between the gods of Marvel, humor stronger than love at first sight

Three years after his last appearance in the MCU in Avengers: Endgamethe god of thunder returns to the cinema in Thor: Love and Thunder. Still camped by Chris Hemsworth, the Avenger is once again directed by New Zealand director Taika Waititi, who had already boosted the franchise in Thor: Ragnarok in 2017 by infusing it with its grain of madness.

Fresh out of his depression, Thor Odinson travels through space alongside his new friends, the Guardians of the Galaxy. From mission to mission, the Asgardian regains his athletic body and all his power but always seeks to give meaning to his existence. He will find a smile next to Jane Foster (Natalie Portman), his ex-girlfriend, who – to everyone’s surprise – has acquired divine powers and learned to control the famous hammer Mjöllnir.

Together, Thor and Mighty Thor (Jane Foster’s heroine name) will have to face a mysterious and terrifying killer: Gorr (Christian Bale), nicknamed “the Butcher of the Gods”. To stop this genocide of deities, the former couple will solicit Valkyrie (Tessa Thompson), who reigns over New Asgard, but also Zeus, who is making his first appearance in the Marvel universe in the guise of Russell Crowe.

Absent from Marvel movies since Thor 2 released in 2013, the brilliant scientist Jane Foster signs here a return as expected as it is unexpected. Natalie Portman, who had declared in 2016 that her story with Marvel was over, was convinced by Taika Waititi’s project to make her the equal of the god of thunder. Her Mighty Thor character, for which she underwent spectacular physical training for several months, steals the show from her male counterpart.

Armed with her reconstituted hammer (Mjöllnir had been destroyed by Hela, sister of Thor), Jane leaves the role of composition which was hers in the first films of the franchise, where she remained in the shadow of her imposing companion. And is now in line with the other charismatic heroines worn by Marvel in recent years, such as Captain Marvel or Black Widow.

>> Our interview with Natalie Portman

The title Love and Thunder – which could stick to a sitcom of the 90s – announces the color of this fourth film of the adventures of Thor. Against a backdrop of newfound romance, Taika Waititi retains her style that is both kitsch and pop through an always very elegant proposal that plays on contrasts, both visual and sentimental. The escapades of the gods and their flashy look contrast with the dark design of Gorr, embodied by an unrecognizable Christian Bale. Special mention to the aesthetics and atmosphere of the final battle, which takes place in a black and white decor of the most beautiful effect.

The filmmaker – who has the wind in his sails at Disney since he is also at the head of projects for Star Wars – pushes the humor cap even further than in Thor: Ragnarok. The Guardians of the Galaxy once again bring their dose of lightness and will certainly seduce young audiences, just like these space goats with their unbearable cry, pulling the flying boat of the heroes like Santa’s sleigh.

For his eighth appearance in the MCU, Chris Hemsworth – one of the last pillars of the saga after the departures of Robert Downey Jr. and Chris Evans – is also the first to bring his share of lightness. The 38-year-old Australian actor with the look of Viking seems to find a new youth in front of the cameras of Taika Waititi and never hesitates to make fun of his image of divinity. Until a memorable fight against Zeus where he finds himself… completely naked.

Without ever taking himself seriously, Thor continues his introspection as a complex and endearing character in this energizing and hilarious sequel. However, by betting too much on the second degree, Love and Thunder almost forget to be touching, the fault of too marked a gap between the absurdity of certain gags and the tragedy that touches the characters. Taika Waititi tries everything, he surfs with excess to bring freshness to a Mavel saga described as too formatted. At the risk of creating an imbalance during the key sequences of the film, which would have deserved a more moving treatment.