Thor: Love and Thunder is perhaps less than it assumes to bebut also more than what is hidden under a dusty surface and already out of date MCU formulathe muscles of Chris Hemsworth and of the irony of Taika Waititi’s pieand even these petulant and sometimes even repetitive reviews.
There was a time when Marvel movies were really a different kind of cinema.. They began as a bet by the publisher to join the film industry in unstable times for comics, making use of heroes who not only represented their pages over the years, but were a good excuse for the average viewer to enjoy carefree stories that didn’t require years of reading dedication.
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However, with the conformation of the MCU (Marvel Cinematic Universe), things went awry and each one of the installments became obligatory. The interconnections between each, as well as the other products, had to be made more and more logical and the fan base seemed to be following a lore that was set in stone. A cinematographic bible that obviated all the work of decades of stories in comics.
so it begins Thor: Love and Thunder, as a reminder of all that was lost, of the ways the MCU became a shadow of itself and used every opportunity to become a slave to her fans. From the implications of the characters, to the soundtrack and the dialogues.
For many of the fans, Thor: Ragnarök it was the decline of the MCU, because it did nothing but expose the Marvel formula at its highest point, first as a warning, then as reality and finally as a parody. That is and has always been the virtue of Taika Waititi as a director and writer: knowing how to make fun of his context and, still, present a certain level of background in his works (whether clumsy or not).
However, as her incessant teasing begins, she also becomes entangled in herself. That is and has always been Taika Waititi’s great tragedy as director and writer. His incessant teasing and rebellious finery are nothing more than a motive to reach a moral conclusion.in which he continues to demonstrate that he is part of that great Hollywood machine, full of broken dreams and sexual predators.
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Thus, the great approach that is cooked between the superhero cinematographic style criticism, full of McGuffins and bland dialogues that only need a few canned laughs to be a nineties series with the same level of comedy as a branch of epazote , is diluted between punctual errors that work as a parody, but that are quickly uncovered as something done with the seriousness and conviction that they are criticism; they are the end and not the means.
Thor: Love and Thunder, a few laughs and a lot of cringe
Thor: Love and Thunder begins by introducing us to Gorr, the butcher god. An entity that in the comics is known only for his eternal quest to end all deities in all universes. Here, played magnificently by Christian Baleit is given a simple but powerful origin: human revenge for the abandonment of the gods.
In a world where the gods exist in a tangible way, it is legitimate to believe that they have abandoned all their followers. Zeus, Poseidon, Ares, Quetzalcóatl, Bixia, Tangaloa… all of them, existing and omnipotent, have left humanity to its fate. This human dilemma makes even more sense when we move it to the new Asgard, a country Invented out of nowhere with a military power *cough cough Israel cough cough* indistinguishable from the great world powers, ready at the whim of SHIELD and US military organizations. Funny, right? But not funny for laughter, but funny for weird.
Here, this combination becomes important thanks to Thor, the common thread that will unite both visions. That of the grateful humans saved by the deified grandiloquence of superheroes (in addition to the fact that Thor is, in fact, a god), against the irrational and violent resentment of those who were abandoned by their gods, those almighty wicked that they forgot the commitment they had with their faithful followers.
One more time, Taika Waititi does not know how to hide his true intentions, despite the fact that what he raises seems to sing a criticism, in the end he does not know how to do anything other than go in favor of that great status quo who pretends to challenge The good manners are the central area of his speech, one that is covered with totally anticlimactic music by Guns n’ Roses, other icons of 90s rock hypocrisy, using the image of trash and heavy metal just to sing songs with lyrics worthy of Luis Miguel.
Of course, the voluntary and involuntary comedy stands out a lot. The auctions are always appropriate and he even knows how to take care of the way in which they are part of the plot, beyond the magical and inadvertent resources with which he usually wants to advance his plot, such as the one that Stormbreaker stops working from one second to another due to an alleged scene of jealousy.
And perhaps that is the great success of this film: the ironically handle how Thor and Jane Foster meet again. We went from a superhero movie to a sticom very naturally. Those exaggerated dialogues, totally lacking in narrative sense, but with a strong comic weight, manage to lift a film that is not fully aware of its identity.
There are times when I don’t know if the villain is really a villain, or just a pretext to reunite the two ex-boyfriends separated by fate with a handwritten letter. Valkyrie and Korg as sidekicks that finish off obvious jokes work perfectly; and the complementary characters reveal the lack of seriousness in the situations that once seemed to define the fate of the universe.
Zeuz is a run down jerk on his shiny thronebut he is afraid of a supposed minor villain who is about to threaten his bubble of gods. Valkyrie is the president of Asgard and he does everything from advertisements for Old Spice to filling out bureaucratic forms; Y Jane Foster is a rookie hero who can’t say heroic shots but he does kick ass with his smashed hammer.
Even Heimdall’s son Astrid changed his name to Axl, after Axel Rose, although Korg has no qualms about saying his name is Asshole and that’s fineno need to judge (possibly the best joke of the entire movie). Each and every character is a believable caricature of the MCU; of the Manichaean heroism of a mega-corporation in charge of defining the concept of good and evil for millions of viewers They get together every year to watch their new movie, which is the same as the previous one, but the hat is new.
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And it is that those comedic devices work because they seem parodic. They seem to appeal to the great joke that is Marvel Studios in the cinemato the bombastic formula with which they formed a new empire hand in hand with Disney, which does nothing but repeat canons in characters, dialogues and even visual effects for the sole reason of not bother your average viewer, the one who shouts in theaters and disguises himself as an Internet troll against anyone who criticizes what gave meaning to his identity.
However, the further we go, the more we discover that this is not a parody. It is a real vision seasoned with absurdities and pastry comedy, where Thor: Love and Thunder mutates from parody to tragicomedy. The jokes in which he makes fun of those absurd gods are just the pretext to remember again that there is not a glimmer of light in this cinema; are true worn-out formulas, with what TheBoys, on television, represents; what invincible critique on animation; and practically what almost any comic book writer has sought to confront since the beginning of the 21st century.
Thor: Love and Thunder it is the twilight light of Marvel and the MCU; the lightning that goes out faster than we can perceive it.
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