'Thor: Love and Thunder', the traumas and laughter of the gods directed by a seven-year-old boy

In a paradigmatic sequence of

the fourth solo installment of the hammer superhero in the Marvel Cinematic Universe, Matt Damon, who repeats his comedic cameo after his celebrated intervention in

plays Loki in a laughable work of theater in which they make fun of the pomposity of the speeches, the traumas and the conversations around the sons of Odin.

It is a satirical moment, a nod to the laughter of the fan and the not so fan, but the problem is that, except for the grotesque makeup and the pedestrian special effects of the work, there is not much difference with too many fragments, seriously, of the rest of the film, with the nonsense of some of its texts and its situations.

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Taika Waititi, director of 'Thor: Love and Thunder': "Religions only cause problems"

Irony with oneself and self-parody do not always have to work, and this time Taika Waititi, the director who in

the third installment, composed the most luminous and fun proposal of the series, has crossed the line.

Too many moments in which the sublimation of the joke mutates into ridicule.

Hindrance to which we must add, except for a few specific moments, a visual aspect without enough attractiveness or identity, between the

and the majestic.

And, above all, a brutal contrast between the drama of certain subplots of the central story, which you never really know what it is, and the overdose of stupidity of the rest.

Just what makes that forced and allegedly idiotic bombast in the Damon cameo sequence set off alarm bells.

The cancer and chemotherapy sessions of the character of Jane Foster, the beloved of Thor played by Natalie Portman, and the, on the other hand, and seen individually, magnificent prologue, with the birth of the villain butcher of gods Gorr watching his little girl die daughter in the desert, fit like water and oil with the joke of the rest of the show.

The pitch modulation failed this time for Waititi.

Even in the interpretations, each one ends up going their own way, except for the untouchable Chris Hemsworth, who always comes out unscathed whatever they throw at him, with his charisma as a hot guy that everyone likes.

Portman is serious about it, but Bale, as the tragic character in the story, seems to be playing Shakespeare in every line, while Russell Crowe makes his Marvel debut with a demystifying Zeus with whom he must have had a great time.

And it's not just that each of the characters has a different function.

It is that the seriousness of some and the effervescence of the others infect each other in the worst of the senses.

Perhaps the final part goes back a bit with respect to the initial mess, but to

with notes on love and the hindrance of religions, narrative questions do not cease to affect him.

For example, that the main objective of the characters —the rescue of kidnapped children— is shown or capriciously forgotten in the story;

that the narration sometimes seems cut off in editing and at the last minute, and there the presence in the credits of the prestigious British actor Simon Russell Beale, then almost invisible in the film, may be the best of the clues;

or that, in short, the powerful songs of Guns N' Roses enter with all their force to accompany the images, although Waititi is not very clear how to cut them from the sequential continuum, except by gradually lowering the volume, which can give understand that there was never a thoughtful confluence between soundtrack and visualization.

With the best of intentions, Hemsworth said in an interview a few days ago that

"is the movie a seven-year-old would make."

He was referring to the free and unbridled spirit of his director, but the point is that he may have nailed it.

Thor: Love and Thunder

Direction:

Taika Waititi.

Cast:

Chris Hemsworth, Christian Bale, Natalie Portman, Russell Crowe.

Genre:

adventures.

USA, 2022.

Duration:

119 minutes.

Premiere: July 8.

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