Directed by Taika Waititi
Written by Waititi and Jennifer Kaytin Robinson
When I first saw the trailer for Thor: Love and Thunder I felt disappointed. The trailer prominently featured The Guardians of the Galaxy (the heroes of a different Marvel Superhero Series). For those who have not taken the time to watch Marvel (MCU) movies, one of their unique features is that they are all connected. Every superhero lives in the same universe and may very well cameo (or even star) in a movie that is not their own.
Depending on the day, I have different feelings about this. On the one hand, Kevin Feige (the producer of all the MCU movies) is a clearly a visionary whose ambitions have shaped film history. On the other hand, it’s incredibly annoying that Feige’s master-plan keeps each individual MCU Movie from being its own thing. One worries before going to the cinema whether one can enjoy a movie knowing there’s a risk it will refer back to 20+ other movies one may or may not have seen (and a growing number of television series).
So when I saw that the Guardians of the Galaxy were set to appear in writer-director Taika Waititi’s next MCU concoction, I worried something was lost. Waititi’s standalone films, particularly What We Do in the Shadows and Hunt for the Wilderpeople brought a unique comedic voice to the big screen. But it seemed with Thor: Love and Thunder his voice was once again being appropriated by a brand that was more interested in advertising as many of its characters as possible, than in making great, standalone movies.
Luckily, it turned out that the Guardians’ appearance in Thor: Love and Thunder was merely a cameo. Waititi included them in his movie, presumably to fulfill orders from management, and then proceeded to tell his own story.
Thor: Love and Thunder is an interesting kind of sequel. After two Thor movies with sombre-action tones were put out in the early 2010s (directed by Kenneth Brannagh and Alan Taylor respectively), Waititi was called on to breathe new light into the series. In 2018 he helmed a film called Thor: Ragnorak that sought to start the series afresh. And Ragnorak was a big success (even though I was underwhelmed).
But part of that refreshing process meant moving on from key characters in the first two Thor films. Thor (Chris Hemsworth) teamed up with colorful viking and superhero teammates, at the expense of his earthly love interest, Dr. Jane Foster (Natalie Portman).
In Love and Thunder Waititi sought to course correct his course correction. Surely the dreariness of the first two Thor movies wasn’t the fault of Portman or her character.
So Love and Thunder brought Jane Foster back. And it brought her back in a different socio-political moment. Now both Disney and some of its audiences were invested in (at least surface-level) feminism. Jane could no longer be just a love interest, and so she returned as a Thor-esque superhero in her own right (“The Mighty Thor”).
And it’s in his handling of this plot that Taika Waititi reclaimed his inner auteur. Going in to Love and Thunder I expected an origin story that would painstakingly show how the mantle of Thor was passed on to a strong-female successor. But Taika Waititi was smart enough to know that that kind of approach would feel unoriginal. Besides, does it really serve gender equality when your strong women character is just a duplicate of an earlier male character (is it even possible for a duplicate to be as loved as an original?).
So Waititi dropped the question of how of Jane became Thor 2.0, and focused on the why instead. Jane Foster, it is revealed, has likely inoperable cancer. And to escape that earthly pain…she somehow wills herself into becoming a superhero.
That part of the plot is not particularly coherent, but that doesn’t matter. Artful filmmaking isn’t about writing an instruction manual: it’s about connecting ideas and feelings. Superhero films are an escape, a distraction from life. And even within this superhero world, it turns out that becoming a superhero can serve as a distraction from one’s earthly mortality.
By bringing Jane’s struggle with death to the front and centre, Waititi also forces the audience to reckon with how nonchalant her figurative death (ie seemingly being axed from the series in Thor: Ragnorak) was treated previously. We can get Jane back, but we can never recover the years in which her character was neglected.
Waititi goes on to make a number of other cool stylistics choices. He experiments with bright-arcade colors, and black-and-white shots alike. He also takes advantage of the fact that the godly realm of Asgard was destroyed. The film is primarily set in the mundane context of “New-Asgard.” This gives the movie the endearing feel of Waititi’s pre-blockbuster, comedy work. Finally, Russel Crowe makes a brief but compelling appearance as a quasi-villain, who has more What We Do in the Shadows-spirit in him, than any of Waititi’s other MCU characters.
If the film has a weakness it’s that it is a bit inconsistent in how it handles its villain. Gorr the God Butcher (Christian Bale) doesn’t get that much screen time, and Waititi seemed torn between writing him as chaotic and nefarious (like Heath Ledger’s Joker), or as a gray-villain with relatable motives. But regardless of these flaws, Gorr was still a more compelling villain than Ragnorak’s Hela (nothing against her, she just felt kind of generic in the end).
Thor: Love and Thunder has not exactly wowed the world. I assume for the arthouse-critics it’s wound up a bit too tightly in the Marvel straight-jacket, whereas for your average Marvel fan, it’s the opposite problem: it doesn’t commit enough to building a bigger, blockbuster universe. As far as I’m concerned, Love and Thunder is the movie I wanted Ragnorak to be. I thought the whole point of bringing Taika Waititi into the MCU was to see the series’ heroes recast, through an arthouse, comedic lens. I encourage you to open your mind to this (extremely mild) example of experimental filmmaking. I think you will enjoy it.