer on Asgard. He explains that the realm will soon be destroyed during the prophesied Ragnarök, once Surtur unites his crown with the Eternal Flame that burns in Odin’s vault. Thor frees himself, defeats Surtur and takes his crown, believing he has prevented Ragnarök.

Thor returns to Asgard to find Heimdall gone and his estranged brother Loki posing as Odin. After exposing Loki, Thor forces him to help find their father, and with directions from Stephen Strange at the Sanctum Sanctorum in New York City, they locate Odin in Norway.

Odin explains that he is dying, Ragnarök is imminent despite Thor’s efforts to prevent it, and his passing will free his firstborn child, Hela, from a prison she was sealed in long ago. Hela was the leader of Asgard’s armies, conquering the Nine Realms with Odin, but he imprisoned her and wrote her out of history after fearing that she had become too ambitious and powerful.

Odin dies as Thor and Loki look on, and Hela appears, destroying Thor’s hammer Mjolnir. She pursues the two as they attempt to flee through the Bifröst Bridge, forcing them out into space. Arriving in Asgard, she defeats its army and kills the Warriors Three. She then resurrects the ancient dead who once fought with her, including her giant wolf Fenris, and appoints the Asgardian Skurge as her executioner.

Hela plans to use the Bifröst to expand Asgard’s empire, but Heimdall sneaks in, takes the sword that controls the Bifrost, and begins hiding other Asgardians. Thor crash-lands on Sakaar, a garbage planet surrounded by wormholes.

A slave trader designated Scrapper 142 subdues him with an obedience disk and sells him as a gladiator to Sakaar’s ruler, the Grandmaster, with whom Loki has already ingratiated himself. Thor recognizes 142 as a Valkyrie, one of a legendary force of female warriors who were killed fighting Hela eons ago.

Thor is forced to compete in the Grandmaster’s Contest of Champions, facing his old friend Hulk. Summoning lightning, Thor gets the upper hand, but the Grandmaster sabotages the fight to ensure Hulk’s victory. Still enslaved after the fight, Thor attempts to convince Hulk and 142 to help him save Asgard, but neither is willing.

He soon manages to escape the palace and finds the Quinjet that brought the Hulk to Sakaar. Hulk follows Thor to the Quinjet, where a recording of Natasha Romanoff causes him to transform back into Bruce Banner for the first time since Sokovia. The Grandmaster orders 142 and Loki to find Thor and Hulk, but the pair come to blows and Loki forces her to relive the deaths of her Valkyrie companions at the hands of Hela.

Deciding to help Thor, she takes Loki captive. Unwilling to be left behind, Loki provides the group with the means to steal one of the Grandmaster’s ships. They then liberate the other gladiators who, incited by two aliens named Korg and Miek, stage a revolution. Loki again attempts to betray his brother, but Thor anticipates this and incapacitates him, leaving him behind where Korg, Miek, and the gladiators soon find him.

Thor, Banner, and 142 escape through a wormhole to Asgard, where Hela’s forces attack Heimdall and the remaining Asgardians in pursuit of the sword that controls the Bifröst. Banner transforms into Hulk again, defeating Fenris, while Thor and 142 fight Hela and her warriors. Loki and the gladiators arrive to rescue the citizens, and a repentant Skurge sacrifices himself to enable their escape.

Thor, facing Hela, loses his right eye and then has a vision of Odin that helps him realize only Ragnarök can stop her. He sends Loki to retrieve Surtur’s crown and place it in the Eternal Flame. Surtur is reborn and destroys Asgard, killing Hela as the refugees flee. Aboard the Grandmaster’s spaceship, Thor, now king, reconciles with Loki and decides to take his people to Earth.

In a mid-credits scene, they are intercepted by a large spacecraft. In a post-credits scene, the overthrown Grandmaster is confronted by his former subjects.

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Thor Ragnarok (2017) Box office

Thor Ragnarok grossed $315.1 million in the United States and Canada, and $538.9 million in other territories, for a worldwide total of $854 million. In September 2017, a survey from Fandango indicated that Ragnarok was the most anticipated fall film. On the weekend of November 3, 2017, the film earned $25.4 million from IMAX showings, surpassing Doctor Strange as the largest for a November weekend.

The film had earned $650.1 million globally, surpassing the total grosses for Thor ($449.3 million) and Thor: The Dark World ($644.6 million), by the end of its third weekend. It became the ninth-highest-grossing film of 2017.Deadline Hollywood calculated the net profit of the film to be $174.2 million, accounting for its production budget, prints and advertising, talent participation and other costs, against box office grosses and ancillary revenue from home media, placing it eighth on their list of 2017’s “Most Valuable Blockbusters”.

Thor Ragnarok earned $46.8 million on its opening day in the United States and Canada (including $14.5 million from Thursday night previews), and had a total weekend gross of $122.7 million, which was the top film for the weekend, the sixth-best November opening, and the largest opening for all Thor films. IMAX contributed $12.2 million, which was the second-best IMAX opening of 2017 and its third-best November opening.

The film’s earnings on Sunday ($32.1 million), was the second-best Sunday in November after The Hunger Games: Catching Fire (2013) ($34.5 million). The film had been projected to gross $100–125 million in its opening weekend. Ragnarok remained the number one film in its second weekend, having earned a total of $211.6 million, which surpassed the entire runs of Thor ($181 million) and The Dark World ($206.4 million).

In its third weekend, Thor Ragnarok fell to third at the box office, and fourth in its fourth and fifth weekends. The film surpassed its projected total domestic gross of $280 million in its fifth weekend with $291.4 million, Thor Ragnarok was fifth in its sixth weekend, and seventh in its seventh weekend, the final weekend it remained in the top 10.

Outside the United States and Canada, the film opened in 36 markets in its first weekend, ranking first in all, and earning $109.1 million, $6 million of which came from 189 IMAX screens.

The United Kingdom opening ($16.2 million) was the best October opening for a non-James Bond film. South Korea ($15.7 million), Australia ($8.4 million), Brazil ($8.1 million), Indonesia ($5.5 million), Taiwan ($5.4 million), the Philippines ($3.8 million), Malaysia ($3.5 million), New Zealand, Vietnam, Argentina, Colombia, Chile, Bosnia, Bulgaria, Croatia, and South Africa had the best October opening weekend ever, while France ($7.7 million) had the second-best.

Brazil also had the third-best debut for an MCU film, while New Zealand’s opening was the biggest of 2017. In its second weekend, Ragnarok opened at number one in 19 more markets, with the largest November opening ever in China ($56.3 million, including $6 million from 446 IMAX screens), Mexico ($10.8 million), Germany ($8.9 million), and India ($5.5 million). It also remained at number one in many existing markets. The film earned an additional $13.2 million from 788 IMAX screens, the best November opening.

In its third weekend, the film remained at number one in over 30 countries, and became the highest-grossing superhero film in the Czech Republic. By its fifth weekend, Ragnarok had become the highest-grossing superhero film in central and eastern Europe. As of December 10, 2017, the film’s largest markets were China ($112 million), the United Kingdom ($40.4 million), and South Korea ($35.1 million).

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Thor Ragnarok (2017) Critical Response

The review aggregator Rotten Tomatoes reported an approval rating of 93%, with an average score of 7.6/10, based on 439 reviews. The website’s critical consensus reads, “Exciting, funny, and above all fun, Thor Ragnarok is a colorful cosmic adventure that sets a new standard for its franchise—and the rest of the Marvel Cinematic Universe.” Metacritic assigned a weighted average score of 74 out of 100 based on 51 critics, indicating “generally favorable reviews”.

Audiences polled by CinemaScore gave the film an average grade of “A” on an A+ to F scale, the best of the Thor series, while PostTrak reported filmgoers gave it a 90% overall positive score and an 85% “definite recommend”.

Sheri Linden of The Hollywood Reporter praised Waititi’s handling of “the clash-of-worlds CGI extravaganza”, particularly for the lighter tone he brought, with “even the story’s central bad guys [being] silly fun, hammed to the hilt by Cate Blanchett and Jeff Goldblum.” Alonso Duralde of TheWrap wrote, “Both the banter and the fighting, it should be noted, are excellent, so whether you go to superhero movies for the glossy escapism or the pulse-pounding action, you’ll get your large soda’s worth.”

Peter Travers of Rolling Stone rated the film three stars out of four, described it as “the most fun you’ll ever have at a Marvel movie” while praising the film’s changing tone and direction, comparing it favourably to Guardians of the Galaxy. The San Francisco Chronicles Mick LaSalle lauded the performances of Hemsworth, Hiddleston, Blanchett, Thompson, Goldblum and Ruffalo, feeling the film “has confidence in its characters and in its own invention, and so it avoids repetition and stays fresh”.

Richard Roeper of the Chicago Sun-Times similarly praised the film, calling the performances of the ensemble cast “outstanding” and Waititi’s direction “goofy and campy and marvelously self-referential”. He also said the soundtrack that was used in the climactic battle sequence, particularly Led Zeppelin’s “Immigrant Song”, was “perfectly synced”.

Matt Zoller Seitz of RogerEbert.com gave the film three out of four stars, positively comparing Hemsworth’s performance to Cary Grant: “Hemsworth’s charisma holds [Thor Ragnarok] together whenever it threatens to spin apart”. Justin Chang of Los Angeles Times praised Blanchett’s performance of Hela, drawing a comparison of the portrayal of her character to other iconic villains such as Maleficent and Chernabog, and the film’s similar themes and tone to Flash GordonStar Wars (1977), and Willy Wonka & the Chocolate Factory.

The Daily Telegraph‘s Robbie Collin gave the film four out of five, hailed it as “one of [Marvel’s] best films to date” while commending the performances and describing Mark Mothersbaugh’s musical score as “turbo-charged”. Michael Phillips of the Chicago Tribune commended the performances of Hiddleston and Thompson as being “wonderfully matched”.

He also noted a similar directing style of Waititi to Edgar Wright’s “parodic work” and labelled the film as “unusually lively and buoyant” while acknowledging the effect of a “Marvel Fatigue factor” towards the audiences.[220]

Peter Debruge of Variety called the movie “preposterous”, but praised Goldblum’s performance. Stephanie Zacharek of Time magazine stated negatively that “Thor Ragnarok is packed tight with zooming space vehicles and noisy thunder battles, but the movie’s extravagant excess is more narcotizing than energizing.” Zacharek further added that “Even poor Thor seems lost in all of it, and he’s supposed to be its star” while criticizing the film’s visual effects as being “an instance of fun overkill” and “a special-effects coma”.

Manohla Dargis of The New York Times called the story “an uninteresting thicket of brawls, machinations and useful coincidences” but did feel that Hemsworth “looks happier and far more relaxed in Ragnarok than he did in the previous Thor vehicles, which is perhaps Mr. Waititi’s truest achievement here.”

Some critics claim that Thor Ragnarok conceals sophisticated commentary under its comedic presentation, specifically on themes of colonial history and indigenous people. Key points in this discourse include Waititi’s own indigenous Māori heritage; Asgard’s bloody history and Odin’s whitewashing of it, as revealed by Hela; Scrapper 142’s burial in alcohol of her ethnic identity as a Valkyrie; and the Grandmaster’s euphemizing of “slaves” as “prisoners with jobs”.

 

 

Thor Ragnarok (2017) Accolades

Year Award Category Recipient(s) Result
2017 Washington D.C. Film Critics Awards Best Motion Capture Performance Taika Waititi Nominated
2018 Golden Tomato Awards Best Wide Release 2017 Thor: Ragnarok 10th place
Best Comic Book/Graphic Novel Movie 2017 Thor: Ragnarok 3rd Place
Critics’ Choice Awards Best Action Movie Thor: Ragnarok Nominated
Best Actor in a Comedy Chris Hemsworth Nominated
Best Visual Effects Thor: Ragnarok Nominated
NAACP Image Awards Outstanding Supporting Actor in a Motion Picture Idris Elba Won
Outstanding Supporting Actress in a Motion Picture Tessa Thompson Nominated
Visual Effects Society Awards Outstanding Virtual Cinematography in a Photoreal Project Hubert Maston, Arthur Moody, Adam Paschke, Casey Schatz for “Valkyrie’s Flashback” Nominated
Outstanding Compositing in a Photoreal Feature Gavin McKenzie, David Simpson, Owen Carroll, Mark Gostlow for “Bridge Battle” Nominated
Costume Designers Guild Awards Excellence in Sci-Fi/Fantasy Film Mayes C. Rubeo Nominated
Empire Awards Best Film Thor: Ragnarok Nominated
Best Sci-Fi/Fantasy Thor: Ragnarok Nominated
Best Director Taika Waititi Nominated
Best Female Newcomer Tessa Thompson Nominated
Best Production Design Thor: Ragnarok Nominated
Best Visual Effects Thor: Ragnarok Nominated
Best Costume Design Mayes C. Rubeo Nominated
Best Makeup and Hairstyling Thor: Ragnarok Nominated
MTV Movie & TV Awards Scene Stealer Taika Waititi Nominated
Best Fight Chris Hemsworth vs. Mark Ruffalo Nominated
Saturn Awards Best Comic-to-Motion Picture Release Thor: Ragnarok Nominated
Best Supporting Actress in a Film Tessa Thompson Nominated
Hugo Awards Best Dramatic Presentation, Long Form Eric Pearson, Craig Kyle, Christopher Yost, Taika Waititi Nominated
Teen Choice Awards Choice Sci-Fi Movie Thor: Ragnarok Nominated
Choice Sci-Fi Movie Actor Chris Hemsworth Won
Mark Ruffalo Nominated
Choice Sci-Fi Movie Actress Tessa Thompson Nominated
Choice Movie Villain Cate Blanchett Nominated
Choice Scene Stealer Tom Hiddleston Nominated
Taika Waititi Nominated
Hollywood Professional Association Outstanding Visual Effects – Feature Film Kyle McCulloch, Alexis Wajsbrot, Ben Loch, Harry Bardak (Framestore) Nominated

Thor Ragnarok (2017) Movie Info

Imprisoned on the other side of the universe, the mighty Thor finds himself in a deadly gladiatorial contest that pits him against the Hulk, his former ally and fellow Avenger. Thor’s quest for survival leads him in a race against time to prevent the all-powerful Hela from destroying his home world and the Asgardian civilization.

 

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