Thor: Love and Thunder is a 2022 American fantasy action superhero film and the fourth entry in the Thor franchise, following Thor: Ragnarok. The female-focused storyline is based on Jason Aaron’s ‘The Mighty Thor’ wherein a cancer-stricken Jane Foster takes up the mantle and powers of Thor.
Directed by Taika Waititi (Jojo Rabbit), who also reprises his on-screen role as Korg, from a screenplay co-written with Jennifer Kaytin Robinson (Someone Great).
The movie stars Chris Hemsworth (Thor), Natalie Portman (Jane Foster), Tessa Thompson (Valkyrie), Jaimie Alexander (Lady Sif), Chris Pratt (Star-Lord), Karen Gillan (Nebula), Pom Klementieff (Mantis), Dave Bautista (Drax), Sean Gunn (Kraglin), Russell Crowe as Zeus and Christian Bale as Gorr the God Butcher.
Meanwhile, The Asylum is releasing a mockbuster movie titled Thor: God of Thunder to cash in on the Marvel film. The Asylum previously released Almighty Thor in 2011 to tie in with Marvel’s first Thor movie.
“Thor: Love and Thunder is the best outing for the MCU since Endgame. This is specifically because Waititi never loses sight of who Thor is and doesn’t have to dedicate his movie to passing a torch. While there are some heavy exposition moments done to make the audience care about Jane […] overall, Waititi shows and doesn’t tell. His mind for comedy and visuals helps land some of the grandest moments of the film.” 8 out of 10, But Why Tho?
“The fourth instalment isn’t by far the worst film of the Thor series. Nor is it the most memorable following the god’s MCU resurgence. Director Taika Waititi continues to send guitar riffs and refined action which made Ragnarök rejuvenating, but as Love and Thunder distances itself further from the MCU, Thor starts to make less of a dent for viewers. 6.5 out of 10, CGM Backlot
“The film is not perfect, but for the fourth movie in a franchise, Love and Thunder exemplifies the new directions a character’s journey can take while still being fresh and exciting. We are thankfully not subjected to a slew of cameos that make less sense plot-wise and are meant more as Easter eggs for the future of the MCU […] The film embraces Thor as the flawed and sometimes silly man that he is.” Rating: A, Collider
“In so many ways, for mostly better and occasionally worse (a jaunt to Omnipotent City drags a touch), Thor: Love and Thunder is a deeply weird, deeply wonderful triumph. It’s a movie that dares to be seriously uncool, and somehow ends up all the cooler for it — sidesplittingly funny, surprisingly sentimental, and so tonally daring that it’s a miracle it doesn’t collapse.” 4 out of 5, Empire
“If any part of the movie is truly hilarious, it’s the scene with Zeus, and it’s because of Crowe. But maybe Thor: Ragnarok was, at least for the world of Marvel, too good to be topped. Or maybe you can only get so lucky so many times. As hard as the cast and Taika Waititi try, though, it just doesn’t work. Thor: Ragnarok felt effortless. Thor: Love and Thunder is working very hard, and not getting a lot to show for it.” 5 out of 10, /Film
“Marvel’s comedy mode has become a bit of a reflex, a set mode which could almost be enabled in the “settings” menu of Marvel software: a highly contained form of restricted self-satire or auto-undercutting that is always offset by the huge CGI intergalactic action scenes. This is becoming a bit of a cul de sac – but that isn’t to say it isn’t still funny, and Thor still delivers a mighty hammer-blow, or rather axe-blow, of fun.” 3 out of 5, The Guardian
” …there are some mildly moving interludes between Hemsworth and Portman as Jane’s health becomes more compromised with each swing of the hammer […] But right down to a sentimental ending that seems designed around “Sweet Child O’ Mine,” the movie feels weightless, flippant, instantly forgettable, sparking neither love nor thunder.” The Hollywood Reporter
“It’s the kind of movie that ends on such an emotionally satisfying note that I was willing to forgive — and all too able to forget — the awkward path it traveled to get there, or how clumsily it gathered its cast together for the grand finale. If Love and Thunder is more of the same, it’s also never less than that.” Grade: B- IndieWire
“Characters show up and disappear when it’s most convenient, laws of gravity don’t exist (I know we are talking about superheroes, but even among superpowers there must to be some sort of boundaries), geography is meaningless and the action taking place is often so fast that even on a big screen like the Imax looked fairly confusing. Not to mention the cartoony look of the scenery, which looked more like out of the 80s Flash Gordon, than anything.” MovieGeekBlog
“Like most of these movies, it has the look of a TV with the motion smoothing setting left on […] At one point the heroes enter a vast citadel and tell us how over-awed they are by its magnificence, but as the camera pans around all we can see is a blur of colour. Like all these movies, it inevitably ends up in a punch-up that appears to take place inside a lava lamp, though this one does have a surprisingly sweet denouement.” The Movie Waffler
“Thor: Love and Thunder is absolutely branded by Waititi. The soundtrack is simultaneously on-the-nose to the cheesiest degree, yet epic and fist-pump-inducing. Thor: Love and Thunder is bold and brash and legitimately hilarious, if not a bit silly at times. Nothing is off-limits and every opportunity for a laugh is languished in. It’s the best time that families will have at the movies, this summer.” Nightmarish Conjurings
“Thor: Love and Thunder is a blockbuster comedy sequel at its core, and its weaker material reminds you of that even when it’s still good for a sporadic laugh or two. Lacking the overall freshness that defined the previous movie, Thor: Love and Thunder is better with its bolder, dramatic sequences that are like mini-movies expressed with action figures about how love comes with the price of loss.” 3 out of 5, RogerEbert.com
“Waititi once again lays an uproarious comedy baseline but, unlike with Ragnarok, the filmmaker also weaves in a genuinely affecting message about life and love. It’s a message that, in the end, informs and evolves the titular character and his ex-girlfriend-turned-superhero, paying off a decade-long storyline and establishing interesting new threads that can stretch into future MCU films.” Screen Rant
” …Love and Thunder epitomizes the trap that much of modern comic book culture finds itself ensnared in: demanding to be taken seriously while also relentlessly making self-deprecating jokes about how ridiculous it is because it’s aware that it’s derived from children’s entertainment […] the belated emotional pivot lacks any impact and only further emphasizes the tonal disconnect of one of Marvel’s most scattershot features to date.” 1 out of 4, Slant
“Visually, the film feels mostly at sea in a nebulous digital landscape; as is the case with so much of contemporary superhero cinema […] I didn’t leave Thor: Love and Thunder feeling annoyed — Waititi and Team Marvel are too shrewd as showpeople not to keep the pace lively and the scope massive — but it falls far short of the best of the franchise.” The Wrap
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