The story focuses more on love and romance than most other MCU films, with kissing and affection between a couple and discussions of true love and the "ones who got away." There's also a suggestive scene in the realm of the gods where a planned orgy is mentioned more than once and women literally swoon at seeing Thor stripped of his clothes (audiences see him naked from the rear). Expect plenty of comic book-style action violence, including weapon use and hand-to-hand combat, as well as two injuries/deaths that are likely to upset younger audiences. ![]() This time around, Thor ( Chris Hemsworth) bids goodbye to the Guardians of the Galaxy when a new threat appears in the universe: Gorr the God Butcher ( Christian Bale), whose mission is to kill every god. These are the puzzle pieces that must be fitted together so she can understand her own captaincy of a mighty superhero destiny.Parents need to know that Thor: Love and Thunder is the sequel to 2017's Thor: Ragnarok and the fourth Thor movie in the Marvel Cinematic Universe. There are glimpses of an unhappy childhood, a cruel father, a Top Gun-style military training in the US air force alongside a loyal friend Maria ( Lashana Lynch) and a mysterious mentorship from an enigmatic woman played by Annette Bening. ![]() When she finds herself detached from her unit in time-honoured, war-movie style, all alone on our own planet – which one of her comrades harshly describes as a “shithole” despite the fact that it looks considerably better than any other planet featured here – she is plagued by memory flashes, fragments of what appears to be a lost Earthling identity. ![]() And here, incidentally, is another qualification: I wanted more martial arts and kickboxing action from Brie Larson, because these are very good moments. She is a tough and disciplined warrior who has been recruited into the ranks of the Kree, an alien fighting force previously seen in the Guardians of the Galaxy films, engaged in a vicious battle with the Skrulls, a nation of extraterrestrial shapeshifters, led by Talos ( Ben Mendelsohn). The film hinges on a fierce performance from Brie Larson, though I think it could have showcased her in a stronger, clearer starring role and assigned her more of the script’s funny lines. A lovable cat makes an important appearance.ĭigitally regressed … Samuel L Jackson as the youthful Nick Fury. It gives us a playful first glimpse of a number of things, important and otherwise, including how Shield agent Nick Fury acquired a notable part of his badass image – Fury played of course by Samuel L Jackson, his face digitally regressed to the way it looked around the time of Pulp Fiction. There’s an eccentric splurge of tonal registers from boomingly serious to quirkily droll. It’s an unconventional origin-myth story, which makes it initially uncertain what the nature of those origins is, and maybe even whose origins exactly we’re talking about. This is an engaging and sometimes engagingly odd superhero action movie from directors and co-writers Anna Boden and Ryan Fleck, a weirdly nonlinear mashup of past and present, memories and present experience, Earth and non-Earth action. ![]() At one important stage, there’s a soundtrack outing for Nirvana: “Come as you are, as you were / As I want you to be / As a friend, as a friend / As a known enemy. We have crash-landed in mid-90s America: a hilariously antediluvian world of Blockbuster video stores, dial-up internet, web searches via AltaVista, and grindingly slow CD-Rom drives. T his latest tale from the Marvel cinematic universe takes us way back in time, many years before the great catastrophe shown in Avengers: Infinity War.
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