Jack's Favorite Movies of 2017 (Part II)

Happy New Year everybody! Here's my top ten favorite movies of 2017.

#10) STAR WARS: THE LAST JEDI

At this point, I’ll admit it’s nice that we’re back to a point where Star Wars saga has a consistent status on the year’s cinematic highlights (even if I wish I could redo my Best of 2016 list and take Rogue One down a few pegs). Still, The Last Jedi is some spectacular pop excitement. If nothing else, it feels like the first movie in this saga to actually do anything new both with the grand mythology and adding layers to the well-trodden narrative pattern.

#9) KONG: SKULL ISLAND

Vietnam War flicks and giant monster movies end up making for an expected yet rewarding pairing in Kong: Skull Island. B-movie thrills filtered through beautiful landscapes, heavily saturated colors and relentless energy. John C. Reilly adds his usual offbeat quirkiness to the non-monster spectacle moments. Also, this may be the most R-rated PG-13 film this movie fan has seen since Sam Raimi’s Drag Me to Hell.

#8) WONDER WOMAN

To say the DC Extended Universe has gotten something of a cold reception would be putting it mildly. Still, I’ve been championing this franchise ever Man of Steel came out in 2013 and its nice to see it finally has a film under its belt that’s been embraced by other film critics. It also helps that Wonder Woman is the best pure superhero picture of the year. Gal Gadot manages to be on par with Christopher Reeve in terms of being a living embodiment of the classical superhero image. The action setpieces are all great, especially the "No Man’s Land" sequence around the second act. Plenty of others have gushed over it; so, I won’t waste your time here. All the world has waited for this film for decades and they’ve been rewarded handsomely.

#7) LOGAN

Superhero movies have slowly expanded into other genres. Logan may be the most obvious example of this phenomenon. Bleak and uncompromising, Hugh Jackman’s final turn as Wolverine packs an emotional punch while being an awesome Western-noir-action hybrid. Plus, that final shot gets me every single time. What a way to go out with a bang!

#6) THE SHAPE OF WATER

Originality isn’t always what new stuff is being brought to the table; but, rather, it can be what a given filmmaker’s perspective on what’s come before. Guillermo del Toro has created plenty of marvels under this line of thinking and The Shape Of Water is the latest example of this. Excellent performances from all involved, exquisite production design, and utterly infatuated with the history of cinema, its the best example of film buff comfort food since La La Land. If you have the opportunity to see this adult fairy tale in a theater, take it!

#5) LOGAN LUCKY

Steven Soderbergh basically perfected the art of the heist flick with Ocean’s Eleven and the two sequels that followed. So, it's nice to see him return to the genre and remind us of his master of the craft with Logan Lucky. It manages to remain light and breezy while still having a beating heart that salutes its lower-class protagonists instead of mocking them. Southern-fried and electrified entertainment that you all should’ve seen during its initial theatrical run.

#4) JOHN WICK CHAPTER 2

To label this the Empire Strikes Back of action sequels would be hasty and kind of trite; however, it’s the only way I can describe this movie. Chapter 2 expands upon the already extensive universe of the first movie while simply being one of the best action movies of the entire decade. That Mirror Hall sequence alone is an all-time stunner. Plus, Keanu's still got it and continues to prove himself as one of the best living men of action. Bring on Chapter 3 pronto!

#3) GUARDIANS OF THE GALAXY VOL. 2

For as much as I enjoy them, I can’t say in honesty that the Marvel movies have had any sort of deep emotional impact...this is until these movies came along. A soaring sci-fi comedy that delivers gingerly deals with themes of what family really means and coping with past traumas.  I’d also argue this and my next choice on this are textbook examples of how to use a soundtrack in the most effective way possible. Using pop tunes like Brandy and Father and Son as dramatic through lines was a stroke of sly genius. James Gunn has knocked it out of the park yet again.

#2) BABY DRIVER

I've been rooting for this picture since it was announced. So, seeing it this high on my year-end best list shouldn't be that much of a shock. Much like it’s acclaimed soundtrack, Baby Driver moves to a rhythm that’s all its own. A perfect symbiosis of sound and vision. A daring feat of audiovisual harmony. The more I think about it, the more that I’m tempted to call this Edgar Wright’s masterpiece.

Before I get to number one, I would like to list a few honorable mentions...

• Coco
• Brigsby Bear
• War For The Planet of the Apes
• Murder on the Orient Express
• Free Fire

#1) BLADE RUNNER 2049

As is the case with many cinematic classics, making a sequel to Blade Runner is just a bad idea no matter how you slice it. It didn’t leave any room for a sequel and there’s no way a hypothetical follow-up would never be able to be even half as good. And yet, here we are. This is the first time I've felt like a film has truly blown me away since Interstellar came out about three years ago. Not only is Blade Runner 2049 on par with its predecessor, it's an accomplishment in cinematic artistry in its own regard. Denis Villeneuve continues to prove himself as one of the most captivating, intellectual filmmakers of the moment. Roger Deakins constructs each image in a painterly fashion. Seriously, if he doesn’t win that Best Cinematography at the this year’s Oscars, the Academy Awards will be officially worthless. Words still fail to describe what the assembled cast and crew have achieved here. Come twenty or thirty years from now, I’m getting the feeling we’re going to be talking about this the same way we do now about the original. Hats off to every individual who poured their heart and soul into making such a masterwork. I shall be forever thankful.

And, that's this year's list. Agree? Disagree? Be sure to let me know in the comments below. Oh, and for anyone expecting a full piece about this year's celluloid detritus, you'll be sorely disappointed. I find Worst of the Year lists to be a waste of my time as well as yours. Why should I go on about the stuff I hated when I could be using that time to be celebrating the stuff I love? There's some food for thought. Have a happy new year!

Jack's Favorite Movies of 2017 (Part I)

Well, it's that time of year again. Remember, if there's a movie on here you didn't care for or a movie that I left off for one reason or another, don't panic. It's just my silly opinion. There's also the important factor that these lists are always flexible One man's trash is another man's treasure and all that. With all that babbling out of the way, on with the show.

#20) A CURE FOR WELLNESS

Modern Hollywood doesn't tend to allow for much in the way of creativity in even their mid-level budgeted pictures. Yet, every now and then, an auteur gem like A Cure For Wellness is bestowed upon us. Visually sumptuous yet repellent and intricately plotted, this one mother of a gothic horror flick with plenty of grotesque ideas and some of the best production design in recent memory. Plus, I’d put this alongside Rango as justifications for why Gore Verbinski is one of the most interesting mainstream directors of the past twenty years or so. Love it, hate it, you won’t forget it. That’s for sure!

#19) DUNKIRK

Dunkirk is far from the most character-based war film; but, it surpasses a lot of others in how it effectively places the viewer in the violent chaos that is warfare. Christopher Nolan works his usual magic and manages to keep the suspense of each solitary moment tightly wound to its breaking point. Technically unmatched, it’ll be little wonder if this sweeps the upcoming Oscars. I would call it this year’s Gravity; but, this is an infinitely superior film to that and works just as well on the small screen as it does in the theater.

#18) THE BAD BATCH

Cinematic moodpieces can go either way for me. They can end up being insufferably pretentious detritus like Darren Aronofsky's mother! or they can be technically superb yet emotionally intangible like A Ghost Story, Sometimes, there's one that just works well with me. The Bad Batch happily fits that mold. Atmospheric and eclectic, Ana Lily Amirpour’s hallucinatory desert daydream may be slow-moving; but, its a film that I couldn’t take my eyes off of. Plus, what other movie will contain both Jim Carrey as a wacky hermit and Keanu Reeves as an over-the-top, Southern, life-of-the-party cult leader?

#17) ATOMIC BLONDE

Personally, the phrase “style over substance” has never really clicked with me. There are cases where that may be true; but, for now, I’ll stay right over celebrating movies like Atomic Blonde where the style is the substance. Plus, ultra-sleazy James MacAvoy is hands down my favorite flavor of James MacAvoy. Atomic Blonde is synthpop fueled, neon-lit bone-crunching action at its finest. Check it out!

#16) THOR: RAGNAROK

Let’s put aside the idea that this is the best out of the Thor movies (even if that assessment is right on the money). Thor: Ragnarok works best on own its merits. Taika Waititi’s quirky sense of humor gels with the 80s metal album cover/cosmic Jack Kirby-influenced hybrid action-fantasy aesthetic surprisingly well. It’s also a big event comic book blockbuster flick that’s not afraid to let the world end for once and start on newer paths. Bonus points for containing one of the best uses of Led Zeppelin’s discography in cinematic history.

#15) ALIEN: COVENANT

Ridley Scott seems to have had a pretty year, what with him reshooting over half a movie mere weeks before release and having it be greeted with critical acclaim. But, let’s not forget what he accomplished with . After the fascinatingly polarizing Prometheus, it's nice to see he came back swinging with Alien Covenant. While it has plenty on its mind to ponder, it also works as a brutally nasty sci-fi horror flick. So, we get the best of both worlds. A movie that questions the nature of curiosity while also having a harrowing climatic spaceship fight and a shower kill straight out of a slasher movie.

#14) GOOD TIME

Urban crime flicks are something that's always welcome in my cinematic diet and Good Time is no exception. The Safdie Brothers direct this city-based adrenaline rush with effortless skill and Robert Pattinson gives it his all (who knew this dude could actually act?). It should also be mentioned that the score from Oneohtrix Point Never is killer. The icy synth beats bring to mind names like Tangerine Dream and add layers of energetic tension to every scene. Give this one a watch in the near future!

#13) BRAWL IN CELL BLOCK 99

Undercut by a swingin' original soundtrack and an intriguing sense of pathos, Brawl In Cell Block 99 is a might fine prison picture. Vince Vaughn is peak form as an honest blue-collar man trying his best to make it out in one piece in a world that grows uglier and uglier every single day. All that tense drama overrides the picture's grindhouse-style cheap thrills; but, boy, is that bloodletting ever so satisfying. Keep punching that car with all your ever-loving strength, Mr. Vaughn!

#12) IT

2017 was a pretty notable year for Stephen King adaptations. Some were good, some weren't. As you can guess, IT falls into the former category. A thoroughly entertaining amusement park attraction of a horror picture that manages to muster some genuinely moving drama with its young cast. Plus, Bill Skarsgard gives a career-defining turn as Pennywise and its refreshing to see an 80s throwback that shows some restraint with the nostalgia. Here's hoping Part II is even half as good as this was. Also, if you didn't get to check this out in a crowded moviehouse, you missed out big time.

#11) THE DISASTER ARTIST

It would've been so easy to turn the bizarre story behind one of the most ubiquitous cinematic cult phenomenon into little more than a snarky joke at the expense of an elusive werido. Thankfully, James Franco chose to look at of in an way that's strikingly empathetic towards Tommy Wiseau and his baffling celluloid monstrosity. Even if you aren't into The Room or haven't the foggiest idea of what it is, this is still an enjoyable dive into the process of filmmaking that's both admirably sweet and screamingly funny.

And that's it for numbers 20 through 11. Come back tomorrow to see what landed in my Top Ten. Until then, fly casual, dear readers!

STAR WARS: THE LAST JEDI Review

So, here's the thing. About three hours ago, I walked out of The Last Jedi and realized how much of a great film I'd had just seen. My mind was preoccupied with all the great character work, story beats and other technical details that I was left wondering why I didn't completely click with me like it has with everyone else. This isn't to undermine the praise the film has gotten from pretty much everyone else except foolish fanboys. Far from it, I agree that this is about as close to perfect a Star Wars film has come since Empire. While I acknowledge this is most certainly the better film of these two selections, I say that I'm more fond of The Force Awakens as pure entertainment. Who knows? Maybe I'll be swayed from liking it to loving it upon a second or third viewing.

One of the biggest things I can say in this film's favor is that it's chock-full of surprises. The narrative reaches many points I genuinely didn't see coming and takes the new characters from the previous film in new and interesting directions. Most notable and predominantly focused upon are the parallel arcs of Rey and Kylo Ren. Both characters grapple with the emotional weight and themes the story thrusts upon them in starkly different yet equally compelling ways. Even John Williams' score manages to through in some nice new additions. Williams' status as the greatest film composer in the history of the medium and his occasional reuse of classic themes are by now well-established; however, there are subtle moments throughout his new work that manage to be memorable in their own right and help give this new generation of Star Wars films much more of a distinct identity than Rogue One or Force Awakens could've hoped to accomplish.

The performances here are all about what you'd expect. Daisy Ridley, Adam Driver, John Boyega and Oscar Isaac are back and better than ever (the latter of which is actually given something to do this time around, so here his presence is commanding). Kellie Marie Tran is a welcome new addition to the ever-expanding roster of new players. Laura Dern and Benicio del Toro don't have much in the way of screentime; but, it speaks volumes to as their acting chops to know how much of an impression they end up leaving when all is said and done. Then, there's Carrie Fisher and Mark Hamill. Fisher's passing about a year ago does add the proceedings with an inescapably tragic overtone; but, suffice it to say, her final turn as Leia is one to be treasured. Plus, as he does in most things, Mark Hamill owns here. He imbues Luke Skywalker with a new sense of guilt and paranoia that shows the character's age effectively.

Now, for the bells and whistles in the film. Rian Johnson may have just directed the most technically efficient film in the entire franchise. About every page in the script is brimming with great dialogue and every story beat is busy yet not overstuffed. There are a few fun editing gags every now and then. Plus, the cinematography is absolutely immaculate. Aesthetically speaking, this is Star Wars in its absolute prime. There's a moment near the very end of the picture where the shot composition and music choices are practically a textbook example of how to effectively reference an iconic franchise moment while creating something new in the process. I won't give it away because it's kind of a massive spoiler; but, suffice it to say, it packs a massive punch.


The Last Jedi might not be the best Star Wars film; nevertheless, it may be the most thought-provoking film in the entire saga. It deals with themes of failure, generational legacy and becoming more than what's expected of you (for better or for worse). It's a bold risk of a film that might work one hundred percent of the way; but, its existence is important regardless.

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Ladies and Gents, The INFINITY WAR Trailer is Upon Us!

Well, here it is. After a decade since its inception and almost twenty movies under its belt, the Marvel Cinematic Universe has finally reached what is essentially its penultimate chapter. Look, I'm aware that there are more Marvel movies planned after this; but, ever since it's been announced, Kevin Feige and company have basically been selling this as the grand finale for most of its top-tier cast members. Naturally, the first trailer we've been given is as epic and massive as one would expect.

Overall, the footage present here all looks cool, even if its structurally identical to a lot of Marvel trailers nowadays. The action looks intense, kinetic and refreshingly colorful. Allow me to elaborate. This movie's going to be directed by the same guys who did Captain America: Civil War and I wasn't keen as that film as the rest of the public. I can't say in honesty that it's a terrible movie; however, it feels like an utterly bland, soulless, mechanical product of a film. Part of that is because I think a similar storyline was handled better in Batman v Superman (fight me!) and it all looked desaturated sludge. Thankfully, this appears to have changed and the Russo brothers appear to embrace the cartoonish insanity of its source material while maintaining some level of narrative weight (hopefully). 

Josh Brolin seems like he's going to be fantastic as Thanos and all the new costumes for the returning players are pretty interesting. My biggest hope for this movie is that it doesn't cop out and undermine any dramatic momentum (like bringing Thor's hammer or not killing off any of the main characters out of fear a sense of finality). Plus, that ending tease is just perfect. We'll see how this all plays out, come May 4th of next year.

JUSTICE LEAGUE Review

Well, it’s finally here. After eons of development and some extremely unfortunate obstacles behind the scenes, Justice League is finally upon us. To say that there’s a lot riding on this movie is obvious and a little redundant; but, I’ll go into it anyway. Considering all of the post-production meddling, tragic circumstances surrounding Zack Snyder’s departure from the whole project months before release and a hefty price tag to the tune of $300 million, its safe to say that this movie was embarking on a steep climb uphill.Now, with all that baggage being mentioned, is the final product good?

Despite what certain critics who shall remain unnamed are saying, Justice League is a relentlessly entertaining comic book movie. Granted, that turbulent series of events up until its release definitely leaves it rough around the edges in certain spots and I’d take an extended director’s cut of what Snyder originally wanted; regardless, its almost a miracle that we have something that’s works as well as this does. Make no mistake, Snyder’s creative touches are still very prevalent and go well with what Joss Whedon had to touch up; but, there are certain changes that do leave the movie feeling a bit lightweight and underdeveloped. The pace is a bit too fast, some of the effects are kind of unpolished and certain moments don’t have as much time to breathe as they should. Nevertheless, Whedon doesn’t kill the flick with his usual impulses of making the thing so snarky that you want to strangle it because it’s so pleased with itself (hence, why I’m so lukewarm on both of the Avengers movies and most of his work in general). Still, this doesn’t prevent the movie from being a blast that works like gangbusters in its best moments. Thankfully, unlike The Avengers, the humor here is quite playful and has an undercurrent of mythic sincerity over weightless facetiousness. It may not be as deep or intellectually challenging as Man of Steel or Batman v Superman; but, it doesn’t need to be and works as a final chapter in a transitional period of these heroes going through cynical/ponderous beginnings into being the hopeful icons of true aspiration that have made timeless since their conception. A lot of this can be seen in how the film uses the return of Superman. I won’t give away too much. For now, I’ll say that he comes back with a bang and Henry Cavill’s charisma is in full swing when he’s back in action. Those who have ignorantly complained about Superman being too mopey should be just fine here. Its good to have you back, Mr. Kent.

Ben Affleck and Gal Gadot are still effortlessly terrific. While Wonder Woman remains as ethereal and virtuous as ever, Ben Affleck’s Batman manages to soften up in contrast to his brutal depiction in BvS and it plays out naturally. Regardless of what the final word on this franchise ends up being, Affleck’s Batman will undoubtedly go down as one of its greatest strengths. Aside from making the surfer dudebro personality work surprisingly well, Jason Momoa’s Aquaman is refreshingly awesome and has some of the best lines in the entire movie. Give it a while and the trite “Lol, Aquaman is the lamest” jokes are going to flame out for a long time. Ezra Miller’s Flash is awkwardly endearing and sweet. It’s amazing how cool they make the Speed Force look. Then, there’s Cyborg. Sadly, he feels like the one member of the team that gets a little underdeveloped; still, newcomer Ray Fisher conveys a lot with what little he’s given and he gets a few moments to shine once the third act kicks in. Everyone else gets the job done without much to say about their performances. Ciaran Hinds isn’t great as Steppenwolf; but, to say that his character is the worst superhero movie villain ever is puzzlingly disingenuous and hyperbolic (especially when you remember that Catwoman and The Amazing Spider Man 2 still exist).

Again, with the exception of what they did to remove Superman’s mustache, most of the CGI is fine. Even though some of it looks pretty cartoonish, I’ll give it a pass because it fits with the visual aesthetic at play here. While it may be a bit too familiar and at times out of place, Danny Elfman’s score is as effective and crowd-pleasing as one would expect. All of the action setpieces are pure, candy-colored kinetic joy. It hits that nice middle ground between chaotic superpowered spectacle and hard-hitting fisticuffs. Of course, all this wouldn’t amount to much if we didn’t like these characters and that leads me to this film’s greatest strength. Everyone in the League works remarkably well off of each other and their back-and-forth banter is hard not to enjoy. It’s also a nice reminder in a post-MCU world that not all team up movies (or movies in general, come to think of it) don’t need an onslaught of previously existing origin films to get us to care about them. I know I’ve already brought up The Avengers a few times here; but, I’ve done so with purpose and what I’m about to say is what makes the two films interesting. In the first of Marvel’s flagship crossovers, most of the film has its protagonists at odds with each other until they realize how they need to settle their differences (which is fine and realistic, but not every movie of this mold should follow this pattern). Here, such petty bickering is put aside because pretty much all the major players are keenly aware of what’s at stake and don’t waste too much time at each other’s throats.



Ultimately, as hackneyed as it sounds, I can say that Justice League is everything I wanted it to be as a comic book fan and as a movie junkie. It gets to why seeing a cinematic adaptation of comic book madness is so fulfilling. It’s not just that it’s throwing a bunch of stuff I recognize on screen. No, its more than that because it can be an epic take of something near and dear to your heart and some of this minutia would look amazing on the silver screen, regardless of whether or not its original or it came from the four color page. Sure, its not perfect; but, no movie really is and it’s those imperfections that both amplify the silver linings and reveal how much effort/care went into the film’s making. I’ve been waiting for this movie for about a decade and it’s definitely worth it. I’d probably go as far to say that I’m a little glad certain critics don’t care for it. It’s just more fun for a specific niche and I’m comfortable in the knowledge that such negativity won’t be able to take away how much of a blast I had with this.

JUSTICE LEAGUE gets a…
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This DEADPOOL 2 Trailer is Just What the Doctor Ordered

Earlier this morning, I awoke to the news of a new teaser for DEADPOOL 2 and (if this trailer's anything to go by) it looks like we're in for another treat from Ryan Reynolds & company. Take a look for yourself.

First off, that Bob Ross parody is almost dead-on. Everything from the get-up to the credits to Ross's distinctly inhuman levels of calmness is mimicked to perfection; yet, that immaculate imitation would be for nothing if it wasn't paired Deadpool's signature juvenile wit. Sandwiched in between all that are the remnants of an actual trailer (which, while too brief into fairly critique, looks pretty cool all things considered). Plus, its nice to see they brought back the supporting cast from the first one.

DEADPOOL 2 arrives June 1st next year. Until then, we can savor this fun little teaser as well as this fantastic Norman Rockwell-esque poster.

THOR: RAGNAROK Review

Let's get one out of the way right off the bat: this isn't going to be another review where it can be summed up as "Lol, it was so funny". This isn't to say that the film isn't funny at all (certain moments had me rolling on the floor and laughing until I was out of breath); yet, that isn't its greatest strength. No, the best thing about THOR: RAGNAROK is just how bonkers and mythic it was. While I can't say this is the closest the Marvel Cinematic Universe has come to a full on classic (that distinction belongs to Guardians of the Galaxy Vol. 2 as far as I'm concerned), this is easily the gleefully out there film in their already expansive catalog.

Outside of eclectic mastermind James Gunn, I thought for the longest time that Marvel would play it safe and mute every visionary creative instinct within the directors they hire for their releases. Thank God I've been proven wrong by the choice of a quirky unknown filmmaker by the name of Taika Waititi (best known for idiosyncratic cult flicks like What We Do in the Shadows and Hunt for the Wilderpeople). His outsider sensibilities are very apparent, resulting in a film that's as refreshingly epic as it is amusing. There are shots in this film that would've made Jack Kirby and Frank Frazetta prouder than humanly possible. Its the kind of high sci-fi fantasy that was the bread & butter of dozens upon dozens of amazing heavy metal album covers in the 1980s; yet, that art style seems to have faded away aside from this film and that's a real shame. Speaking of which, this might be the most effective use of a Led Zeppelin song in any movie. Waititi seems to be in tune with the untouched upon fact about how electrifying classic rock tracks are practically tailor made for this kind of adrenaline-fueled action. On the subject of music, Mark Mothersbaugh does wonders with the score here. His hybrid of soaring orchestras and vibrant synth rhythms makes for the best soundtrack work attached to the MCU that isn't from Michael Giacchino. Mothersbaugh channels Queen's score for Flash Gordon and Tangerine Dream's work for Legend in every composition while being entirely its own thing.

The performances here are all top-level stuff. Chris Hemsworth and Tom Hiddleston retain their stoic charm. Mark Ruffalo still leaves me wondering why we haven't gotten another solo Hulk movie just yet. Tessa Thompson's Valkyrie works as a manically charming drunk who can also be the most manically unpredictable adventurer in the room, similar to Simon Pegg's character in The World's End (only not as dark or R-rated). Cate Blanchett is a thing of beauty whenever she's on screen, showing a respectable amount restraint of amount while not being below just wallowing in mustache-twirling evil from time to time. Karl Urban and Idris Elba bring their usual levels of cinematic gravitas to each of their small moments in the spotlight. As for Jeff Goldblum, he almost steals the whole movie as the Grandmaster. Considering how this is Jeff "Man of a Thousand Uh's" Goldblum in a cosmically fantastical Marvel picture, you better believe that he's as as you'd hope for him to be in this.

Now, I'll talk about the humor. Let me just say how happy I am that this breed of humor is becoming more prevalent instead of the overly self-satisfied snark of Joss Whedon's contributions. This, along with the aforementioned Guardians of the Galaxy films, recognizes the silliness of all of this comic book madness while understanding how much sincerity lies in both the source material and the love for said source material. Although, there is one instance where the devil-may-care indulgence does a disservice to the film's more dramatic moments near the end that happens to be my only major problem with the production. Regardless, its not so tone deaf to a degree where it becomes a deal breaker.



All in all, THOR: RAGNAROK does manage to end the world as we know it while feeling strangely fine. It manages to take countless potshots at the biggest superhero movie cliche known to man while also making the stakes feel tangible and actually suspenseful. Plus, it helps that this sort of nonsense is my cup of tea and its executed with unbridled precision.

THOR: RAGNAROK, naturally, GETS A...
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