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Tuesday, September 27, 2022

An electrifying and irregular repeat

The past few years of the Marvel Cinematic Universe have been a time of great invention, with the franchise’s “Phase Four” films and Disney+ shows finding new ways to reinvent the wheel of how to adapt Marvel Comics. Between emotional character studies and canon-shattering multiversal adventures, the franchise has been at its best when it comes to being weirder, more character-driven, and more comic-accurate — all the things that Thor: Love and Thunder Proves in spades. Certainly on a smaller scale than some of the MCU’s recent cinematic entries, love and need There has been a unique set of expectations surrounding it, both as the first “forquel” within the overall franchise, and the long-awaited follow-up to Taika Waititi’s inventive and surprising work on 2017. Thor: Ragnarok, love and need Essentially every single turn works wholeheartedly to reverse those expectations, and it turns out to be a more compelling, if a little more chaotic, film because of it. at its best, Thor: Love and Thunder Fearlessly big-hearted and gleefully outrageous – even if he is occasionally crushed by the execution of his ambitions.

Thor: Love and Thunder picks up after the events of avengers: endgame, as Thor Odinson (Chris Hemsworth) struggles to find his inner peace after experiencing years of destruction and loss. In the midst of a string of adventures with Guardians of the Galaxy, Thor becomes embroiled in a brawl against Gore the God Butcher (Christian Bale), another man who is, as his new moniker suggests, killing all the gods. wants. with Valkyrie (Tessa Thompson), who is serving as the King of New Asgard; and Jane Foster (Natalie Portman), who has transformed into The Mighty Thor amid his personal hardships, must try to stop Gore before his deadly actions ruin the entire galaxy.

When Ragnarok Made its debut in 2017, it proved to be a balm that the MCU didn’t need, injecting an already woefully serious Thor Movies with a Jack Kirby-esque breezy aesthetic, ’80s camp, and a deftly deeply emotional core. to an extent, Ragnarok established a new tonal shorthand for what the MCU might be capable of going forward, and it would have been easy to imagine love and need Delivering essentially the same, but on a more extraordinary scale. Instead, the film takes on a tone that, even when at its most neon-colored or painfully absurd, can comfortably be described. clearly there are still stakes love and needalmost all of which are matters of life or death, but they are certainly of a smaller and more personal scale in comparison Ragnarok, and even to the larger landscape of superhero blockbusters. Through it all, the boozy but earnest nature of the film remains, thanks largely to how Waititi and co-writer Jennifer Kaytin Robinson communicate, with some of the film’s best scenes essentially consisting of two characters interacting. .

That’s not to say that the tone isn’t jarring in some contexts—many of the jokes (notably given through his motion-capture performance of Waititi as Thor’s cronon sidekick Korg) almost depart from the actual emotional core of a scene. less or distract, and the seriousness of Gore’s god-killing actions is rendered largely through implication. But even with those occasional moments of tonal dissonance, the viewing experience love and need One that’s oddly comforting, in a way that’s reminiscent of the big-hearted adventure blockbusters of the 1980s that Waititi cites as inspiration. This sensibility becomes an inspired way of introducing various new elements to the film, whether in truly goofy pieces of Marvel Comics lore, or in Jane’s tenure as Mighty Thor, which is handled in a way that complements her costumes. that balances the veracity of the beginning of comics and the goofiness Ragnarok set in motion years ago.

after all what does love and needThe film’s noble aspirations are speed, which is almost like watching one of those blockbuster movies of the ’80s get edited for cable television. While the film’s two-hour run time is relatively similar compared to other MCU entries (especially before the three-hour norm of phase three films such as endgame), the way it uses that run time limit on indeterminate. Some jokes drag on for a bit longer, while some key emotional moments feel like they need another scene to really “work.” It’s certainly a case of being buried within two compelling and incredibly timely main character arcs. love and need – Thor is weakening emotionally after years of pain, in the midst of a world that seeks to weaponize that exact vulnerability, while Jane is balancing her hero’s journey with feelings of burnout and self-sabotage Appreciate it in the midst of a world that doesn’t know how to do it.

Both of these stories are deeply interesting and true to the characters’ decade-long stint in the MCU, but everything going on around them sometimes feels a little impotent. It gets a little disappointing when everything that’s happening around Thor and Jane feels too weak, especially in relation to the Valkyrie, whose own character arc doesn’t go beyond tagging along for the movie’s big adventure. Is equal. Likewise, Gore is given only a few major sporadic scenes that actually pose a threat onscreen, despite being a creepier and more compelling antagonist of the MCU. Even at its best, it seems like love and need There were plenty of pivotal moments left on the cutting room floor (and, based on recent reporting, that appears to be already)—a feeling that doesn’t completely detract from the experience of watching it, but sure. Formally prevents that experience from feeling completely uninteresting.

love and needThe aforementioned sense of comfort is reflected in Hemsworth’s performance as well, as he effortlessly portrays Thor Odinson in his simplest and most tragic form that still feels impressive after more than a decade of playing the role. Portman’s return as Jane is one of the highlights of the film, as she manages to turn the somewhat shaky characterization in previous MCU appearances into something truly delightful. Once Jane begins her hero’s journey as Mighty Thor, the energy Portman brings is truly infectious and strangely laxative that will absolutely amaze audiences. Thompson’s Valkyrie remains effortlessly charming and cool in every single scene, and she uses her limited role in the film to become an MCU fan. Bell’s portrayal of Gore is inspired in many ways, elegantly toeing the line between the scene-chewing villain of the film in need of this, and the tragic figure that the film’s distinctive storyline really needed. And love and needThe supporting cast, from various members of Guardians of the Galaxy to Russell Crowe’s ingenious campy Zeus, manage to have fun within a rapidly growing set of stakes.

on a technical level, love and need filled with a few bright spots, starting with Mayes C. Rubio’s masterful work on costume design, which takes on the aesthetic she originally established Ragnarok And gives it a sensible, funny, and more comically-accurate upgrade. While the soundtracks to “Dad Rock” and other 1980s hits don’t quite capture the narratively anthemic vibe, how Ragnarok Led Zeppelin’s “Immigrant Song” still has some creative and fist-pumping options. Michael Giacchino’s excellent score largely lags behind that soundtrack, but finds small moments of subtle brilliance amid the film’s chaotic energy. the most shocking technical element of love and need Its cinematography and CGI work could be, which bounces between the extremes of being really pretty and being sloppy. The film includes some of the most cool and inventive aesthetic decisions Marvel has made in recent memory, including a black-and-white fight scene in the film’s marketing, as well as a comically-accurate character design that hasn’t teased it—both that literally. I held my breath. But it also has pockets of borderline-distracting CGI, especially when Thor and Jane are clad in their Thor helmets, inexplicably and often unsuccessfully computer-generated on their heads. With all love and needOf the other drawbacks, those CGI choices don’t affect the film as a whole, but they do disappoint when many of the other elements of the film manage to deliver.

Thor: Love and Thunder of course there is a change of pace, even if compared Thor: Ragnarok, Phase Four of the MCU, or even the bigger tapestry of superhero adaptations. The film’s heartfelt and reverent core feels perfect for its crop of characters and the current cultural moment, but that perfection is hindered by bizarre structural choices and inconsistent CGI. Sometimes, that shit only adds to the allure of love and need and its incomplete crop of characters, but it keeps the film from becoming another game-changing entry within the MCU. Luckily enough Thor: Love and Thunder manages to charm and delight — especially its stellar ensemble cast — yet still make it a worthwhile encore.

Rating: 3.5 out of 5

Thor: Love and Thunder Headed to release in theaters on Friday, July 7.

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Reference from comicbook.com

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