'Thor: Love and Thunder,' the eccentric, campy follow-up to 'Thor: Ragnarok,' raises the emotional stakes straight off, writes Tribune critic Michael Phillips.
Twenty-nine films into the Marvel Cinematic Universe — a playful and flexible narrative arena in theory, too often a realm of granite solemnity in practice — if you can’t mess around a little then really: Why make all that money in the first place?
It’s a strange result: half inventive, half shopworn. Pictorially Waititi’s sequel is a little bit heavy metal album cover, a little bit “H.R. Pufnstuf” — garish, bright, willfully tacky in a big-budget way. The tackiness is part of the joke in the scenes set in the coastal town of New Asgard, where Valkyrie oversees a heavily touristed attraction, full of Thor lore and merch. “Thor: Lore and Merch” also works as an alternate title.
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