Thor love and thunder review

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I t’s quite an achievement for a film-maker to put their own personal stamp on a multimillion-dollar studio production movie quite as empathically as Thor: Love and Thunder. Zack Snyder manages it; the films of James Gunn bear the recognisable fingerprints of their director. But Waititi is in a different league. There are moments in Love and Thunder when the film feels like a $185m megaphone, dedicated solely to amplifying the voice of Taika Waititi. Response to the film will be neatly divided along the line between those who are convinced that he can do no wrong and those who find his brand of chipper mateyness and disingenuous sentimentality increasingly irksome. I find myself veering towards the latter camp. We join Thor (Chris Hemsworth) in the midst of an existential crisis, having never fully moved on from his relationship with Jane Foster (Natalie Portman). The hammer-wielding Asgardian with the disconcertingly Oxbridge accent is moonlighting with the Guardians of the Galaxy. There’s a moment, after Thor has defeated a bunch of alien hell-owls on flying bikes, but destroyed a crystal temple, the cherished institution he was meant to be protecting, when he is congratulating himself, in his rousing toff voice, on a job well done. And you wonder if a moment of satirical political commentary has snuck into the screenplay. For the most part, however, this romp, which pits Thor against Christian Bale’s cadaverous God-slayer, is superficial stuff – a film that brings a gre...

Speaking with GQ, Chris Hemsworth talked a bit about what he feels went wrong with Love and Thunder, a superhero sequel that, by nearly every count, could have been great. “I think we just had too much fun. It just became too silly,” Hemsworth said. He's portrayed Thor in the Marvel Cinematic Universe since the character’s introduction in his 2011 solo film. Last November, “It’s always hard being in the centre of it and having any real perspective… I love the process, it’s always a ride. But you just don’t know how people are going to respond,” Hemsworth went on. Critics were lukewarm toward Love and Thunder. The film’s Rotten Tomatoes score is one of the lowest in the MCU, and its 77% audience score is below the norm as well. IGN’s Tom Jorgensen awarded Thor: Love and Thunder a 7/10, saying it is “held back by a cookie-cutter plot and a mishandling of supporting characters, but succeeds as the MCU's first romantic comedy thanks to Chris Hemsworth and Natalie Portman's chemistry.”

It took some time and tweaking, but at this point in his journey, I don’t think it’s much of a stretch to call Thor Odinson one of, if not the most dramatically compelling character left standing in the Marvel Cinematic Universe. This feels borne out of necessity: a nearly invincible Asgardian isn’t the easiest hero to fret for when the battle heats up, and so since his very first appearance, Marvel Studios has taken care to face Thor with grounded emotional stakes even as half the world disintegrates around him. Even through Thor’s less-loved appearances, questions of living up to our family’s expectations, maturity, duty, purpose, and, yes, love have always been at the fore for Thor, and remain at the fore for Thor 4. He’s been part of saving the universe for a long time now, and Thor: Love and Thunder has no illusions about needing to push the character in a new direction. And that’s fine; Love and Thunder succeeds in honoring his journey, even if it doesn’t offer much new for the MCU at large. Through a Korg-narrated recap of Thor’s (Chris Hemsworth) history, we’re reminded of how much tragedy and loss he’s had to face, and how his current gig as a freelancing Guardian of the Galaxy is helping him along in his healing process. Since director Taika Waititi’s humanizing first turn with the character in By fully embracing that genre’s tropes, Waititi sets the stage for Hemsworth and Portman to seriously dial up their chemistry, especially in an extended flashback that det...

The film then re-introduces a more interesting hero in Jane Foster ( The adversary this time around is Gorr the God Butcher, a tortured character filled with vengeance who provides the shadows to the movie's immense moments of light. After the death of his daughter turns him into a non-believer, Gorr is chosen by a weapon called the Necrosword, and creates an army of shapeshifting black beasts to kill all gods, starting with the one who ignored his cries for help. Co-written by Waititi and In order to stop Gorr and save the stolen children, Jane, Thor, King Valkyrie, and Korg visit the god of lightning Zeus and the other Gods, who laze about in a golden forum and talk about the next orgy, unafraid of what Gorr is looking to do to them. Like a golden and white version of the Galactic Senate in “ “Thor: Love and Thunder” flirts with when a call-back story beat or joke is just playing the hits, the same way that there are a million Guns N' Roses nods and needle drops in this movie just because, and you’re expected to head-bang each time. All of its pop culture ad-libs, or punched-up superhero stuff about coming up with catchphrases—when those jokes feel safe instead of left-field, they fall particularly flat. “Thor: Love and Thunder” is a blockbuster comedy sequel at its core, and its weaker material reminds you of that even when it’s still good for a sporadic laugh or two. Lacking the overall freshness that defined the previous movie, “Thor: Love and Thunder” is better with ...

Produced by Kevin Feige and Brad Winderbaum Starring Chris Hemsworth, Christian Bale, Natalie Portman, Tessa Thompson, Taika Waititi, Russell Crowe and Jaimie Alexander Cinematography Barry Idoine Edited by Matthew Schmidt, Peter S. Elliot, Tim Roche and Jennifer Vecchiarello Music by Michael Giacchino and Nami Melumad Marvel’s Thor: Love and Thunder tells a tale of a title character who has lost his drive, his purpose and his mojo. Frankly, it shares those core problems and becomes a metaphor for Marvel’s entire “Well, what now?” Phase Four. It has the feel of a party that no one wants to be at, or a film that only exists because Marvel needed a safe sequel amid franchise starters, with the head DJ furiously shouting at the guests to dance, laugh and act like they are having a fun time. Like X-Men: The Last Stand, Thor 4 attempts to adapt two fan-favorite comic arcs into a single too-short (110 minutes plus credits) feature and gives both short shrift. It mistakes abstract concepts for deep-dive storytelling. It is fatally hobbled by a super heroic lead who has become cringe-inducingly incompetent since his last adventures. Set sometime after Avengers: Endgame, we open with Chris Hemsworth’s God of Thunder playing a glorified nomad alongside the Guardians of the Galaxy as they trek across space and partake in random do-gooding quests. Our Guardian friends (Chris Pratt, Dave Bautista, Pom Klementieff, Karen Gillan, Sean Gunn, Bradley Cooper and Vin Diesel) are out of the p...

Natalie Portman and Chris Hemsworth. Jasin Boland/Marvel Studios In considering Thor: Love and Thunder, the fourth film in the franchise centered on the Marvel Cinematic Universe's pompous, pumped-up thunder god, it's useful to cast your mind back to 2017's Thor: Ragnarok, its immediate predecessor. That film broke a mold that ached to be broken — the two previous Thor movies, namely, both of which came so weighted down with unearned faux-gravitas they had people reconsidering their takes on Iron Man 2. (To be clear: Thor was better than Iron Man 2, but its sequel, Thor: The Dark World, stalwartly remains the MCU's lowest point.) But with Ragnarok, the dark (and fusty) world of the Thor franchise burst with new light and color and humor. Credit director Taika Waititi, who enlivened the proceedings with a looseness that allowed rock-operatic set-pieces in which the banging of heads was accompanied by head-banging anthems to coexist with muttered, underplayed, often improvised comic dialogue. It was an odd, idiosyncratic fuel mixture — cinema as airbrushed van art — but it worked. The good news, in re: Love and Thunder: Waititi is back, and he's determined not to reinvent the wheel. The bad news: The wheel's tire-treads are looking worn. Thor: Love and Thunder plays like a Ragnarok remix, for good and ill. For a villain, swap out Cate Blanchett's goth drag queen Hela for Christian Bale's creepy Gorr the God Butcher, whose title pretty much lays out his entire schtick: A god ...

Produced by Kevin Feige and Brad Winderbaum Starring Chris Hemsworth, Christian Bale, Natalie Portman, Tessa Thompson, Taika Waititi, Russell Crowe and Jaimie Alexander Cinematography Barry Idoine Edited by Matthew Schmidt, Peter S. Elliot, Tim Roche and Jennifer Vecchiarello Music by Michael Giacchino and Nami Melumad Marvel’s Thor: Love and Thunder tells a tale of a title character who has lost his drive, his purpose and his mojo. Frankly, it shares those core problems and becomes a metaphor for Marvel’s entire “Well, what now?” Phase Four. It has the feel of a party that no one wants to be at, or a film that only exists because Marvel needed a safe sequel amid franchise starters, with the head DJ furiously shouting at the guests to dance, laugh and act like they are having a fun time. Like X-Men: The Last Stand, Thor 4 attempts to adapt two fan-favorite comic arcs into a single too-short (110 minutes plus credits) feature and gives both short shrift. It mistakes abstract concepts for deep-dive storytelling. It is fatally hobbled by a super heroic lead who has become cringe-inducingly incompetent since his last adventures. Set sometime after Avengers: Endgame, we open with Chris Hemsworth’s God of Thunder playing a glorified nomad alongside the Guardians of the Galaxy as they trek across space and partake in random do-gooding quests. Our Guardian friends (Chris Pratt, Dave Bautista, Pom Klementieff, Karen Gillan, Sean Gunn, Bradley Cooper and Vin Diesel) are out of the p...

"Thor: Love and Thunder" finds Thor (Chris Hemsworth) on a journey unlike anything he's ever faced -- a quest for inner peace. But his retirement is interrupted by a galactic killer known as Gorr the God Butcher (Christian Bale), who seeks the extinction of the gods. To combat the threat, Thor enlists the help of King Valkyrie (Tessa Thompson), Korg (Taika Waititi) and ex-girlfriend Jane Foster (Natalie Portman), who -- to Thor's surprise -- inexplicably wields his magical hammer, Mjolnir, as the Mighty Thor. Together, they embark upon a harrowing cosmic adventure to uncover the mystery of the God Butcher's vengeance and stop him before it's too late. Show More • Rating: PG-13 (Intense Sci-Fi Violence|Action|Language|Partial Nudity|Some Suggestive Material) • Genre: Action, Adventure, Fantasy, Comedy • Original Language: English • Director: • Producer: • Writer: • Release Date (Theaters): Jul 8, 2022 wide • Release Date (Streaming): Sep 8, 2022 • Box Office (Gross USA): $343.2M • Runtime: 2h 5m • Distributor: Walt Disney Pictures • Production Co: Marvel Studios, Walt Disney Pictures, Fox Studios Australia • Sound Mix: Dolby Atmos, Dolby Digital • Aspect Ratio: Scope (2.35:1) • View the collection: Thor: Love and Thunder reminds me a lot of Guardians of the Galaxy vol. 2, admittedly a film I've come more around on since my initial viewing in 2017. When Ragnarok was released later that same year, it was an irreverent blast, a breath of fresh air for a franchise that didn't r...

Natalie Portman and Chris Hemsworth. Jasin Boland/Marvel Studios In considering Thor: Love and Thunder, the fourth film in the franchise centered on the Marvel Cinematic Universe's pompous, pumped-up thunder god, it's useful to cast your mind back to 2017's Thor: Ragnarok, its immediate predecessor. That film broke a mold that ached to be broken — the two previous Thor movies, namely, both of which came so weighted down with unearned faux-gravitas they had people reconsidering their takes on Iron Man 2. (To be clear: Thor was better than Iron Man 2, but its sequel, Thor: The Dark World, stalwartly remains the MCU's lowest point.) But with Ragnarok, the dark (and fusty) world of the Thor franchise burst with new light and color and humor. Credit director Taika Waititi, who enlivened the proceedings with a looseness that allowed rock-operatic set-pieces in which the banging of heads was accompanied by head-banging anthems to coexist with muttered, underplayed, often improvised comic dialogue. It was an odd, idiosyncratic fuel mixture — cinema as airbrushed van art — but it worked. The good news, in re: Love and Thunder: Waititi is back, and he's determined not to reinvent the wheel. The bad news: The wheel's tire-treads are looking worn. Thor: Love and Thunder plays like a Ragnarok remix, for good and ill. For a villain, swap out Cate Blanchett's goth drag queen Hela for Christian Bale's creepy Gorr the God Butcher, whose title pretty much lays out his entire schtick: A god ...