Director Taika Waititi prioritizes humor and aesthetics in the 4th MCU film. Some criticisms have often been made about Marvel films. They talk about the look, the not-so-well-crafted villains and the poorly made female characters. The newest chapter of ‘Thor: Love and Thunder’ tries hard to move away from these traditions. In terms of aesthetics, villain and heroine, the new film just gets it right. However, this choice was made in such an orderly manner.
All this is very important, not only because it is in line with the current moment of the MCU – which seeks with each new production to correct some past mistake -, but because it completes something that started in Thor: Ragnarok and went very well. ‘ Ragnarok ’ brought a special color to Marvel Studios, a good villain and the promise of a much more interesting female figure to the universe, in the introduction of Valkyrie. However, the flaw of ‘Love and Thunder’ is that it lacks something so important that it went along with Waititi’s humor in its predecessor: a good plot development.
I’m not trying to say in this article that the new film doesn’t have a good plot: it’s an excellent idea to return, for example, to Jane Foster (Natalie Portman) as the Mighty Thor, who (temporarily) saves the scientist from her advanced cancer, to help Thor (Chris Hemsworth), Korg (Waititi) and Valkyrie to eliminate Gorr (Christian Bale) and his threat to murder all the gods. ‘Love and Thunder’ doesn’t miss that. However, there is little interest in telling a story. The events are very fast, and so much more based on humor, music and aesthetics, that the director’s work leaves behind the complexity of her characters, which results in a lack of emotional strength for all sides, and especially for the protagonist. , which is unfortunate.
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It was as if the director Waititi was using Hemsworth’s talent in humor to support, and let go of a much cooler and flashier plot to follow, when the protagonist starts to have real weaknesses. There is indeed something positive about making Thor a more vulnerable being, and the MCU’s tradition of distracting real emotions with humor is made, so there’s no departing from that tradition.
The big part and emotional charge of this production focuses on Natalie Portman and Jane Foster, whose battle arc against cancer and the search for temporary salvation, would have everything to give the MCU a human weight that it doesn’t even see, maybe it will, since the big production of Black Panther. The fact is that ‘Love and Thunder’ truly finds it difficult to balance such a serious and real plot against such a noisy context.
When the story engages firmly in the journey of Thor, Jane, Korg and Valkyrie, Love and Thunder works and captivates by its jokes, working very well as a romantic comedy, which was full of good acting choices. The very few friendships between Jane and Valkyrie are very charismatic. Thor and Jane’s reunion, however, is one that ends up sacrificed to insistent humor. On the other hand, he knows how to work his strengths where he wants to put them. The production’s music is exciting and matches the look of the production, and this goes a long way in helping to distract the viewer from the plot. The view was excellent.
The plot gives up on prolonging real conversations and giving more time to events, as they are such complex subjects as reunions, cancer, etc… Even if it put aside the melodrama, which made the genre so unique to this day.
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