Thor: Love and Thunder

Thor: Love and Thunder

Watched in the cinema (63rd visit in 2022)

When "Thor: Ragnarök" comes up, there seem to be only two opinions. Some appreciate the third film in the Thor series for its presentation and concise use of humour, while others (like the author of these lines) consider the work tonally half-baked, because while the infernal Infinity War is just around the corner and an entire world is already doomed to destruction in advance, the characters nevertheless continue to make their jokes, even when it makes no sense whatsoever dramaturgically.

Now the fourth part, "Thor: Love and Thunder", is on the horizon, once again directed and co-written by Taika Waititi. The assessment of his renewed occupation of the director's chair is likely to be ambivalent, but it is the first time that a Thor production has stylistically followed on from its predecessor. Since the film belongs to the currently still-launching Phase 4 of the Marvel Cinematic Universe and there is only a vague upper-threat here so far, Waititi's joke works a lot better.

"Thor: Love and Thunder" copes well with being allowed to unfold relatively freely. Rarely does it seem as if there is an already firmly cemented guideline in the background ensuring that the adventure moves on rails. Unlike the last MCU cinema film "Doctor Strange in the Multiverse of Madness", no knowledge of the various MCU series from Disney+ is assumed. Even the previous films do not necessarily need to be watched or refreshed. A short and amusing recap at the beginning of the 29th MCU feature film takes care of that.

Of course, even in "Love and Thunder" there are elements that very clearly show the direction in which the coming phases will move, but the actual adventure of Thor and his companions is never crushed by this, which helps to ensure that "Thor 4" is the best film of the Nordic hammer-wielder, who is of course once again embodied by Chris Hemsworth.

And that's a good thing, because Hemsworth shows immense joy in his performance. The melodrama of the first Thor from 2011 is still passé. The Australian actor feels right at home in the tongue-in-cheek world of Taika Waititi, who is soon to give Star Wars a new value for Disney. A comfortable feeling, which his co-stars probably also have. The entire cast acts here with great delight and a desire for mischief, which fits much better in the fourth part than in its direct predecessor.

But there are also dark moments. Scenes that Waititi doesn't sabotage with a gag or fourth wall-piercing finger pointing. These passages are actually the strongest in the film visually and often Oscar winner Christian Bale finds himself the focus of these circumstances. He plays Gorr the God Butcher and although the MCU rarely really shows a good hand when it comes to villains, it can definitely be stated that Gorr is definitely one of the better representatives.

For one thing, he has a really comprehensible motivation, and for another, his appearances are usually coupled with a welcome change of mood. Then "Thor: Love and Thunder", which is otherwise hyper-colourful and noisy, becomes oppressive for a while. There are even short passages reminiscent of horror. No, not horror that sticks with you, but at least it makes for a nice change and aesthetically delivers more than "Doctor Strange 2" in the spring.

So Gorr is an asset to the film and yet, even this villain is not really penetrating and fully convincing. The problem is that even though the character has a motivation, the script still adds an uninteresting, cosmic, evil force that is actually responsible for the actions of the Godslayer. Honestly, why? It spoils the character. It takes away the drama and dilutes the tragedy that the film had actually already integrated very effectively with its successful prologue.

Bale's role, however, is not the only one that is implemented into the plot through a tragic context. Also returning Natalie Portman as Dr. Jane Foster, who appears here not only as a scientist but also as the superhero Mighty Thor, pulls a dark aura behind her. What exactly is meant by this is not to be revealed here, after all, nothing about it has (yet) been revealed in the official promotional material. Only this much: The reunion between her and Thor is an important component and not only provides for gags, such as jealous utensils of the gods, but also for drama. Although it becomes apparent that Waititi and his co-writer Jennifer Kaytin Robinson lack tact when it comes to serious matters, it still works for the most part.

But without ifs and buts, "Thor: Love and Thunder" is always at its strongest when it tries to loosely generate light entertainment and incidentally celebrate the rock music of the 80s and early 90s. It's no secret. From the first artwork to the last scene, this work is infused with the look and feel of old heavy metal and hard rock albums. Exuberant, colourful, lush down to the smallest detail. What Waititi and his team deliver here should be the ultimate fanservice for all hair rockers.

Especially fans of Guns n' Roses will get their money's worth. Yes, timing action scenes to a rock song is neither innovative nor creative, but it works damn well here because some of the images are really beautifully adapted to the music. The music itself is so exaggerated that even the greatest lunacy still seems natural. Anyone who doesn't put Sweet Child o' Mine, Paradise City, Welcome to the Jungle and November Rain on their playlist after watching "Love and Thunder" is either deaf or doesn't want to admit that this trivial music is simply great. "Thor: Love and Thunder" may not be that great after all, but it is visually extremely varied fun.

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