丨TWY
Since the fourth phase, the Marvel Cinematic Universe has been in unprecedented chaos, and even Kevin Feige almost used this chaos as a guideline for the series, in the first few works , the "multiverse" is a reasonable shield to wrap up this chaos.
For a commercially successful series, its biggest enemy is itself: the more stories and characters, the more complex the "timeline", the more complex the styles, the more important it is.
"Thor: Love and Thunder"
desperately needs a film that returns to simple emotions, which is a return to cinema: if the last Doctor Strange 2 ends up being a solo directorial show for Sam Raimi , even if the plot is insufficient, it allows us to see the wild type energy of an authentic horror film director. The title of "Thor 4: Love and Thunder" seems to directly convey the banner of returning to emotion, but everyone once again Tricked by amusement park tricks.
If the Spider-Man series starring Tobey Maguire graciously showcases Sam Raimi's talents as the best mise-en-scène in contemporary Hollywood , it showcases our " The Emotional and Moral Side of the Writer: Each film in the trilogy is an allegory of growth, beginning with the love affair of high school student Peter Parker and ending in the third with Parker and Mary Jane's (Christine Dunst) reconciliation ends.
"Spider-Man 3"
Superhero films, Qiong Yao dramas and youth films come together here, because being "Spider-Man" is only a concrete manifestation of his entire adolescent life, how a thin little boy fantasizes about becoming an adult, and Dealing with the relationship between yourself and the things around you, Remy's videos are also good "post-9/11" New York street views.
It was the innocence of comics, and Parker played by Maguire not only tried to understand himself as a superhero (adult), but his most difficult task was to express his emotions to the people he loved, even at the risk of At the risk of making the film unwieldy, Remy gave Parker room to express himself or stutter.
"Spider-Man"
Meanwhile, the film is full of tone changes and old-fashioned humor, not to mention all the action scenes are still top-notch to this day, and even if Remy lost control of the script in "Doctor Strange 2" , merely reduced to Marvel's "visual effects", but this unique emotional character still sometimes emerges from the cracks of a corpse.
"Doctor Strange 2"
The reason why I'm going to talk about Remy at length is to show that " Thor 4", which has "love" in the title, can treat everything like a child's play.
In fact, in this era of drama series (MCU=SNL), we still have expectations for these films, just to see what new costumes those familiar characters have changed into as children. .
And Taika Waititi can only do that. If in the last "Thor 3", he still used comedy to let fans re-acquaint himself with the "hard and hated" Thor (so Muddle through), this time, the untalented "author" pretended to be an innocent urchin, and eventually the whole film became a product that was almost identical to the spoofed theater in the film.
Thor 3
Saul actually has no character because every one of his one-man films is trying to stay close to the prevailing tone of Hollywood at the time, after a Kenneth Branatha-style debut , Thor revamped into Nolan 's "Dark Knight" style in the second installment; with James Gunn's "Guardians of the Galaxy" rewriting Marvel's tone, Thor's comedicization is also logical. ; And by the fourth installment, Marvel no longer needs to prove itself, because they are just "content" production machines.
therefore sufferWhen Jane Foster (Natalie Portman) on the top of the book came to "New Asgard" somewhere in northern Europe in search of a cure, what was displayed in front of her was undoubtedly a playground— —The sight is extremely ironic, because it seems to be the director's response to Martin Scorsese's famous line: "Marvel movies have good actors, good producers, but they're just rides, not movies. ."
"Thor: Love and Thunder"
It's clear that Marvel doesn't mind the fact that it's a reality, nor that it gets involved in Waititi's spoofs, because nothing matters, it's all about numbers Effects are generally only 0 and 1.
But alas, also as Scorsese said, there are good actors in the film, but whether it's Portman (Oscar winner) or Tessa Thompson (the lightest acting in the whole movie) , or the Christian Bale (Oscar winner) who plays the villain, or the Russell Crowe (another Oscar winner) who lowers his status and self-deprecating himself. The members of "Guardians of the Galaxy" took a cut and quickly ran away), leaving only Chris Hemsworth to maintain the face of the big male protagonist.
Portman's return is particularly disappointing, ruining the actor (again) and the underlying meaning of the title of the film, based on the 2014 comic "The God of Thunder": Jane as Thor Foster fights cancer with supernatural powers, but her superpowers accelerate the deterioration of her condition. But whether it's the female scientist's battle with cancer, or the incarnation of the goddess Thor and the "ex-boyfriend" fighting side by side, the director has only made a series of clichés.
Check out her appearance: an extra in a hospital ward watching Jane Foster's commoditized scientific work on a sitcom-like plastic set, followed by the cliché trope of a child asking her to tie a pen to a piece of paper Explains the principle of wormholes (Portman said: Have you seen "Interstellar"?).
Hollywood blockbusters never lack scientists, but even in Marvel, the image of a scientist has never been so entertaining (let's recall what Peter Parker and " Doctor Octopus " reached in the name of science. Simple friendship, even if it ends up being devastating).
But that's how Waititi's comedy meat grinder works, whether it's science and myth, or disease and love, it's just a point of sale, everything has to be flattened into jokes and jokes - in Sol and When Foster's former love scene was cut down into clips like commercials, we were getting farther and farther from the "love and thunder" that the film claimed, but the "intrigue" between Sol's two artifacts. It's worth seeing - the toys here certainly have more soul than real people.
In a clip widely ridiculed by fans, Jane Foster, the god of Thor, takes off from a house with a hammer, but no debris falls from the roof, as if the actor has become As if the 2D model was pulled from the frame, it certainly proves the absurdity and emptiness of everything. In addition to shamelessly "responding" to Scorsese with cheap self-mockery,
also seems to be Pedro Almodóvar who wants to shout in the air. Also in 2019, Almodovar said, "Sexuality doesn't exist for these superheroes, they've been castrated and turned into asexuals." If he can get rid of the "impotence" criticism by showing his muscles like a muscle, then he is very wrong.
Because, as Scorsese puts it, what Marvel movies really lack is "revelation, mystery, or real emotional danger," so even when showing flesh, a powerless softcore is all it can do.
Conversely, even if Remy's Spider-Man isn't overly erotic, Peter Parker's journey to becoming Spider-Man inevitably becomes a metaphor for adolescence itself; and Tim Burton 's " Batman Returns " may be the most erotic work in film history, because Bruce Wayne and " Catwoman " Serena Kyle (Michelle Pfeiffer!) is a wonderful counterpoint about dual identities, and emotions and dangers are born in the process of each pulling off each other's masks.
"Batman Returns"
But in today's Marvel movies, the dual identity of superheroes is less and less important, that is to say, they have no identity, no mask, and some are just costumes that can be switched at will (see When it comes to Foster, who is wearing his own classic style, Sol immediately replaces himself with a new one out of thin air, but nothing has changed).
Maybe in the days of Tony Stark , this "star" superhero setting may still have its freshness, because it discusses the possibility of such a ridiculous "star" coexisting with the real world , but as Marvel's own universe gets bigger and bigger, it becomes less and less important to connect with the real world - "big events" that destroy the world happen randomly, but there will no longer be an ordinary Earth People look up at the starry sky and look directly at those giants.
"Thor 4: Love and Thunder"
Now, "God's Domain" has "descended to the world", and one after another god-level villains have appeared. There is no doubt that the "Endgame" is already over, and the expansion of the "universe" represents the disappearance of the world.
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