The Corner

Film & TV

Thor: Love and Thunder Is a Mixed Bag

Natalie Portman and Chris Hemsworth star in Thor: Love and Thunder (© Marvel Studios)

After spending $20 for a Thor: Love and Thunder theater ticket (inflation has ruined entertainment too!), I can only say that the MCU film was a mixed bag. The movie explores Thor’s journey after Marvel’s cinematic blockbuster Avengers: Endgame, in which Thor travels with the Guardians of the Galaxy to protect different planets from external threats. Reflecting the style of director Taika Waititi, this Thor relies heavily on comedy throughout. Consequently, some of the more serious scenes involving Christian Bale’s Gorr and Natalie Portman’s Jane Foster fall flat because viewers are unable to fully appreciate their struggles against the backdrop of the film’s continuously humorous tone. 

While some of the comedy is overdone, there is plenty in the film that makes one laugh instead of cringe. Specifically, Chris Hemsworth absolutely stands out as Thor, arguably delivering his best performance of the character. His ability to incorporate thigh-slapping humor to develop the plot saves the film from bombing like some other more recent Phase 4 Marvel films. With Hemsworth, the comedy works fluidly. In addition, Portman redeems Jane, who was wholly unlikeable in the first two Thor movies, by fulfilling a more compelling character and story arc. 

Overall, while the movie had strong elements such as better acting, character development, and excellent visuals, the film failed to build a strong, resonant theme throughout. The direction of the movie was chaotic and oversaturated with new plot devices and characters. It just couldn’t replicate the formula for success used in Thor: Ragnarok. Moreover, the scenes after the credits introduce more confusion for the audience and show a marked lack of coherence as compared to the pre–Phase 4 Marvel movies. The future of Marvel is too chaotic and overwhelming, which is unappealing to the Marvel fanbase.

Rohan Krishnan is a rising junior at Yale University and a summer editorial intern at National Review.
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