Review: The Biggest Drawback of ‘Thor: Love and Thunder’? It’s Just for Fans

On Wednesday I he took the bus to central London to see it Thor: Love and thunder, one of several simultaneous previews shown in Leicester Square cinemas. This was not the arrangement of the red carpet full of stars, which was across the street, in an elegant theater, but a cardboard Chris Hemsworth was made available for selfies and smiling fans were they lined up to grab a large plastic hammer. Later, as I sat in the animated auditorium waiting for the film to begin, someone behind me repeatedly tried to record an audible message for his fans, so I heard about 50 times that he had summarized all the plots of the Marvel movies online (not prowess) and that Marvel had invited him to the preview as a reward. He also claimed, to his obvious exaltation, Hemsworth was in the building. A pre-recorded greeting later confirmed that unfortunately Hemsworth was not even in the country, but writer / director / Korg Taika Waititi, Tessa Thompson (Valkyrie) and Natalie Portman (Jane Foster) moved from the another theater to thank the audience. “How gay is the movie?” a fan shouted at Portman. “So gay,” he replied after a pause, and, touchingly, the crowd applauded. (In my mind, they all shook big plastic hammers; that may be a false memory.)

Say what you like about the Marvel franchise, fans have 29 in-depth movies and they still have a ball. As someone who has seen less than a quarter of it and has not read any comics, I am not in a position to craft a clever critique or even one at the level of that of Martin Scorcese. What I will say, however, is that over the years it has become increasingly difficult to just immerse yourself in the franchise. Thor: Love and thunder hammered this house. This is not exactly a criticism. Instead, it’s an account: right now, the Marvel movie universe has grown so dense and self-referential that it’s hard to watch one of these movies without feeling like you’re missing out on all the jokes and revelations of the plot. You lose a lot if you don’t know the characters, basically. Love and thunder it has been sold as an action film, but in many ways it is better suited to the genre of hangout.

The latter Thor is the first since then Thor: Ragnarok, also directed by Waititi. In Love and thunderthe new villain is Gorr the God Butcher, played by Christian Bale, a silver man with a moon-like smile. Majora’s mask and a voice, baffling, like Bale’s true English accent. Gorr wants revenge on the gods because one of them let his daughter die; conveniently, he has his hands on the Necrosword, a weapon that kills gods. Thor, incredibly orange and sculpted, each arm like a sun-drenched mountain range, must give up paling with the crew of the Guardians of the Galaxy to go and stop him. At the same time, her ex, Jane Foster, is diagnosed with cancer. Pushing Thor’s old hammer seems to make her look good, but she also equips her with a costume that matches a couple of goals. They reunite with Valkyrie after Gorr attacks New Asgard and leaves with the children of the city. The team’s journey will take them to the Almighty City, where Russell Crowe plays Zeus, with a funny Greek (?) Accent.

Writing in ArtReview, Gerry Canavan reflects on what he calls Marvel’s “late style,” characterized by a “hyper-self-awareness” and a “self-referential concern for a heroic past.” “Without a single focus on a plot toward which everything is relentlessly built,” Canavan writes, “the franchise focuses on minor changes about itself and its own affective rhythms, in questioning, lamenting, and remixing its own. past “.

This summary almost captures the problem Love and thunder. Take the relationship of Thor and Foster, which flourished in the first two Thor films, not the acclaimed Ragnarok. To Waititi’s credit, it offers numerous summaries to catch up, usually through the mouth of the esteemed rock man Korg, or through plays with Matt Damon. But these may not provide the development of the emotional character necessary for you to worry about the couple’s struggle with love and cancer.

A fair answer would be to point out that Marvel movies, like Marvel comics, are meant to be enjoyed by talking to each other; which are never autonomous stories. But there is a noticeable lack of purpose Love and thunder This is hard to ignore if you are not watching the movie just to see your favorite characters. In a post-End of the game world, the dramatic bet is only lower, a problem aggravated by the fresh and ironic tone of Waititi and his actors. These films are formed in his image, shot with the same naughty satire that informed his What we do in the shadows. But that tone heightens the impression that nothing matters: we’re just here to have fun.

And that’s fine! (Or it would be nice if the Marvel franchise’s supermassive black hole didn’t swallow the prospect of other box office hits other than Tom Cruise or Minions, but that’s a very popular topic.) These movies don’t have to ‘accommodate everyone, and it’s funny, almost avant-garde, that they’ve become so prohibitive for outsiders. But how will they age? Will the public in 30 years, which you imagine has a very different frame of reference, find them visible? Is it conceivable for them to log in to Disney + Max and watch over 50 hours of movies to get referrals in a movie? Maybe, but we’re not nearing the end either. After Love and thunderIn the credits, Zeus appears to summon Hercules, the subject of another film. There’s also a comic, and a lot of history, about it.

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