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Thor: Love and Thunder (2022)

Thor: Love and Thunder is the latest installment in the Thor franchise and most recent addition to the Marvel Cinematic Universe. The film follows Norse God of Thunder, Thor (Chris Hemsworth) who has been on many adventures with the Guardians of the Galaxy. When it transpires that Gods across the universe are being slaughtered by Gorr, the God Butcher (Christian Bale), Thor must return to New Asgard with Korg (Taika Waititi) and team up with Valkyrie (Tessa Thompson) and Jane Foster (Natalie Portman), who has bonded with Thor’s old hammer, Mjolnir, and becomes the Mighty Thor in the hopes of stopping Gorr from completing his quest.

The film is directed by Taika Waititi who cowrote the script with Jennifer Kaytin Robinson. Whereas Thor: Ragnarok leaned more heavily on its use of humour to mark a change in tone for the Thor franchise, it seems that Waititi wanted to incorporate a more serious undertone with the film’s discussions on loss of faith and loss of love and grief. However, if seems that Waititi and Robinson struggled at parts to get a balanced tone in certain parts as there were moments of sincerity that were undercut with humour and it didn’t quite land in the way it was meant to. These moments tended to be when Jane was discussing her illness with Thor. The writing in the opening sequence with Gorr felt overly explained and it would have had a stronger impact if every stage of Gorr’s plan wasn’t whispered to him as the audience can put the pieces together of what his intentions are at this point in time. That being said, the final act of the film was among the best that Marvel has to offer as Waititi and Robinson weren’t afraid to confront darker and sadder themes.

Chris Hemsworth is fantastic as usual in the leading role of Thor, continuing to showcase the funnier side of the God of Thunder that Waititi introduced us to in the previous installment, Thor: Ragnarok. Despite the tonal misbalance in the writing, Hemsworth does an excellent job of leading the film, while also proving his ability to balance comical and dramatic acting. His scenes with Jane are filled with inner emotional conflict that he refuses to admit, but as the film progresses, his vulnerability begins to show. It’s clear that despite all the success that Thor has and how much he has achieved, not having Jane in his life has taken its emotional toll on him.

Natalie Portman’s performance is heartbreaking as Jane is revealed to be terminally ill. As her body us unable to fight against the cancer, Jane turns away from science and looks to magic in the hope that it will save her life. She is called by Mjolnir, Thor’s old hammer, and becomes Mighty Thor. While Jane was arguably wasted in previous Thor films, especially, Thor: The Dark World, Thor: Love and Thunder makes the most of Portman’s exceptional talent. She is able to weave in traces of her own personality and passions, including lines that reference Jane’s strength as a woman and her achievements as a woman in science. Thor: Love and Thunder works as an ode to Jane’s character and makes complete use of Portman’s abilities.

Christian Bale is the film’s scene stealer as Gorr the God Butcher. Following his daughter’s demise in the film’s opening scene, Gorr becomes disillusioned with the concept of Gods and their duty to provide salvation for their followers. He is chosen by the Necrosword and vows to kill all Gods with the weapon. The way that Gorr is portrayed and written into the film is unlike the majority of Marvel villains. We truly get to see Gorr’s perspective as his frail and starving demeanor is transformed into a monster that is almost ghostly as he makes his way across the universe, slaying Gods. Another reason that Gorr is an intriguing character is that his reasoning for killing Gods is actually justified. He and his community have committed their lives to serving Gods that simply do not care for their devotees. His quest for justice is by no means right, but it’s not entirely wrong either. Just as the Shadow Realm is portrayed, we venture into a grey area in terms of morality.

The cinematography provided by Barry Idoine is highly striking and makes Thor: Love and Thunder such a rollercoaster to watch. The vibrancy of the scenes in Omnipotent City where the remaining Gods reside contrasts beautifully with the darkness of the Shadow Realm where Gorr is residing. The scenes in the Shadow Realm may be stripped of colour, but the way Idoine angles and contrasts the darkness and light goes hand in hand with the film’s themes of right and wrong. As Thor, Mighty Thor and Valkyrie search for the children in the Shadow Realm, their weapons light the way and provide glimpses of colour on their clothes and skin, which is a very nice touch to show their limited power in this place.

While Thor: Love and Thunder may have moments of tonal misbalance and a script that doesn’t quite hit the same mark as predecessor, Thor: Ragnarok, it does a brilliant job of bringing in old and new characters, while also allowing Waititi to integrate his own signature quirkiness and humour into the mix. With plenty of appearances from a variety of characters including the Guardians of the Galaxy as well as a fantastic performance by Russell Crowe as Zeus, Thor: Love and Thunder is an entertaining watch that includes some brilliantly executed emotional moments as well as a stunning turn from Bale.

What did you think of Thor: Love and Thunder? Let me know in the comments below!

Thor: Love and Thunder is available to watch in cinemas now!

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Passing (2021)

Passing is a film that appears to have slipped under many filmgoers’ radars but one that should definitely be watched. This Netflix film sees phenomenal actress Rebecca Hall in her directorial debut and follows Reenie (Tessa Thompson), a woman who encounters a childhood friend, Clare (Ruth Negga), who explains to Reenie how she has been able to “pass” as a white woman to make her life easier in a racist society. Clare has been so successful in her bid to pass as white that her husband, John (Alexander Skarsgård), has no idea that she is black. Reenie begins to see the allure of passing as white in a society that is still inherently racist but in doing so, she begins to experience a loss of self in her identity while Clare is struggling with the loss that has already happened and wants to reconnect with her heritage and the life that she previously knew.

The film marks actress Rebecca Hall’s directorial debut and she also provides the screenplay which has been adapted from the novel of the same name by Nella Larsen. What is visually striking about Hall’s direction is how timeless it feels despite being a period piece that is grounded in its 1920s New York environment. The first thing to note about the film is the decision to film it in black and white which not only highlights the racial issues discussed in the films, but it also provides that timelessness and allows the film to focus on the details of the writing rather than the colours. Hall’s script is beautifully written as she allows the story to naturally develop without feeling rushed so we become accustomed to both women’s nuances and mannerisms.

Leading the film is Tessa Thompson who plays Irene, or Reenie as she is known to her friends. Reenie learns how to pass as white from childhood friend Clare and while this idea may have seemed beneficial and advantageous initially, Reenie begins to experience a conflict with herself and the life she has established. Married to successful doctor Brian (André Holland), Reenie is keen on fighting for racial equality but her fascination and admiration for Clare and the idea of passing as white naturally conflicts this due to Clare’s life decisions and her detachment from her heritage. Thompson shines in this leading role and shows her dramatic range while also bringing depth and authenticity to Reenie and the struggles she is faced with as Clare’s ideology and the society that encourages such ideologies threaten to undo all the work she is has done in her life and the life that she has worked hard to achieve.

Ruth Negga has received acclaim and attention from various awards bodies including a Golden Globe nomination for her supporting turn as Clare. Contrasting to Reenie, Clare lives her life as a white woman and is married to the affluent John Bellew who is openly racist and comments on his wife’s complexion. What is brilliant about Negga’s performance is how magnetic Clare’s character is. As soon as she is introduced onscreen and observes Reenie from a distance, there is so much to gain from her mannerisms and fearless nature. In any other film, a character like Clare would be viewed as a person who is simply meddling in Reenie’s life but Negga works well to show Clare’s own struggles and her desires to break free from the trap that she has put herself in.

Alexander Skarsgård provides a brilliant turn as Clare’s racist husband, John Bellew. Skarsgård isn’t in the film a lot but in the few scenes that he is, his presence immediately shifts the tone of the film into horror or thriller territory as his racist rhetoric is threatening and aggressive immediately, especially in his first scene in which John constantly digs at Clare for her complexion which has been appearing “darker” than usual. John’s character is representative of the hatefulness in a racist society due to the openness in his comments and intimidating nuances that are extremely discomforting, especially towards Reenie when she first meets him.

One of the highlights of the film is the music which is composed by Devonte Hynes. Reflecting on the period of the film, the music incorporates elements of jazz while the score itself shifts and changes along with the tone of the film. Just as jazz itself is known for its unpredictable nature, the score channels Reenie and Clare’s inner conflicts as they try to figure out their sense of identity and self in a society that disregards people of colour and women of colour in particular.

Passing is one of those films that doesn’t need bells and whistles to show off the craftsmanship and nuances within. It’s a shame that it hasn’t received as much attention as it deserves because there are a lot of stand out performances, especially from Ruth Negga as well as Rebecca Hall’s impeccable script and direction which elevates the film beyond its time into a story that feels just as relevant today as it was when the book was first published. It’s this timelessness that makes a film like Passing incredibly important and necessary to discussions on race. If this is what Hall can deliver in her directorial debut then it foreshadows a lot of promise for her future directorial endeavors.

What did you think of Passing? Let me know in the comments below!

Passing is available to watch on Netflix now!

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Sorry to Bother You (2018)

Another film that I have been meaning to see since its release, Sorry to Bother You is a brilliant study of capitalism in modern day America. Written and directed by Boots Riley in a fantastic debut, we follow Cassius “Cash” Green (Lakeith Stanfield) as he starts a career in RegalView, a telemarketing centre and his rise to the top after using his “white voice” to appeal to white middle-class America. His friends at RegalView, Squeeze (Steven Yeun) and Salvador (Jermaine Fowler) start a union to get basic benefits as the workers only receive commission. Cash quickly becomes a “Power Caller” and is taken to the top floor where he is tasked with selling slave labour on behalf of corrupt company, WorryFree, to large corporations around the world. In a society where money talks, we see Cash’s struggle intensify as he has to choose between security and his relationship with his girlfriend, Detroit (Tessa Thompson). The film flits between genres flawlessly, drifting from comedy to drama to science-fiction in a matter of seconds. It’s refusal to slot into a specific box and the ability to feel relevant shows Riley’s talent for screenwriting. There is so much going on in this film that adds layers and layers of subtext and it’s a testament to the racist and classist struggle that underlies modern society.

First thing to discuss is the direction and script. Despite the film being his directorial debut, Riley brings a film that looks as though he has done this for years. His vision is crystal clear right down to the colours of the doors. The film opens on Cash’s interview at RegalView as he attempts to blag his way to the entry job. He unsuccessful carries out a flamboyant lie which sees him take a huge trophy and employee of the month frame that he had made to make himself seem more impressive. From the get go, Riley establishes Cash as someone who is willing to do what it takes to achieve the American Dream. The capitalist aspect of this film is at the forefront but there are the racist undertones which are made more explicit as Cash finds himself among a rich, white society. Even at the point when he has achieved more than his colleagues on the bottom and top floors, he is still viewed as an outsider.

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This brings me onto the cast who all do a brilliant job, particularly Stanfield and Thompson. The chemistry they have is so natural and the audience feels the intensity when the relationship becomes strained. Cash’s conflict with identity and finding a purpose is one that resonates with a lot of people. He doesn’t fit in with any particular group of people and any stereotypes that society has of black people don’t fit at all. Detroit is an artist who is certain of her identity and has a clear view of the world. There is a literal divide for the characters as the morally sound people populate the bottom floor and live for pennies and the corrupt group working upstairs live extremely privileged lifestyles. We see in a matter of seconds Cash’s life shift as the material items are replaced more luxurious goods such as his car. The film’s dynamic editing is quickfire and snappy to portray the large scale changes that money can make. These material items and the apartment Cash buys detaches him further and further away from his friends. He soon begins to use his “white voice” without realising as his work persona starts to take over and change his personality. 

The point of view in the film is fairly radical in its ideas and the issues it raises are important. We see a Leftist group attempt to fight a large corporation who deal with trading weaponry and slave labour to other countries. Modern society looks at the history of slavery with disgust and yet those at the top are competing to have a slice of the pie when WorryFree’s plan for slave labour piques the interest of the powerful due to low cost and high productivity. Riley is quick to remind the audiences that the problems society had in the past haven’t truly gone away and that it merely embarks a different and more modern disguise. The idea of the call centre and sticking to the script literally brainwashes its employees and forces them to conform to an ideal that fits a white middle-class America. The Leftist group are made to look wild and are even mocked when they throw cans at the staff who try to enter the building with one particular can hitting Cash and giving him a huge cut on his head throughout the film. The wound becomes symbolic of his betrayal to the cause and the physical and metaphorical damage that has been caused by his willingness to partake in the selling of slave labour.

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Overall, this is a very strong film with a clear point of view that is important and relevant. It’s a shame that this didn’t get a wider release as I think this is a film that explores difficult themes in a unique way that pushes boundaries in a similar way that Get Out did.

What did you think of Sorry to Bother You? I’m assuming it’s positive because the film is bloody incredible! Let me know in the comments below!