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On ArtReviewGerry Canavan reflects on what he defines “recent Marvel style“, characterized by a”hyper-self-awareness“and from a”self-referential fixation for the heroic past“.”In the absence of a single focus on a plot towards which everything converges inexorably – writes Canavan -, the franchise is instead obsessed with small variations of itself and its own emotional rhythms, on asking questions, crying and shuffling its past“.
This summary illustrates the problem well Love and Thunder. Let’s take the relationship between Thor and Foster, which blossomed in the first two Thor movies, but doesn’t develop into the acclaimed Ragnarok. Waititi has the merit of updating viewers with numerous summaries, usually through the mouth of the lovable Korg, or through theatrical meta-plays with Matt Damon. These gimmicks, however, fail to explain the emotional development of the characters, necessary to make you interested to the difficulties of the couple in the sentimental field and because of the illness.
An understandable retort would be to point out that Marvel films, like comics, are meant to be enjoyed in connection with one another; they are never stories in their own right. In Love and ThunderHowever, the lack of direction is hard to ignore, unless you just watch the movie to see your favorite characters. In the post-fictional worldAvengers: Endgame the stakes are lower, a problem exacerbated by the relaxed and ironic tone of Waititi and his actors. These films are made in the director’s image and likeness, and are characterized by the same satire that he inspired What We Do in the Shadowsthe horror series created by Waititi. This tone increases the impression that nothing really matters: we’re just here to have fun.
Not that this is a problem (were it not for the fact that the black hole of the MCU engulfs the prospect of making other blockbusters that don’t have Tom Cruise or the Minions as protagonists, but this is a widely discussed topic). Marvel movies don’t have to be for everyone, and the fact that they’ve become so prohibitive to non-fans is fun and almost avant-garde. However, one wonders how they will age. In thirty years the public, which will probably have very different references, will be able to look at them? We can imagine the viewers of the future coming to Disney + to watch more than 50 hours of cinema for the sole purpose of grasping the references in a single film? Not to mention that we may not even be close to the end of the franchise. After the credits of Love and Thunder, Zeus reappears to summon Hercules, who will be the subject of another film: a character who, of course, already has a comic strip and all its tradition.
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