“Love and Thunder” is a big disappointment

Chris Hemsworth’s God of Thunder shows his bottom bare and lets his ex-girlfriend Jane Foster (Natalie Portman) swing his mighty hammer Thor: Love and Thunder. However, given Marvel’s trademark genderlessness, these daring touches don’t alter the fundamental PG-13 nature of director Taika Waititi’s second Marvel installment, which follows in its predecessor’s goofy footsteps Thor: Ragnarok, albeit at lower rewards. A wild action-comedy in brilliant day-glo colors and set to Guns N’ Roses anthemic rock. Waititi’s latest MCU project is working overtime to muster badass humor and romantic pathos. But the strain shows, resulting in a wannabe rollicking adventure that overdoses on one title element at the expense of the other.

[Spoilers follow.]

There’s plenty of extravagant CGI action and ridiculous humor Thor: Love and Thunder (July 8), whose story – after the conclusion of Avengers: Endgame– sets out with Thor (Hemsworth) in the company of the Guardians of the Galaxy and roams the universe to protect the innocent from nefarious villains. Thor no longer has his father’s body, which he boasted of in Thanos’ genocidal snapshot, but while his body is in tip-top shape, his soul is a wreck. As he proves during a siege on an alien world that ends with him single-handedly saving the day with his usual arrogant-ignorant bravado – this time in a vest that looks like the right attire for an ’80s hair metal gig – he can go through the heroic moves. Deep inside, however, he is empty inside. What it takes to fill that inner hole becomes clear thanks to a typically ridiculous speech from Star Lord (Chris Pratt) and a subsequent visit to New Asgard, where his battle against evil shadow monsters brings him together with Valkyrie (Tessa Thompson) as well as a couple surprising allies: Jane, now blonde and muscular, wielding his Mjolnir Hammer as The Mighty Thor.

It turns out that Jane is dying of stage IV cancer and has become a true “Space Viking” simply by searching for the shattered remains Mjolnir, who reformed in her presence and bestowed upon her Thor’s power (and armor and red cloak). Thor ends up in a love triangle with his old gun Mjolnir and his new, jealous Stormbreaker. Still, the Hammer’s decision to turn Jane into a superhero is mostly good news for Thor, as after encountering the majestically enhanced Jane, he’s immediately attacked by Gorr the God Butcher (Christian Bale), a ghostly specter with a imposing blade called The Necro Sword. Thor: Love and ThunderThe prologue of explains that after being mocked by his god after the death of his beloved daughter, Gorr was chosen by the Necrosword to be its possessor and used it to slay all the gods for their callous selfishness. Thor is Gorr’s newest target, not only because of his divine status, but also because, as we later learn, his Stormbreaker ax is key to unlocking a magical realm that Gorr wants to achieve.

Bale’s pale, tooth-rotten, vampiric gorr is by far the most compelling facet of Thor: Love and Thunder, radiating creepy confusion born of irreparable loss. The film comes alive whenever it appears, whether it’s threatening a group of children he kidnaps from New Asgard – a kidnapping that motivates Thor, Jane and Valkyrie to embark on their quest – or convincingly arguing his opponents that they are all victims of cruelly indifferent deities. The Oscar-winner expresses Gorr’s heartbreak and tortured anger, which Waititi and Jennifer Kaytin Robinson’s screenplay combines with the grief Thor feels over Jane’s terminal condition – an illness seemingly destined to separate them forever. just as they rekindle their love.

Thor: Love and Thunder is captivating when it comes to the tormented love of its protagonists, as it makes them appear almost three-dimensional. Most of these practices, however, prioritize thunderous cacophony and intrusive comedy, much to the detriment of the material. Whereas Thor: Ragnarok Had fun recasting his mythical Avenger as a cute and excitedly arrogant dimwit (think long-haired He-Man with golden retriever personality), this film pushes in that direction relentlessly. He’s a clownish cartoon who can’t go a minute without heedlessly destroying property, persuading his countrymen, or making a nonsensical first-person comment. Hemsworth still expertly balances Thor’s clueless narcissism and impressive battlefield flair, but it’s all built at such a frantic insistent pace that the intended laughs die on the vine.

“Hemsworth still expertly balances Thor’s clueless narcissism and impressive battlefield flair, but it’s all built at such a frantic insistent pace that the intended laughs die on the vine.”

Portman and Thompson are equally devoured by Thor: Love and Thunder‘s incessant screaming. They barely have a real moment amidst running gags featuring Thor’s giant screaming pet goats and a flashy trip to the Council of Gods, where Thor attempts to enlist the help of Zeus (Russell Crowe, who applies it with an over-the-top accent) and — after the aforementioned nudity – fights the Greek legend for his glittering lightning bolt. The jokes fly so incessantly that they have no time to breathe and exhaustion sets in quickly. MCU fans will likely enjoy the few guest appearances from the past Thor Contestants, but even these play as mandatory aspects of the never-ending world-building that is the franchise’s main tenet. They do little to surprise the conspiracy or advance it towards its inevitable showdown between Gorr and his Asgardian opponents.

Waititi indulges in a picture book fable framing device and doubles down on the heavy metal-Style visuals by Thor: Ragnarok, although two of his slam-bang set pieces were shot in gloomy darkness, which neutralizes the italic slow-motion grandeur he’s aiming for. For much of its two hour run time Thor: Love and Thunder is a case study of more-is-less that accumulates fantasy with unbridled enthusiasm and consequently buries the more moving human story it purports to tell. Waititi tries so hard to make everything cool that he forgets to pause long enough to evoke wonder, excitement, or amusement. Be it Thor’s tender interactions with Jane or the film’s references to same-sex relationships – courtesy of Valkyrie and Thor’s rockin’ sidekick Korg (Waititi), who explains that his race propagates from male to male by holding hands –Thor: Love and Thunder acts like a mad race to the finish line, smashing past exactly where it’s best.

https://www.thedailybeast.com/thor-love-and-thunder-is-a-grand-disappointment?source=articles&via=rss “Love and Thunder” is a big disappointment

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