'Taika Waititi's sequel ThorLoveandThunder has a pleasing, let's-try-it-on-and-shoot-the-works effervescence.'
” has a pleasing, let’s-try-it-on-and-shoot-the-works effervescence. Like most Marvel movies, the fourth entry in the Thor saga would seem to have weighty matters on its mind, starting with Thor’s hammer, the smashed fragments of which have been reassembled — and, more to the point, claimed — by Jane Foster , Thor’s old flame. By possessing the mystique of that hammer, she has become the Mighty Thor. Not a superhero like Thor.
There are many words to describe the quintessential 21st-century cinema experience known as the MCU movie. You could call it big and impersonal, corporate and bombastic, machine-tooled and clamorous, top-heavy-with-CGI and Fun In A Way That Lacks All Mystery.
The last 40 minutes of “Thor: Ragnarok” were disappointing, with the top-heavy Marvel DNA kicking back in, but “Thor: Love and Thunder” sustains its freshness to the end. This one, if anything, has a more awkward first act, as our heroes interface with the Guardians of the Galaxy, who seem to have wandered in from their own metaverse and, frankly, should have stayed there.
In the end, however, it’s the mix of tones — the cheeky and the deadly, the flip and the romantic — that elevates “Thor: Love and Thunder” by keeping it not just brashly unpredictable but emotionally alive. In Kenneth Branagh’s “Thor,” Natalie Portman held her own as Thor’s earthly love interest, but here, pulling up on equal footing with him, Portman gives a performance of cut-glass wit and layered yearning.
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