Marvel has given its fanbase a real treat after the long-awaited installation thunders into theaters. Director Taika Waititi (What We Do In The Shadows, We’re Wolves,) has brought the most cosmically stunning, humorously clever film to both the Thor franchise and the Marvel Cinematic Universe. While Loki Laufeyson (Tom Hiddleston) continues his reign over Asgard while masking himself as Odin (Sir Anthony Hopkins,) Ragnarok opens upon an intense battle scene between Thor Odinson (Chris Hemsworth) and another unearthly God as Led Zepplin’s “Immigrant Song” keeps time. The film continues to remain at a constant pace, as Laufeyson’s identity is discovered as his portrayal of Odin isn’t persuasive upon Thor’s return to his home planet. Marvel is known for their cameos, but a glance at Matt Damon and Luke Hemsworth are seen impersonating the brothers quite dramatically, is certainly the best one yet. As Loki reveals that his adoptive father has been kept in Norway, Thor is insistent to retrieve him as family secrets begin to unravel. It isn’t addressed why Odin is specifically found in Norway but could be cleverly traced back to the origins of Norse mythology, where our heroes are derived from. The score isn’t the most impressive aspect, but the effects are both vivacious with color and seamless as Hela, Goddess of Death (Cate Blanchett) is introduced and wreaks havoc as she not only destroys Mjolnir with the mere grasp of her hand but seeks vengeance on all of Asgard in her wake. In order to seek Odin’s location, both Thor and Loki must retreat to Manhattan, where Doctor Stephen Strange (Benendict Cumberbatch) is consulted for the brevity of a few minutes. Their return to Earth is lighthearted as Loki is continually looped through portals created by Strange as he pulls Thor aside to discuss his own personal matters. Through the interaction, the God of Thunder becomes more and more intoxicated, and his clumsy nature is drawn out furthermore comedically. While Hela reigns over the Bifrost and takes to her crusade of revenge, she gains the aid of Scourge, a guard of the Bifrost. A timeline parallels as a new location, a junker planet by the name of Sakaar is introduced. A planet for the unwanted, Sakaar is populated with scavengers and scrappers alike. Thor is sought after upon his arrival, where Valkyrie (Tessa Thompson) is first introduced. She’s fearless, decorated with white warpaint, and nearly invincible as she takes her prize to The Grandmaster (Jeff Goldblum.) The scenes themselves are vibrantly neon, pulsatingly ebullient, and overall lively. The Grandmaster himself is a curiously odd yet entertaining character as he is disassociated and reckless with the aspects of life. He hosts his “Contest of Champions,” where contenders are remodeled and sent to “duke it out” with the Hulk as gladiators in a Colosseum. Bruce Banner (Mark Ruffalo), while remaining in Hulk form for years after his aerodescent at the end of Age of Ultron (2015,) has picked up fragmented speech and is worshiped by those on Sakaar. Thor, adjusting to his loss of hair and hammer, is sent to wait among others lined up to fight. Between Loki striving to make amends with his brother, and simply denying his connection to him, the audience meets Korg (Taika Waititi.) Voiced by the director, his hulkish build is undermined by the squeakiness of his voice and his failing plans to escape. Waititi drew the characterization from his indigineous background and modeled Korg’s attitudes after Polynesian bouncers at clubs. The battle takes place as Loki flashes back to his own pulverization. Hela keeps Asgard in her grasp, furthering details about the battle against the Valkyrie in which Valkyrie was noted to have fought. The tattoo on her forearm gives a deeper history of love and loss. During these flashbacks, brilliant scenes masterfully created are almost resemblance of Renaissance paintings as their coloring, detail and precision is the keystone. Allusions to Tony Stark and Infinity War are made as Hela shoves her way past a mock Infinity Gauntlet, or while Stark’s ship is discovered. An old tactic is used by Thor as Banner is brought back to human state and kept sheltered away. He takes on the identity of Stark by donning his clothing and Thor takes up a shawl, despite his godly figure. Banner confesses that if he transforms into the Hulk once more, he won’t revert back. Ironically, there is nothing but Hulk to be seen as the disoriented pair have to return to Asgard. With no guard over the Bifrost, Heimdall (Idris Elba) has a more inclusive role as he guards the innocent on extraterrestrial mountain ranges. Thor, Loki, Valkyrie, and Banner engage in a quinjet chase as The Grandmaster demands he keeps all that enter his realm. Returning to Asgard where Hela has revived an army of undead and the Fenris Wolf, the final battle has begun on the Bifrost. When Thor is seen losing an eye at the hands of Hela, the makeup job is poor and sloppy, unconvincing and disappointing for a highly-budgeted film. Ragnarok remains to keep it’s level of entertainment as again Led Zeppelin is played over, highlighting each member of the “Revenger” team as they manage to defeat Hela with the consequence of losing the planet as a whole. Heimdall ensures Thor that Asgard is a people, not a place, as they displace onto another aircraft and abandon the ruins. During his battles and struggles alike, Thor discovers the maximum of his abilities as he releases a full-body elemental storm which is simply electrifying. Ragnarok reaches its conclusion as Loki makes his peace with his brother after a lifetime of mistrust and doubt between them. The plot grows thicker though open-ended as the film creates the perfect passage for the next phase of the Marvel Universe and it’s upcoming plans.