1/11/2024 0 Comments Fluke movieWhen Thor tossed his hammer at Hela (Cate Blanchett), his Maleficent-meets-Medusa evil sister, she stopped the weapon in its tracks, smashing it into several dozen pieces. Waititi didn’t just take a Thor adventure, add comedy bits, and stir he approached the Marvel paradigm as a grand statue he was going to scrawl graffiti on, using comedy - flaky, personal, unpredictable, with a blink-and-you’ll-miss-it dash of meta - to let the actors exist in their own space, and to loosen the laces on the Marvel formula. That’s what made “Thor: Ragnarok” such a genuine Marvel wildflower. Even when it works (which, to be honest, is more than it doesn’t), the comedy is all part of the package, the quips arriving on cue with the same dead-end bull’s-eye timing as the CGI miracles. But amid those qualities, the most insidious may be the one that’s designed to distract you from the rest: the insouciant, sitcom-on-steroids jokiness that ricocheted through Joss Whedon’s original “Avengers” film and has greased the wheels of countless Marvel capers since. 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. There are many words to describe the quintessential 21st-century cinema experience known as the MCU movie. Waititi has the wit to see that if you aren’t mocking a Marvel movie as you’re making one, you might be taking it more seriously than the audience does. But it also, like “Ragnarok,” possesses an offbeat humanity that justifies the japery. Like “Thor: Ragnarok,” the movie was directed and co-written by Taika Waititi, the New Zealand sleight-of-hand-prankster-who-is-also-a-serious-filmmaker, and it builds on the earlier film’s highly winning tone of skewed flippancy. In other words, a standard day in the MCU.īut “Thor: Love and Thunder” is far from standard, and that’s a good thing. They’ve joined up with the warrior teammates Thor met in “Thor: Ragnarok,” all to defeat Gorr the God Butcher (Christian Bale), a scarred super-killer who’s on a vengeful mission to destroy every god in the universe. There’s some screwball sniping between the two of them, all of it charged and sexy and entertaining. Yet given that he hasn’t seen Jane since “Thor: The Dark World” (according to our hero, it has been eight years, seven months, and six days), and that he’d do anything to win her back, Thor is pretty good about playing the chivalrous supportive male and honoring the fact that she now possesses his hammer, and his brand. Absent of hammer, he wields an enchanted ax called Stormbreaker, but sorry, it’s just not the same thing. She now is Thor - which, you’d imagine, might not sit so well with the God of Thunder himself. By possessing the mystique of that hammer, she has become the Mighty Thor. 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 ( Natalie Portman), Thor’s old flame. ![]() To see how these fit in with all of her other novels, check out our complete list of Joanne Fluke books in chronological order.“ Thor: Love and Thunder” has a pleasing, let’s-try-it-on-and-shoot-the-works effervescence. ![]()
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