Walt Disney Studios Motion Pictures | Release Date: July 8, 2022 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
31
Mixed:
28
Negative:
5
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Critic Reviews
ColliderJul 5, 2022
I never once rolled my eyes at a joke that was clearly dropped in, so it could be a zinger and make it to the trailer. It successfully silenced a rather jaded MCU fan by offering a story that had it all without having to sacrifice its soul to the MCU machine that is eager to churn out stories for future phases.
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The TelegraphJul 5, 2022
Forget computer-generated spandex: that top must be the single most psychologically precise piece of costuming in the entire Marvel project. That it also looks completely at home beside Hemsworth’s scarlet cape and induction-hob breastplate might be the neatest encapsulation to date of the franchise’s charms.
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It’s exhilarating while it lasts, creating an unwavering feeling of giddy excitement and palpable enthusiasm in doing so, but by the time the credits roll on a pair of post-credits scenes that hint towards where Thor is heading next, you might be left wishing you’d consumed something more substantial, instead of gorging on instant gratification simply because it’s right there in front of you.
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There is a sublime stretch of Thor: Love and Thunder—around the point where Russell Crowe, as Zeus, appears to be auditioning for either House of Gucci, My Big Fat Greek Wedding, or some combination—when the movie drops all pretense of being a coherent narrative, much less a portentous installment in the Marvel Cinematic Universe.
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At its fizziest, the camaraderie among the principals buoys the picture. Hemsworth and Thompson in particular toss off their lines with throwaway aplomb. Waititi’s heart plainly belongs to the muttered asides and the eccentric details; the action sequences, meanwhile, squeak by, and barely.
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By now, it must be said, the quips are beginning to wear a little thin, the vinyl-era needle drops a little less cool, the quotation marks a little more obvious among the ironic references and self-mocking bonhomie. Still, Thor: Love and Thunder is out for a good time, even if the journey doesn’t feel quite so novel or giddily buoyant.
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If this particular franchise’s material feels at times a bit thin to be spun out even to two hours, it may be simply that three solo movies per Avenger is more than enough. But this weekend, if the lure of an air-conditioned summer blockbuster summons you like a sacred Asgardian hammer, you could do worse than this Easter egg–colored, classic rock–scored frolic.
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Waititi’s playfulness buoys Love and Thunder, but the insistence on Thor’s likability, his decency and dude-ness, has become a creative dead end. The movie has its attractions, notably Hemsworth, Thompson and Crowe, whose Zeus vamps through a sequence with a butt-naked Thor and fainting minions.
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PolygonJul 5, 2022
The Film StageJul 5, 2022
Sans some overarching Avengers narrative providing these standalone epics their thrust, Thor: Love and Thunder plays adrift and uneven, once again resistant to use its untethered narrative and leading hunk in any meaningful—meaningfully sexy—way. By film’s end, when one character tells another to “choose love,” I could hear a handful in my theater beginning to sniffle and cry. It’s hard to understand why. The only thing my eyes could do was roll.
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For the most part, however, this romp, which pits Thor against Christian Bale’s cadaverous God-slayer, is superficial stuff – a film that brings a greeting-card triteness to its themes of love and sacrifice; that harvests internet memes (screaming goats) in the service of easy laughs.
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Where Thor: Ragnarok was unpredictable and unruly in the most thrilling way, Love and Thunder by contrast feels safe and formulaic. Waititi is too preoccupied with trying to land the same jokes, and he burdens the film with a wishy-washy love story which even by the MCU’s low standards feels shallow and perfunctory.
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Dipping less rewardingly from the same well in Thor: Love and Thunder, Waititi pushes the wisecracking to tiresome extremes, snuffing out any excitement, mythic grandeur or sense of danger that the God of Thunder’s latest round of rote challenges might hope to generate. Chris Hemsworth continues to give great musclebound himbo, but the stakes never acquire much urgency in a movie too busy being jokey and juvenile to tell a gripping story.
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The studio has stumbled into what may be the worst film yet in its long line of spectaculars, an erratic and fatally dull morass of limp jokes and aimless plotting. The magic is decidedly gone, and the film left me wondering, on a more macro scale, if this whole cinematic universe machine has any idea where it’s headed.
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