“Thor: love and thunder”: a bipolar movie | New product from the Marvel Cinematic Universe

Thor: love and thunder 6 points

Thor: Love and Thunder; United States, 2022.

Address: Taika Waititi.

Script: Taika Waititi and Jennifer Kaytin Robinson.

Duration: 125 minutes.

Interpreters: Chris Hemsworth, Natalie Portman, Christian Bale, Tessa Thompson, Chris Pratt, Jaimie Alexander and Karen Gillan

Premiere in rooms only.

Thor: Ragnarök It was an oasis of freedom, fun and relaxation in the middle of the serious and tragic desert that Marvel was going through five years ago. Since then, everything has happened: the full orchestra closure of the era hegemonized by Captain America and Iron Man in Avengers: Endgame (2019), the series for platforms that would influence the development of subsequent films – impossible to understand the narrative tangle of Doctor Strange in the Multiverse of Madness without watching the series WandaVision–, the attempt to open more kiosks with characters absent until now (Shang-Chi and the legend of the ten rings), the displacement of the multiverse to the center of the scene (Spider-Man: No Way Home) and, last but not least, a pandemic that put a brake on Disney’s ultra-diagrammed roadmap. But Thor: love and thunder makes it clear that at least one thing has not changed, and that is the obligation to respond to the macro logic of the Marvel Cinematic Universe (UCM) even when this implies going against the direction that a director with a personal imprint like New Zealander Taika Waititi would like to take

Waititi jumped to the forefront with the HBO series Flight of the Conchords (2007-2009) appealing to a humor that wavered between the parodic, the childish and the absurd, three pillars on which he leaned ragnarok, his first collaboration with Marvel. The same three pillars on which a large part of love and thunderadding a soundtrack with hits from Guns N’ Roses and a welcome kitsch imprintcourtesy mainly of the costumes and the colorful villain archetype in charge of an unrecognizable Russell Crowe, who has to put himself in the shoes of neither more nor less than the god Zeus. The problem, as happened before and everything indicates that it will continue to happen, is the impossibility of sustaining a tone throughout the entire film, as if the scenes of its last third had been filmed with a Marvel executive checking on the set what things were necessary to satiate the fans and continue with the MCU and which ones were not.

Waititi observes the adventures of Thor’s past with just enough distance not to take them too seriously. Not for nothing one of the first sequences shows what happened with the god of thunder during the last decade and a bit: the flight from his planet Asgard, a life on Earth in which he fell in love with a prestigious scientist (Natalie Portman) with the who lived romantic and mundane experiences (Thor dressed as a hot dog at a costume party!), the subsequent fights due to the clash of responsibilities (it is difficult to save the world every so often), the explosion of the home planet, the depression that led to gaining tens of kilos, the deaths of papa Odin and his brother Locki, Locki’s second death, the third…

The underlining of Locki’s multiple deaths reinforces the idea of ​​a meta-discursiveness executed no longer through winks and references (which there are), but through a sardonic gaze and airs of superiority. Along these lines, it is understood that in New Asgard – the place founded with the survivors of the diaspora, governed by Queen Brunilda (Tessa Thompson) – there is a street stage theater where Thor himself recreates the milestones of his life in a very traditional way. , with Matt Damon Y Melissa McCarthy in charge of representing Locki and his sister. And also the giant and screaming goats that she receives as a gift after saving a community and that operate as great humorous triggers.

But things get serious when a villain nicknamed “The Butcher of Gods” acquires dramatic relevance, since his goal is to kill all the gods to avenge the death of his daughter. The humor, then, will go into the background, while the tragedy breaks into the life of a (again) suffered Thor. The absence of relationship between the two parts, the lack of a transition that justifies the serious tone pressing to crack the comic bark, makes love and thunder a bi-polar movie who could use some psychiatric treatment.

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