If any part of the movie is truly hilarious, it's the scene with Zeus, and it's because of Crowe.) But maybe "Thor: Ragnarok" was, at least for the world of Marvel, too good to be topped. (The same can also be said for his "3:10 to Yuma" co-star Russell Crowe, who makes an extended cameo appearance as the legendary god Zeus here, turning the Olympian god into a fey and selfish ninny. The best thing that can be said about "Thor: Love and Thunder" is that as rough as the experience is, it's nowhere near as bad as "Thor: The Dark World." And Christian Bale is going for it as Gorr. Some of the jokes are just lazy, as when we get a variation on the sitcommy gag of one character talking badly about another, pausing, and then saying "They're right behind me, aren't they?" Then there are largely soulless one-liners, as when Valkyrie, upon seeing Thor destroy the ceiling of a New Asgard building, says "I'm going to invoice you for that." Even the gags that work only work so much, because of the grim overarching story. The flip side is simple: by making a good chunk of this new "Thor" movie fairly dark, Waititi and Robinson end up stumbling when it comes to bringing back - or trying to bring back - the flippant comedy that made "Ragnarok" stand out. It's not that Chris Hemsworth has more chemistry with either Tessa Thompson (who's more than a bit underused here) or Thor's hammer Mjolnir, but his chemistry with Portman isn't exactly off the charts. (Jane's return also leads to Thor dealing with a love triangle of sorts between himself, Mjolnir, and his newly created ax.) Though it's very nice to see Portman on the big screen again - with this being her first mainstream movie since "Annihilation" - it remains more than a little difficult to buy the love between Jane and Thor as having been so massive and epic on the same level as even that of Steve Rogers and Peggy Carter. until she tries to riff her way into getting the right catchphrase. Much of the backstory surrounding Jane Foster's return, and why it is that she's transformed herself into The Mighty Thor, is steeped in pathos. The real issue comes down to the script, by Waititi and Jennifer Kaytin Robinson, which veers from dark and dour tragedy to glib, dismissive comedy often in the same scene.
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