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Thor Love and Thunder about and summary 2022 – Thor: Love and Thunder is a 2022 American superhuman film in view of Wonder Comics highlighting the person Thor, created by Wonder Studios and dispersed by Walt Disney Studios Movies. It is the continuation of Thor Ragnarok (2017) and the 29th film in the Wonder True to life Universe (MCU). The movie is coordinated by Taika Waititi, who co-composed the content with Jennifer Kaytin Robinson, and stars Chris Hemsworth as Thor close by Christian Bunch, Tessa Thompson, Jaimie Alexander, Waititi, Russell Crowe, and Natalie Portman. In the film, Thor endeavours to discover a sense of reconciliation, yet should get back to activity and enlist Valkyrie (Thompson), Korg (Waititi), and Jane Cultivate (Portman) — who is currently the Strong Thor — to stop Gorr the God Butcher (Bunch) from dispensing with all divine beings.
Thor Ragnarok the frequently humorous, stirring, and utterly energising director Taika Waititi’s last Marvel movie, “Thor – Love and Thunder” is more or less a victory lap for everything he accomplished with it. This enjoyable sequel is still a force for good, with enough visual ambition and heart in front of and behind the camera to stand on its own even though it uses too many cliched flourishes and jokes. On a route to recovery we come upon Chris Hemsworth’s thunderous Norse deity Thor, our space viking hero.
Thor has lost the gut he had in “Avengers Endgame,” going from dad bod to god bod to use Waititi’s voiceover recap delivered by his still endearing rock-bodied softy character Korg. The Asgardian people have relocated to a port city called New Asgard after their home realm was destroyed in “Thor: Ragnarok.” Tessa Thompson’s King Valkyrie, their charismatic leader, has assisted them in adjusting to life on Earth, including serving as a tourist attraction. Thor gets back into world-saving shape with help from the Guardians of the Galaxy, who make a brief appearance, and at the opening, he unleashes stylized Guns N Roses inspired violence.
Then Jane Foster Natalie Portman Thor’s former human love interest from the earlier movie during his more serious days is reintroduced as a more compelling hero. Now that Mjolnir’s components have been repaired, she can use it to transform into the Mighty Thor with a helmet and cape but doing so comes at a cost. Every time she utilises the power nit diminishes her human potential, which is tragic given the knowledge that she has Stage 4 cancer. Jane is deliberately brought back into the action in “Thor – Love and Thunder” adding to the complexity of their relationship. Portman’s portrayal of Jane in both her human and heroic states demonstrates why it’s wonderful to see Jane again.
This time Gorr the God Butcher serves as the antagonist, a tortured figure consumed by retaliation who casts shadows over the film’s colossal moments of light. Gorr becomes a non-believer following the murder of his daughter. He then summons an army of shape shifting dark animals to destroy all gods, beginning with the one who disregarded his screams for assistance. Christian Bale is impressive in the part switching between high and low tones while savouring the opportunity to flash his razor-sharp teeth. It’s the closest thing we get to seeing him play Pennywise the Clown with a hint of Voldemort while still maintaining the same humility Bale delivers to his most vulnerable humbled characters.
Thor – Love and Thunder which Waititi and Jennifer Kaytin Robinson co-wrote doesn’t quite reach its full potential. When Gor the God Butcher strikes New Asgard at night in a chaotic impromptu fight scene that has waititi typically steady vision for Thor action losing control part of the films messiness begins to take hold. The apparently terrifying moment suddenly occurs and it’s hard to understand what’s happening in the dark as shadow creatures fight the Asgardians and steal their children. A visual humour featuring a burning structure that collapses in the background timed for when Thor and Jane have another romantic rendezvous as a hammer-wielding ass-kicking Mighty Thor simply doesn’t work in this disjointed scenario.
The god of lightning Zeus and the other Gods lounge in a golden forum and discuss the upcoming orgy unafraid of what Gorr is planning to do to them as Jane, Thor King Valkyrie and Korg travel there to stop Gorr and save the stolen children. It provides for one of the most eye-catching set pieces, like a golden and white version of the Galactic Senate from “Star Wars” with a mishmash of silly animals (one has hairy paws and a face, that’s it another is a Korg related.
However, it’s also a time when the film is preparing for upcoming Thor stories at the expense of this one of as seen by a shrugging cameo in the post credits scene. It’s also one of many passages where it’s obvious that Tessa Thompson’s King Valkyrie has been weirdly sidelined despite her proven prominence and swagger in “Thor: Ragnarok” despite her centrality to the events of New Asgard.
There are numerous Guns N Roses allusions and needle drops in “Thor: Love and Thunder and you’re meant to head-bang each time. This is similar to when a joke or call-back plot beat is just playing the hits. All of the pop culture references and superhero-themed puns about coming up with catchphrases fall particularly flat when they come out as safe rather than original. At its core Thor Love and Thunder is a blockbuster comedy sequel, and even when it only sometimes manages to make you laugh the poorer material serves to remind you of that the bolder dramatic passages in Thor Love and Thunder which are essentially mini-movies on how love comes with the price of loss yet lacking the general freshness that characterised the previous film, are better. Before the Marvel Studios credit card comes out in full force with electric guitars, Gorr is introduced in a horrifying bit of bubble gum Ingmar Bergman clutching his dead child and denouncing his god before killing him. Later, Waititi portrays the romance between Jane and Thor—first cosy, then isolated—as a spin-off of his own weird independent film “Eagle vs. Shark.” It’s really humorous at times, but always brutally honest, especially as the two try to save their relationship in the waning days of time. The most important lesson to be learned from “Thor – Love and Thunder” is how boldly Waititi used colour, both aesthetically and psychologically.
This is in addition to the fact that Waititi truly ought to get the “Star Wars” trilogy he has been anticipating. It’s not just the vibrant colours, which feature golden blood-spouting Zeus soldiers in one instance or a stunning black and white fight scene between Gorr and Thor on a little colourless planet that cleverly employs brief bursts of blue light. That confident tone demonstrates how a film can incorporate both god killing and family friendly crowd pleasing scenes with a sentimental message about love. Although there are some issues with this sequel Waititi shows how distinctive big blockbusters can still be when its authors continue to use some of their most difficult themes and Funniest ideas.