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comicsgallery-marvel · 4 months

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The Mighty Valkyries (2021) #1

#Jane Foster #The Mighty Valkyries (2021)

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peach-and-bugs · 3 years

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Masterlist

∘₊✧──────✧₊∘∘₊✧──────✧₊∘∘₊✧──────✧₊∘

characters that I write for are organized in alphabetical order by fandom and by name. links will lead to my complete list of posted work for said character:

willing to write for characters: romantically (➵ ) platonically (✸) or nsfw (✧)

Character Alphabets (sfw ✸ & nsfw ✧)

Ask Box Headcanons and Blurbes

Agents of shield

Bobbi Morse ✸ ➵ ✧

Daisy Johnson/Quake ✸ ➵ ✧

Jemma Simmons ✸ ➵ ✧

Jiaying ✸ ➵ ✧

Leo Fitz ✸ ➵

Malinda May ✸ ➵ ✧

Phil Coulson ✸ ➵

Chilling Adventures of Sabrina

Hilda Spellman ✸ ➵ ✧

Madam Satan/Lilith ✸ ➵ ✧

Sabrina Spellman ✸ ➵

Zelda Spellman ✸ ➵ ✧

Doctor Who

Amy Pond ✸ ➵ ✧

Bill Pots ✸ ➵

Clara/Clara Oswald/Oswin ✸ ➵ ✧

Eleven/Smith!Doctor ✸ ➵

Jack Harkness ✸ ➵

Missy/Gomez!Master ✸ ➵ ✧

River Song/Melody Pond ✸ ➵ ✧

Simm!Master ✸ ➵

Thirteen/Whittaker!Doctor ✸ ➵ ✧

Twelve/Capaldi!Doctor ✸ ➵

Five Nights at Freddy (movie)

romantic (➵) platonic (✸) nsfw (✧)

Mike Schmidt ➵ ✸

William Afton ➵ ✸

Vanessa Shelly/Afton ➵ ✸ ✧

Killing Eve

Eve Polastrí ✸ ➵ ✧

Villanelle ✸ ➵ ✧

The Legend Of Korra

Asami Sato ✸ ➵ ✧

Bolin ✸ ➵

Bumi ✸ ➵

Izumi ✸ ➵ ✧

Korra ✸ ➵ ✧

Kuvira ✸ ➵ ✧

Kya ✸ ➵ ✧

Kyoshi ✸ ➵ ✧

Lin Beifong ✸ ➵ ✧

Mako ✸ ➵

Opal ✸ ➵

Tenzin ✸ ➵

The Last Of Us (Games)

Abby Anderson ✸ ➵ ✧

Dina ✸ ➵ ✧

Ellie Williams ✸ ➵ ✧

Joel Miller ✸ ➵

Tommy Miller ✸ ➵

Marvel

Agatha Harkness ✸ ➵ ✧

Bucky Barns/Winter Soldier ✸ ➵

Bruce Banner ✸ ➵

Carol Danvers/Captain Marvel ✸ ➵ ✧

Darcy Lewis ✸ ➵ ✧

Drax ✸ ➵

Gamora ✸ ➵ ✧

Hela Odendottir ✸ ➵ ✧

Hope van Dyne/Wasp ✸ ➵ ✧

Jane Foster/Mighty Thor ✸ ➵ ✧

Kate Bishop ✸ ➵ ✧

Layla El-Faouly/Scarlet Scarab ✸ ➵ ✧

May Parker ✸ ➵ ✧

Mantis ✸ ➵ ✧

Maria hill ✸ ➵ ✧

Monica Ranbough ✸ ➵ ✧

Natasha Romanov/Black Widow ✸ ➵ ✧

Nebula ✸ ➵ ✧

Okoye ✸ ➵ ✧

Peggy Carter/Captain Carter ✸ ➵ ✧

Peter Parker/Spider-Man ✸ ➵

Sam Wilson/Falcon/Captain America ✸ ➵

Scott Lang/Ant-man ✸ ➵

Sharon Carter/Powerbroker ✸ ➵ ✧

Sylvie Laufeydottir ✸ ➵ ✧

Thor Odenson ✸ ➵

Valkyrie ✸ ➵ ✧

Wanda Maximoff/Scarlet Witch ✸ ➵ ✧

Yelena Belova ✸ ➵ ✧

Parks and Recreation

Ann Perkins ✸ ➵ ✧

April Ludgate ✸ ➵ ✧

Donna Meagle ✸ ➵ ✧

Jennifer Barkley ✸ ➵ ✧

Leslie Knope ✸ ➵ ✧

Star Wars

Ahsoka ✸ ➵ ✧

Captain Phasma ✸ ➵ ✧

Finn/FN-2187 ✸ ➵

General Hux ✸ ➵

Han Solo ✸ ➵

Leia Organa ✸ ➵ ✧

Luke Skywalker ✸ ➵

Padmé Amidala ✸ ➵ ✧

Rey ✸ ➵ ✧

Rose ✸ ➵ ✧

Stranger things

Argyle ✸ ➵

Chrissy Cunningham✸ ➵

Dustin Henderson ✸ ➵

Eddie Munson ✸ ➵

El/Eleven/Jane ✸ ➵

Erica Sinclair ✸

Jim Hopper ✸ ➵

Johnathan Byers ✸ ➵

Joyce Byers ✸ ➵ ✧

Karen Wheeler ✸ ➵ ✧

Lucas Sinclair ✸ ➵

Max Mayfield ✸ ➵

Murray Bauman ✸ ➵

Nancy Wheeler ✸ ➵ ✧

Steve Harrington ✸ ➵

Will Byers ✸ ➵

misc.

Alma LeFay Peregrine (mrs peregrine's home of peculiar children)✸ ➵ ✧

Elizabeth Corday (ER) ✸ ➵ ✧

Laura DeMille/Madame Rouge (Doom Patrol) ✸ ➵ ✧

Lily Lebowski (Crossing Jordan) ✸ ➵ ✧

Marilyn Thornhill/Laurel Gates (Wednesday) ✸ ➵ ✧

Millie Rusk/MolotovGirl (Free Guy) ✸ ➵ ✧

Miranda Croft (The Flight Attendant)✸ ➵ ✧

Dr. Olivia Octaviouse (Spiderman: Into the Spiderverse)✸ ➵ ✧

Yellowjackets

Jackie Tayler (1996) ✸ ➵

Laura Lee (1996) ✸ ➵

Lottie Mattews (1996/2021) ✸ ➵ ✧

Misty Quigley (1996/2021) ✸ ➵ ✧

"Nat" Natalie Scatorccio (1996/2021) ✸ ➵ ✧

Shauna Sadecki (1996/2021) ✸ ➵ ✧

Taissa Turner (1996/2021) ✸ ➵ ✧

Travis Martinez (1996/2021) ✸ ➵

"Van" Vanessa Palmer (1996/2021) ✸ ➵ ✧

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superheroes-or-whatever · 1 year

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Return of the Valkyries (2021) & The Mighty Valkyries (2021) covers by Mattia De Iulis

#valkyrie #runa #jane foster #hela #loki #thor #kraven the hunter #cover art #marvel #comics #Mattia De Iulis #Karnilla #sentry #knull

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mangolon · 1 year

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List of All Kamen Riders’ Final Forms

Will not count extra final forms. If a final form only appeared in a movie or special, it will be counted. Under the cut

1975

Stronger → Stronger Charge Up

2000

Kuuga → Ultimate Kuuga

2001

Agito → Shining Agito

G3 → G3-X

Gills → Exceed Gills

2002

Ryuki → Ryuki Survive

Knight → Knight Survive

Ouja → Ouja Survive

2003

Faiz → Faiz Blaster

2004

Blade → Blade King

Garren → Garren Jack

Chalice → Wild Chalice

2005

Hibiki → Armed Hibiki

2006

Kabuto → Hyper Kabuto

Gatack → Hyper Gatack

2007

Den-O Sword Form → Den-O Liner Form

Zeronos Altair Form → Zeronos Zero Form

2008

Kiva → Emperor Kiva

IXA → IXA Rising

2009

Decade → Decade Complete

Diend → Diend Complete

W CycloneJoker → W CycloneJokerXtreme

Accel → Accel Trial

2010

OOO TaToBa → OOO PuToTyra (or TaJaDor depending on who you ask)

Birth → Birth DAY

2011

Fourze → Fourze Cosmicstates

Meteor → Meteor Storm

2012

Wizard Flame Style → Wizard Infinity Style

Beast → Beast Hyper

2013

Gaim Orange Arms → Gaim Kiwami Arms

Baron Banana Arms → Baron Lemon Energy Arms

Ryugen Budou Arms → Ryugen Yomotsuheguri Arms

Zangetsu Melon Arms → Zangetsu Kachidoki Arms

Gridon Donguri Arms → Gridon Lychee Arms

Knuckle Kurumi Arms → Knuckle Jimber Marron Arms

2014

Drive Type Speed → Drive Type Tridoron

Mach → Chaser Mach

2015

Ghost Ore Damashii → Ghost Mugen Damashii

Specter → Deep Specter

Necrom → Necrom Yuujou Burst

2016

Ex-Aid Mighty Action X → Hyper Muteki Ex-Aid

Brave Taddle Quest → Brave Taddle Legacy

Snipe Bang Bang Shooting → Snipe Bang Bang Simulations

Lazer Bakusou Bike → Lazer Turbo

Genm Mighty Action X → Genm Zombie Action

Para-DX Perfect Puzzle/Knock Out Fighter → Para-DX Perfect Knock Out

Cronus Kamen Rider Chronicle → Gamedeus Cronus

2017

Build Rabbit Tank → Build Genius

Cross-Z Dragon → Cross-Z Magma

Grease → Grease Blizzard

Rogue → Prime Rogue

Evol Cobra → Evol Black Hole

2018

Zi-O → Grand Zi-O

Geiz → Geiz Revive (Gouretsu and Shippu)

Woz → Woz GingaFinally

2019

Zero One Rising Hopper → Zero Two

Vulcan Shooting Wolf → Rampage Vulcan

Valkyrie Rushing Cheetah → Valkyrie Justice Serval

Jin Flying Falcon → Jin Burning Falcon

Horobi Sting Scorpion → Horobi Ark Scorpion

Ark-Zero → Ark-One

2020

Saber Brave Dragon → Xross Saber

Blades Lion Senki → Blades Tategami Hyoujuu Senki

Espada Lamp do Alangina → Espada Arabiana Night

Calibur Jakku Dragon → Calibur Jaou Dragon

Saikou Kin no Buki Gin no Buki → Saikou X-Swordman

2021

Revi Rex Genome → Ultimate Revi

Vice Rex Genome → Ultimate Vice

Live Bat Genome → Evilyty Live

Evil Bat Genome → Evilyty Live

Jeanne Cobra Genome → Invincible Jeanne

Demons Spider Genome → Imperial Demons

Vail Kabuto Genome → Crimson Vail

Over Demons Kuwagata Genome → Get Over Demons

2022

Geats MagnumBoost → Geats IX

Tycoon Ninja → Tycoon Bujin Sword

Naago Beat → Naago Fantasy

Buffa Zombie → Jyamashin Buffa FeverZombie

Punkjack Monster → Punkjack FeverMonster

#kamen rider #final form #1975 #2000 #2001 #2002 #2003 #2004 #2005 #2006 #2007 #2008 #2009 #2010 #2011 #2012 #2013 #2014 #2015 #2016 #2017 #2018 #2019 #2020 #2021 #2022

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grigori77 · 1 year

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2022 in Movies - My Top 30 Fave Movies (Part 1)

30. THOR: LOVE & THUNDER – All right, STRAIGHT AWAY I’m gonna address the elephant in the room – this year’s big-screen MCU offerings have been somewhat underwhelming compared to previous years’ track record, which certainly points to a worrying continuing trend (especially after 2021’s subjective misfire Eternals) of the previously CONSISTENTLY ON-FORM movie-making behemoth starting to slack off some. Could it be true? Well the latest offerings are still entertaining cinema, but there’s no denying some of the shine seems to be coming off the product after COVID, especially with all the other shit we’re having to put up with in the real world right now … still, even on an off-day, writer-director Taika Waititi is still capable of delivering something special, and while this never reaches the rewarding heights of Thor: Ragnarok, his second tour of duty for Marvel is still a lot of fun. As with its predecessor, there are certainly times where it’s clear that plot was never a major concern with this movie, but at least there’s enough to keep the film from devolving into a two hour string of admittedly frequently hilarious fan-service skits … Gor the God Butcher (Christian Bale) has embarked on an intergalactic crusade to rid the Universe of gods with his deadly Necrosword and an army of nightmarish shadow demons, prompting Thor (Chris Hemsworth) to get over his post-Endgame funk and MAN UP again in order to save the day with the help of his faithful companions Valkyrie (Tessa Thompson) and Korg the Kronan (Waititi himself), as well as his ex-girlfriend, Jane Foster (Natalie Portman), who’s now been gifted the powers of Thor by the reconstituted hammer Mjolnir (I shit you not), which is also helping her fight the terminal cancer ravaging her body. Got all that? Good, because that’s all we really NEED to know as Waititi and co lead us on a merry romp through a series of visually stunning cosmic adventures, rousing larger-than-life primary-coloured superhero battles and a riotous cavalcade of impressively well-pitched jokes that display an impressively consistent hit rate. Hemsworth once again proves that funny Thor is the best Thor, but there’s enough emotional heavy-lifting involved in the story that he gets to exercise his dramatic muscles too, while it’s nice to finally see Portman finally return to a role she’s been absent from for far too long, and this time she’s clearly having a fine old time finally getting to play on an equal footing with the big boys as Jane’s new superpowered alter ego; Thompson and Waititi, meanwhile, both get to do a lot with significantly expanded roles this time round, while the brief first act appearance of the Guardians of the Galaxy is a welcome whetting of our appetites as we wait for Volume 3. Then there’s the newcomers, of course – the sojourn to Omnipotence City, the galactic Home of The Gods, is one of the film’s undeniable highlights, especially with the introduction of a delightfully hammy Russell Crowe as the mighty Zeus, while Christian Bale brings a welcome touch of old school professional gravitas and method intensity to the role of Gor, who, despite his despicable methods, ultimately proves to be one of the MCU’s most sympathetic villains. This is one of those movies that’s definitely less about the destination than the journey, as the real pleasure here’s just submerging ourselves in the spectacle, the characters and the endless rich humour and going with the flow, and it’s this kind of filmmaking that Waititi excels at like few others – ultimately it doesn’t hold up to some of the greats that came before, but it’s still worth giving a chance. Let’s just hope Marvel can do better in the future, yeah?

29. THE 355 – my cinematic year kicked off in what I thought was thoroughly fine style with a rip-roaring, star-studded spy thriller which was clearly intended to start a franchise which I’d totally be up for since it’s everything I love to watch – hard-hitting, visceral action pinned to a genuinely compelling plot powered by a quintet of strong women who take on a patriarchal establishment and beat it at its own game. Clearly it wanted to shake-up the status quo and as far as I’m concerned it pulled it off in fine style … NO WONDER, then, that it’s been (largely) roundly reviled by critics and tanked at the box office, much as previous attempts at similar ends such as the intended Ghostbusters and Charlie’s Angels reboots did a few years back. I thought we’d gotten past this, guys! Come on … it’s a criminal shame, because this is SUCH great movie. Jessica Chastain heads the cast as tough-as-nails CIA operative “Mace” Browne, out for blood after a botched operation in Paris to acquire a potentially devastating piece of terrorist-tech results in the death of her partner and friend Nick Fowler (Sebastian Stan). Given a second chance at tracking down the device, things get complicated when a clandestine conspiracy is revealed and Mace is forced to team up with retired MI6 officer Khadijah Adiyeme (Lupita Nyong’o), rival German BND operative Marie Schmidt (Dianna Kruger), Colombian DNI analyst and psychologist Graciela Rivera (Penelope Cruz) and Chinese MSS agent Lin Mi Sheng (X-Men: Days of Future Past’s Fan Bingbing) to beat the bad guys and clear their names after they’re all framed as terrorists themselves. All five of the film’s badass leading ladies have been given impressively memorable and thoroughly well-written characters with plenty of potential for growth and character development not only throughout this film but in what now looks like an extremely unlikely franchise future (even Fan who, despite coming into the action quite late, immediately makes QUITE the impression and builds on that groundwork admirably throughout the latter half of the film); similarly, Stan once again proves what a mighty screen talent he is, while there’s an enjoyably reptilian turn from Jason Flemyng as the film’s Big Bad, international crime boss Elijah Clarke. While this was advertised as a relentlessly-paced, breakneck thrill ride, the action quota is actually somewhat more restrained here than on some of its more established peer franchises (like Bond and Mission: Impossible, anyway), but what IS on offer is, correctly, very much in service to the intelligently written story, and the film certainly doesn’t scrimp on the thrills when it DOES decide to get our adrenaline pumping, delivering some suitably robust set-pieces that punctuate rather than drive the agreeably pacy plot. Former X-Men writer Simon Kinberg acquits himself admirably here, but like his previous crack at directing it really is starting to look like Hollywood just has it in for him, since Dark Phoenix ALSO got a critical and release-debacle-based financial mauling it really DIDN’T deserve. This is a cracking spy thriller with a killer premise and exceptional cast of characters which deserves far more respect than it's received – altogether this is a film which needs a SERIOUS reappraisal. Give it a chance, guys, it REALLY needs it …

28. NIGHTMARE ALLEY – Guillermo del Toro is one of my favourite filmmakers of all time, and one of the things I love most about him is his innate understanding of the inherent truths about the cinematic monsters he frequently portrays in his works. Some of his most interesting thematic material comes when he examines the horrors that his NON-supernatural characters are capable of, but until now the only time he’s genuinely FOCUSED on inherently human monsters was in 2015’s Crimson Peak – sure, it had proper ghosts in it, but the actual threat was very much from the film’s living, breathing flesh-and-blood characters. His latest offering has embraced this principle to a far greater degree as he adapts William Lindsay Gresham’s none-more-dark novel about morally grey grifters and carnival sideshow charlatans in World War II America, Bradley Cooper delivering what might be a career best turn as voraciously ambitious and inherently talented con-artist Stan Carlisle, who rises through the ranks working the sideshow acts in a lowly travelling carnival before finally striking it big when he goes it alone in a one-man psychic act in Buffalo, New York, with the increasingly reluctant help of his disillusioned girlfriend Molly Cahill (Rooney Mara). When he comes to the attention of influential high-society psychologist Lilith Ritter (Cate Blanchett), she opens the door to a business opportunity which has the potential for MASSIVE financial rewards, but also a truly ruinous fall from grace if Carlisle doesn’t play it JUST RIGHT … del Toro’s always has some pretty palpable darkness in his movies, but he’s never tackled subject matter so genuinely jet black in its pitch before, the film wallowing in some seriously murky waters as we follow an already morally questionable protagonist as he digs down into the most thoroughly reprehensible depths of his own meagre soul, as well as the heart of an uncaring society as irredeemable corrupt as he’s in danger of becoming. This is NOT an easy film to watch, several times testing the resolve of even the strongest viewers, but the rewards on offer for sticking with it are vast – this is another gold-plated work of art from an immensely talented filmmaker at the very height of his game, and it deserves all of the Oscar buzz it got, even if it ultimately missed out on that coveted Best Picture gong (much as del Toro was snubbed for a directing nomination this time round). Cooper is a genuine revelation here, suitably seductive but still thoroughly slimy as an already shady guy who becomes progressively worse as his success grows, while Mara’s definitely the only true bright light in the cast as the sweet innocent he takes for a ride who ultimately gets wise just a little too late; Willem Dafoe once again piles on the creepiness as suitably unpleasant geek show barker Clem, while Toni Collette and David Strathairn are both excellent as Zeena and Pete Krumbein, the fading psychic sideshow act that teach Carlisle his craft, and Del Toro’s The Shape of Water star Richard Jenkins is far more complex than he first seems as Ezra Grindle, the potentially lethal mark he underestimates to such dangerous degrees. The REAL standout star of the film, however, is Blanchett, who captivates and repulses in equal measure as an ice-cold psychopath who deserves to go down as one of the all-time great femme fatales of cinema. This was DEFINITELY the year’s darkest film, but it’s also an immensely rewarding viewing experience, incredibly intelligent, breathlessly edgy and unbelievably tense from its creepy opening to its ruinous ending, and every inch as surprisingly seductive as its untrustworthy lead character, the truest film noir to come along in a very long time indeed …

27. AMBULANCE – Michael Bay’s cinematic output in the last ten years in particular has been very interesting. It’s like he’s going through phases as he’s trying to work out how he wants to go forward as his style “matures” – 2013’s Pain & Gain was, like all his previous output, big, loud and definitely flashy in the most indulgent way, but it also had something somewhat serious to say, given its origins as an (admittedly genuinely BONKERS) actual TRUE STORY. Then came the fourth Transformers film, Age of Extinction, widely regarded as THE VERY WORST of the bunch, and rightly so. But then he turned right round and did something COMPLETELY SERIOUS when he tackled a much less OTT but far more emotionally charged and potent true story in 13 Hours: the Secret Soldiers of Benghazi, which is a genuinely masterful piece of work which I personally regard as his VERY BEST FILM. Then he went and did ANOTHER Transformers movie with The Last Knight, which was more of the same – juvenile, disjointed in plot and narrative and pure over-the-top indulgence – and yet, somehow, it was just a little bit BETTER than much of what had come before all the same (actually getting close to the quality of his first, still BEST, instalment). Most recently he went to Netflix to create something which was clearly always INTENDED to be over-the-top and indulgent but this time saw him actually getting the recipe RIGHT (like he did on The Rock) with 6 Underground, a thoroughly enjoyable action-packed escapist romp with Ryan Reynolds effortlessly holding court like he always does. Anyway … Bay’s latest feels like something else entirely, somehow managing to sit VERY comfortably in the middle ground – once again, it’s big, loud, flashy and DEFINITELY indulgent, but it’s also one of those rare things for a Michael Bay film, because it’s anything but dumb. Sure, it’s got a REALLY simple premise – veteran marine Will Sharp (Candyman and The Matrix Resurrections’ Yahya Abdul-Mateen II) and his dangerous livewire adoptive brother Danny (Jake Gyllenhaal), the sons of a notorious LA bank robber, pull off a spectacular high-stakes daylight heist but are then forced to hijack an ambulance and its inhabitants, skilled but jaded EMT Cam Thompson (From Dusk Till Dawn’s Eiza Gonzalez) and her patient Zach (Mrs Fletcher’s Jackson White), an LAPD patrolman wounded during the robbery, which leads to a crazy cat-and-mouse chase through the streets of Los Angeles – but there’s clearly some real intelligence behind the script. The plot is surprisingly smart despite its clichéd nature, the characters all impressively written and skilfully developed over the course of the film, and the twists are rewardingly effective when they come. Sure, Bay keeps throwing the camera around like a lunatic, sometimes chucking in some genuine vertigo-inducing drone shots PURELY because he can, I think, but this time it just seems to ramp up the excitement factor as he does one of the few things he’s always really excelled at – crafting properly BLINDING action sequences – over and over again. Certainly the second unit and stunt teams really earned the big bucks on this one, every car crash, crazy jump and desperate manoeuvre executed with astonishing precision made all the more impressive because it’s immediately obvious there’s NO CGI AT ALL being used to pull any of this stuff off. Refreshingly, though, Bay doesn’t scrimp on the character work at all here, screenwriter Chris Fedak doing a lot of the heavy-lifting so the uniformly excellent cast can just concentrate on BEING their characters for 2+ hours – Gyllenhaal is a ferocious, tightly-wound force of nature who’s both antihero and antagonist throughout the film, while Abdul-Mateen II is, as usual, electric in every second of his screen time, investing Will with wounded intensity and conflicted complexity as a desperate everyman stuck in this impossible situation because he’s just trying to help his family, and Gonzalez holds her own against these two craft-MASTERS with incredible skill and determination as a world-weary, disillusioned blue collar worker who finally rediscovers the passion she once had for her work under the most extreme circumstances; Garret Dillahunt (Fear the Walking Dead) and Keir O’Donnell (American Sniper), meanwhile, both shine as a winningly spiky odd-couple as LAPD SIS Captain Monroe and FBI special Agent Anson Clark, the polar-opposite cops thrust together in the race to hunt the Sharp Brothers down, and The Walking Dead’s Olivia Stambouliah frequently steals entire scenes with a single withering putdown or quirky aside as LAPD surveillance wizard Lieutenant Dhazghig. Sure, this ain’t a perfect movie, Bay still not FULLY jettisoning his off-the-wall and rather off-colour sense of humour, which still surfaces in a few scenes, and it’s still VERY overblown, but these are small quibbles when a film is THIS enjoyable, visually impressive, pulse-pumping exciting and truly unforgettable. Definitely settling into the camp of Bay’s more worthy films, this is another cracker that again proves he’s a director who really can DELIVER when he actually TRIES.

26. THE CURSED – some of my favourite horror movies are films that snuck in under the radar to become cult hits, or simply stuck to the shadows to become secret weapons of the genre, uncut gems known to a lucky few who always recommend them to likeminded genre fans when they get the chance. This impressive indie horror from writer-director Sean Ellis (The Broken, Anthropoid) is another great example of this particular phenomenon, and I’m sure it’s destined for some small cult status somewhere down the line. The plot is … STRANGE, but in a very good way, and there’s a lot here that I really shouldn’t give away because it’s better to let you just ease in and discover it on your own - suffice to say, this is an intriguingly offbeat take on the classic werewolf trope, set in late 19th Century France (albeit with a mysterious coda set during World War I’s Battle of the Somme) but shot in England with a largely British cast and thoroughly OOZING with a genuinely palpable doom-laden atmosphere of pregnant dread teeming with hazy mists and overcast skies. Narcos’ Boyd Holbrook pulls off a surprisingly decent English accent as he smoulders with restrained, broody intensity as John McBride, a haunted pathologist who goes to an isolated French village to investigate a succession of animalistic killings which may be the result of a curse laid upon the community after the brutal eradication of a group of Roma travellers some years before. There are allusions made to the legendary Beast of Gevaudan throughout, which formed the inspiration for the enjoyably oddball cult classic Brotherhood of the Wolf, but this is a very different breed of horror cinema – moody, understated and deliberately slowburn, parcelling out its scares and impressively visceral violence with cool restraint throughout while building to a feverish climax that brilliantly pays off the groundwork meticulously laid through its two hours, while the inventive use of some very icky physical effects has crafted something pretty unique to this particular sub-genre. Holdbrook makes for a tragically fallible hero here, while Kelly Reilly brings restrained, wounded classiness to the film as Isabelle, the wife of complicated, brutish landowner Seamus Laurent (a restrained but potent turn from Rogue One’s Alistair Petrie), whose pig-headed short-sightedness seems to have doomed his community, and Amelia Crouch (Kate, The Last Dragonslayer) thoroughly impresses as the Laurents’ daughter Charlotte, whose younger brother Edward (Rocketman’s Max Mackintosh) was the first bitten and therefore first cursed. Ellis has crafted a magnificently subtle masterpiece of the genre, playing an understated long game that pays off magnificently, and the results are one of the best indie horror movies I’ve come across in years. I look forward to whatever he does next.

25. THE BANSHEES OF INISHERIN – British-Irish writer-director Martin McDonagh has been drumming up a hell of a fuss with his darkly comic indie cinema for a good while now, exploding on the scene with the delightfully malevolent In Bruges before becoming THE award-season darling when he unleashed the astounding Three Billboards In Ebbing, Missouri on an unsuspecting world. His latest snuck into cinemas with a good deal less fanfare than either of those, but that doesn’t mean it’s not worthy of consideration in the same sentence as those two masterpieces, and it’s certainly due for some major cult classic status since it’s clearly being overlooked. McDonagh reunites his In Bruges leading double act here, with Brendan Gleeson and Colin Farrell playing Colm and Padraic, two salt-of-the-earth working men living in the isolated Irish island community of Inisherin in 1923. For much of their lives, these two have been thick-as-thieves, but then one day Colm inexplicably decides he just doesn’t want to be friends anymore, much to Padraic’s dismay and confusion. As the latter attempts to find out why and repair whatever the damage actually is, a well of resentment and deep feelings is dug up and brought to light which threatens to turn into pure chaos as the former friends seem set on a path to becoming bitter enemies … as you’d expect from their sheer levels of acting talent, both men are BREATHTAKINGLY exceptional in their roles, their spiky antagonistic chemistry sparking a wealth of potent performance-based fireworks, while McDonagh’s brilliantly acerbic script pops and crackles with pleasing intensity with each increasingly bitter exchange – Gleeson is stoic and gravelly, largely keeping his volcanic eruptions under strict control but you’re always aware that it’s bubbling away just below the surface, while this might be the best performance I’ve EVER seen Farrell deliver, a masterclass in wounded pride and confused bluster as a fussy, fastidious and deeply ordered man whose perfect little world has suddenly been blown apart and he’s thoroughly incapable of piecing it back together. There’s also excellent support from Better Call Saul’s Kerry Condon as Padraic’s long-suffering sister Siobhan, Dunkirk’s Barry Keoghan as flighty local likely lad Dominic, Gary Lydon as his father, brutish local copper Peadar Kearney, and Garage’s Pat Shortt as Jonjo, the local innkeeper caught in the middle trying to keep the peace. McDonagh’s crafted another delectable slice of black comedy here, not quite as emotionally weighty as Three Billboards but just as capable at stirring us with its rich character-based turmoil, and he’s once again proved that, with the possible exception of his brother, The Guard and Calvary writer-director John Michael McDonagh, there’s nobody else out there who can deliver low-key indie comedy drama quite like this …

24. WHITE NOISE – Sneaking in just before the close of the year, this blissfully anarchic social satire-as-subtle screwball comedy from writer-director Noah Baumbach, based on the award-winning breakout novel by Don DeLillo, came as a welcome surprise final salvo at the end of the year just as I was ready to call it a day for my cinematic adventure for 2022. Once again teaming up with his frequent collaborator and wife Greta Gerwig, Baumbach presents the tale of professor Jack Gladney (Adam Driver), who teaches Hitler Studies at College-On-the-Hill in 1984. Regarded as something of a mythic rock star by his students and fellow teachers, he’s a subtly charismatic and deeply intellectual man with a fascinating way of speaking, but underneath the visage he’s actually riddled with deep-seated neuroses, hopelessly dependent on the emotional support of his fifth wife Babette (Gerwig), herself on her fourth marriage, who helps him raise their four-strong gaggle of kids born through their various marriages. He’s on the verge of a particularly significant academic milestone when their collective lives are thrown into utter upheaval after a nearby freight-train crash leads to a dangerous “airborne toxic event” which has everyone in their small town scrambling away in a massive chaotic evacuation, which not only exposes the Gladney family as a whole to the inherently mad nature of humanity in a crisis but also polarises previously unresolved feelings between Jack and Babette as a startling hidden truth is laid bare. Baumbach’s always been a delicately mischievous filmmaker, crafting subtly observant cinema about oddball people stretched far beyond their comfort zone in the likes of The Squid & the Whale, Frances Ha and Greenberg, but this really feels like the first time he’s really let his own inherently satirical grasp of the absurd have free rein outside his co-writing collaborations with Wes Anderson on The Life Aquatic With Steve Zissou and Fantastic Mr Fox, and as a result this is definitely a film I myself can get into much more easily (really, I liked his previous stuff, but THIS is the first one where I’ve genuinely FALLEN IN LOVE with his work). He’s certainly helped on his way by a uniformly game cast, Driver dominating the film as a wonderfully puffed-up self-important self-promoter who thinks he’s a legend and is gradually informed by the events of the story that he is, in fact, just as insignificant as the rest of us, while Gerwig is about as on-fire as I’ve ever seen her, investing “Baba” with a slightly scattered deer-in-the-headlights sense of well-hidden desperation that adds in intriguing edge to her interactions with Driver; Tomorrowland and The Killing of a Sacred Deer’s Raffey Cassidy, meanwhile, is an understated GEM as Babette’s unshakably determined daughter Denise, as is Sam Nivola as Jack’s precociously intelligent son Heinrich, Don Cheadle is quietly masterful as Jack’s fellow professor and best friend Murray Siskind, who teaches about “living idols” through his courses on American culture, and High Life’s Lars Eidinger shines as a seriously baked intellectual drug dealer who drops some bizarre wisdom in the final act. This is a wonderfully off-the-wall piece of highly nostalgic social satire which is as nourishing to the mind as it is to the funny bone, and Baumbach deserves to be proud of his achievements here. Ignore the clueless critics – this is a GREAT MOVIE! I’m certainly intrigued to see what he and Gerwig deliver next Barbie arrives …

23. BLACK PANTHER: WAKANDA FOREVER – It’s a telling state of affairs for the MCU that, while the first standalone vehicle for the late Chadwick Boseman’s most famous role was a triumphant milestone not only for the franchise but for cinema in general, and a genuinely GREAT superhero movie in its own right too, this follow-up, while entertaining enough to warrant its place on this list, is an ultimately comparatively underwhelming piece of work which seems far too concerned about being WOKE to truly deliver on the franchise’s long-running inherent promise of escapist superhero blockbuster thrills. Granted, the film had a tough uphill battle to fight even before it was started, since the death of Boseman left Marvel in a very tricky position with a genuine cinematic Sophie’s Choice to make – recast the role and run the risk of appearing unsympathetic over the star’s loss, or simply kill off the character of King T’Challa and then work out how to address his absence in the subsequent story. In the end Kevin Feige and the others chose the latter, and in a way this is the right call, but it still gave them a hell of a tricky hurdle to navigate going forward, and while the film does an admittedly beautiful job of laying both T’Challa and Boseman to rest with dignity, it also creates a tricky tightrope trick that the film only PARTIALLY manages to pull off. Like many of the other MCU movies, the less actually given away about the plot the better, but there are points that need to be addressed here, so I’ll try my best to do it concisely and with respect. First of all, the gap Boseman left behind just CAN’T be filled, and where they ultimately went trying was probably NOT the right one, even if it did make the most narrative sense – Letitia Wright’s Shuri was an absolute SWEETHEART in the original film, it was the best thing about her, and while she’s a phenomenal actress the character just DOESN’T WORK spending most of the film ANGRY. Personally, I think Danai Gurira’s magnificent Okoye or, even better, Lupita Nyong’o’s frustratingly underused Nakia would have been better choices to ultimately succeed T’Challa as the new Black Panther, but in the end you can KIND OF see why they went there; as a result, the introduction of a particular new possibility in the mid-credits cutscene was a particularly frustrating move since it essentially undermines all the work the filmmakers did to convince you beforehand. And then there’s the villain … oh boy. Okay, Namor is a pretty fascinating character, and the way he’s introduced and portrayed is BRILLIANT, Tenoch Huerta Mejia (The Forever Purge, Narcos: Mexico) is phenomenal and intense and chilling as the superhuman mutant warrior protecting his aquatic Mayan civilisation of Talokan, but in the end he’s just TOO sympathetic, coming across as a bit of a retread of Kilmonger when the story really calls for a more straightforward BOO HISS Big Bad to give Shuri’s struggles more weight than just one anti-coloniser nation inexplicably being turned against another that’s a little too much like itself. Granted, I understand that this was KIND OF THE POINT here and that it sets things up for darker developments later on in the franchise narrative, but maybe this wasn’t really the right time and place. Worst of all, though, is the introduction of Riri Williams (Judas & the Black Messiah’s Dominique Thorne) – yeah, I get that Marvel wanted to introduce Ironheart ahead of Armor Wars, and she’s a good character played very well, but she really doesn’t bring ANYTHING to the film beyond a convenient plot point that could have been more effectively brought home with a story-specific character. So yeah, the film has its flaws, and don’t get me started on that frustrating damp squib of an attempt at a big all-action climax … but when it works it’s still REALLY GOOD, very much the well-oiled, precision-crafted top-notch work we’ve come to expect from the MCU. Thankfully it works OFTEN ENOUGH to be worthy of it’s place here – the rest of the action is THRILLING, especially a pulse-pounding city chase to rival the first movie’s Busan sequence and the fight that follows when the Submariners are first properly revealed in all their creepy glory, the emotional heavy lifting is executed with respect and delivered with suitable power and gravitas, and the cast are very much ON FORM, particularly Wright, Gurira, Mejia, Winston Duke, once again returning as deserved fan-favourite M’Baku, and the always magnificent Angela Bassett as Wakanda’s grieving, embattled queen Ramonda. Once again Ryan Coogler shows he’s a director of impressive vision and commanding attention to detail, and he’s certainly got a strong grasp on the characters, who are still as well-rounded and convincing as they were in his previous outing … it’s just a shame he couldn’t quite pull off the sheer, unfettered level of GENIUS he managed with the first Black Panther. Ultimately it’s another sign the franchise is starting to flounder, and while they’re still delivering good product they really need to get back on course before the whole thing comes off the rails entirely …

22. BELLE – Yeah! Finally! After one long-arse wait, I FINALLY got to see the latest from one of my favourite anime directors, Mamoru Hosoda, creator of such gems as The Girl Who Leapt Through Time, Summer Wars, Wolf Children, The Boy & the Beast and Mirai, which have come DAMN CLOSE INDEED to equalling the dizzying heights of Studio Ghibli and the godfather of anime himself, Hayao Miyazaki. This is another solid gold feather in his cap, a stone-cold masterpiece of the art form that has also, interestingly, forged some intriguing new ground for anime in general, specifically through the integration of fascinating new design ideas and sensibilities from up-and-coming Disney animator and character designer Jin Kim (Tangled, Frozen, Big Hero 6, Zootopia, Over the Moon, Raya & the Last Dragon, Encanto) in the creation of the film’s spellbinding virtual online metaverse of U (an intriguingly magnificent improvement on Summer Wars’ already impressive OZ). The story revolves around Suzu (Kaho Nakamura in the original Japanese version and Kylie McNeill in the English dub), a timid, stage-fright-riddled teenage girl who nonetheless has a beautiful singing voice and a wildly imaginative talent for writing songs, who finally finds a means to unleash her talents anonymously through her online persona of Belle, who becomes a massive international sensation in U. Then the emergence of a strange, incredibly disruptive beastly monster, the Dragon (Kamen Rider Den-O and Rurouni Kenshin’s Takeru Satoh and Paul Castro Jr), throws a major spanner in the works, but Suzu slowly realises there’s more to this misanthropic persona than meets the eye, and as she tries to get to the heart of his mystery she’s led to face some hard truths about herself and finally find a reason to grow up and come out of her shell once and for all … this is one of the most beautiful, compelling and EMOTIONALLY DEVASTATING animated features I have EVER SEEN, Hosoda once again proving he’s an undeniable master at tugging our heartstrings to thoroughly ruinous effect even as he’s effortlessly lifting our spirits, and the story here is one that seems precision-crafted to hit us all RIGHT IN THE FEELS while saying intriguing things about the paradoxical nature of fame in a world of all-encompassing social media. Then of course there’s the soundtrack … OH MY FUCKING GOD what a soundtrack, the music is ASTOUNDING, Suzu/Belle’s songs just fire a flaming arrow RIGHT THROUGH YOUR HEART every time she starts singing, but ESPECIALLY in the film’s powerful climax. Okay, so since I saw the English dub I ONLY actually know that version, as performed by newcomer Kylie McNeill, but if the Japanese is ANYTHING LIKE as beautiful (which I’m sure it is) then it’s gotta be something truly special. Once again Hosoda has proven he really is one of the best filmmaking talents operating in anime today, and that if ANYONE could someday succeed the mighty Miyazaki as the new godfather then it’s GOTTA be him …

21. THE GRAY MAN – Netflix ALWAYS seems happy to give us something heavyweight and undeniably fun to enjoy in the summer blockbuster season, and this is certainly one of their most ambitious offerings to date. Seriously, they genuinely went ALL OUT with this one, poaching the Russo Brothers from the MCU after their ASTOUNDING tours of duty on two Captain America pictures AND the Avengers: Infinity War/Endgame double feature, as well as their 2020 gig writing and producing Netflix’ similarly impressive Chris Hemsworth action-vehicle Extraction. Certainly you can see a lot of their strong connective tissue from those previous efforts to this hefty piece of work, which is an action cinema fan’s WET DREAM, but available to stream instead of showing on the big screen where it REALLY belongs … anyway, the Brothers have ONCE AGAIN teamed up with their favourite leading man Chris Evans, who this time gets to flex his frustratingly rarely-exercised BAD GUY muscles as gleefully narcissistic psychopath-for-hire Lloyd Hansen, the flamboyantly reptilian ex-CIA operative brought back into the fold to hunt down the film’s titular hero, a former convict-turned-CIA assassin known simply as Sierra Six (Ryan Gosling) who’s jumped the reservation after being tricked by corrupt Agency honcho Carmichael (Bridgerton’s Regé-Jean Page) into taking out his contemporary, Sierra Four (Captain America: The Winter Soldier’s Callan Mulvey). Hansen immediately abducts Six’ retired handler and friend Fitzroy (Billy Bob Thornton) and his ailing daughter Claire (Once Upon a Time In Hollywood’s Julia Butters), the only two people in the world Six has left that he cares about, prompting the rogue agent to go on the warpath, leading Six and Hansen into a headlong clash of wills set to bury half of Europe in chaos. This movie is EXACTLY what you’d expect from the Russos and Netflix – over two hours of blisteringly explosive and highly imaginative action and breathless plotting, dynamically shot by cinematographer Stephen F. Windon (Justin Lin’s regular collaborator on most of the Fast & Furious movies AND Star Trek Beyond) and scripted to within an inch of its life by Joe Russo and his regular co-writers Christopher Marcus and Stephen McFeely with an equal eye on overblown spectacle and sly humour that perfectly fits the film’s inherent ridiculousness. The cast are certainly equal to the task – Thornton hasn’t had a role this great is AGES, he’s clearly having a blast in every one of his scenes, while Butters is incredibly endearing, and there’s further strong female presence in Gosling’s Blade Runner 2049 co-star Ana Di Armas as Dani Miranda, the operative that circumstance forces Six to team up with, and Iron Fist’s Jessica Henwick as Suzanne Brewer, Carmichael’s colleague who’s sent to try (and spectacularly fail) to keep Hansen under control, as well as a typically strong turn from Alfre Woodard as retired CIA bigshot Margaret Cahill, and Page makes for an enjoyably slimy, self-important Big Bad behind the scenes; of course the film really belongs to its two heavyweight leads – Gosling is an understated joy, bringing his laconic subtlety to bear to great effect as he matches Evans scene-for-scene while the ubiquitous former Marvel veteran has a whale of a time cutting loose without restraint in a blissfully unhinged turn that’s about as far removed from Steve Rogers as he could possibly get (I suspect he’s been waiting YEARS for a role where he could just UNLEASH like this, he’s clearly just having TOO MUCH fun). Altogether this is about as perfect an action-fest as you could ask for in the summer blockbuster months, the Russo Brothers again proving they’re two undeniable MASTERS of the genre; thrilling, spectacular and unapologetically SILLY, and my one and only gripe about it would be that it really was a shame I didn’t get to enjoy it on the big screen. WHERE IT REALLY BELONGS …

#thor love and thunder #the 355 #nightmare alley #ambulance #ambulance movie #the cursed #the cursed movie #the cursed 2022 #the banshees of inisherin #white noise #white noise 2022 #black panther wakanda forever #belle #belle anime #the gray man #2022 in movies

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vitinwatbender · 2 years

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she even scares me sometimes...

The Mighty Valkyrie #3 (2021)

#hela #marvel #marvelcomics #hel #asgard #mightythor #valkyrie #themightyvalkyrie #cate blanchett #loki #thor

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swashbuckler5e · 5 months

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Thor: Love and Thunder

Thor: Love and Thunder is a 2022 American superhero film based on the Marvel Comics character Thor. Produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures, it is the sequel to Thor: Ragnarok (2017) and the 29th film in the Marvel Cinematic Universe (MCU). The film was directed by Taika Waititi, who wrote the screenplay with Jennifer Keiten Robinson, and stars Chris Hemsworth as Thor alongside Christian Bale, Tessa Thompson, Jamie Alexander, Waititi, Russell Crowe and Natalie Portman. In the film, Thor tries to find inner peace, but must return to action and recruit Valkyrie (Thompson), Korg (Waititi), and Jane Foster (Portman) — who is now the mighty Thor — to stop Gor the God Butcher (Bell). ) from eliminating all the gods.

Hemsworth and Waititi discussed plans for a Ragnarok sequel by January 2018. Love and Thunder was announced in July 2019, with Hemsworth, Waititi and Thompson all returning, as well as Portman who did not appear in Ragnarok. Waititi wanted to separate Love and Thunder from Ragnarok, creating a romance film and 1980s-inspired adventure. He adapted elements of Jason Aaron's run in the 2010s Thor comic books, which similarly debuted Gor and saw Foster take on Thor's mantle and powers while undergoing cancer treatment. In February 2020, Robinson joined to contribute to the script, and further casting was announced later that year, including an appearance in Guardians of the Galaxy. Production was expected to begin in late 2020 but was delayed by the COVID-19 pandemic. Filming finally began in January 2021 in Sydney, Australia with Barry Idoin as director of photography and finished in early June.

Thor: Love and Thunder premiered at the El Capitan Theater in Hollywood on June 23, 2022, in Los Angeles and was released in the United States on July 8 as part of the MCU's fourth season. The film received mixed reviews from critics, who praised the film for its light-heartedness, action sequences, and performances by Hemsworth, Bale, and Portman, but criticized the screenplay and tonal inconsistencies; Although its humor and visual impact were met with polarized reactions,[6] many critics considered the film inferior to Ragnarok. Love and Thunder grossed $760.9 million worldwide, making it the eighth-highest-grossing film of 2022.

#action adventure #marvel #movies #marvel series #action movies #hollywood #thor love and thunder #thor 4 #thor 4 cast

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avatar2thewayofwaterstreamcloud · 1 year

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HD ▷ Avatar 2: The Way of Water | Film 2022 | Streamcloud

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Veröffentlicht: 2022-10-19

Laufzeit: 190 Protokoll

Genre: Science Fiction, Action, Abenteuer

Sterne : Sam Worthington, Zoe Saldaña, Sigourney Weaver, Stephen Lang

Direktor : Stephen E. Rivkin

FILM HINTERGRUND und KINOSTART

"Avatar: The Way of Water" – Hintergründe zur Marvel-Romanze

Mit einer ungewöhnlichen Aussage überraschte Regisseur Taika Waititi die Fans der MCU-Filme. „Thor 4“ sei eine irre Romanze, verriet er im Sommer 2020. Der Regisseur hat bereits „Thor 3“ inszeniert und damit mehr Humor in die „Thor“-Filme gebracht. Beim vierten Solo-Abenteuer soll es „größer und lauter und noch bombastischer“ werden als bisher.

Fest steht, dass Waititi viel vereinen möchte. Der Ansatz der Romanze muss sich dabei nicht zwangsläufig auf Thor und Jane stützen, die in vergangenen MCU-Filmen ein Paar waren. Stattdessen sucht Valkyrie als offene bisexuelle Figur nach einer Königin für ihre bevorstehenden Aufgaben im neuen Asgard. Könnte sie diese in Lady Sif oder vielleicht Jane Foster finden?

Außerdem überreichte Waititi auf der Comic Con 2019 Natalie Portman den Hammer Mjölnir in einer symbolischen Geste. In den Comics „The Mighty Thor“ von Jason Aaron sah man Jane Foster als die erste weibliche Thor-Superheldin. Als wichtiger Teil ihrer dortigen Geschichte ist Jane Foster an Brustkrebs erkrankt ehe sie sich als würdig erwies, um den Hammer zu tragen. Waititi bestätigte bereits, dass er diesen Handlungsstrang sehr interessant finde, jedoch nicht wisse, wie er ihn am besten in seinen Film unterbringen wird.

"Avatar: The Way of Water" – Kinostart 2022

Obwohl bereits ein Kinostart im Herbst 2021 geplant war, musste „Avatar: The Way of Water“ aufgrund der Corona-Pandemie nach hinten verschoben werden. Der wohl verrückteste Film des MCU startet am 6. Juli 2022 in den deutschen Kinos. „Thor 4“ ist der 29. Film der Reihe und Teil von Phase 4, folgt nach „Doctor Strange 2“ und vor „Black Panther 2“. Die Dreharbeiten fanden zwischen Januar bis Mai 2021 im sommerlichen Australien statt.

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ganzerfilmthor4 · 2 years

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Thor 4 Love and Thunder (2022) Ganzer Film auf Deutsch HD

Thor: Love and Thunder Ganzer Film Deutsch : Vierter MCU-Solo-Auftritt mit Chris Hemsworth und Natalie Portman in den Hauptrollen

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Filmhandlung und Hintergrund Vierter MCU-Solo-Auftritt mit Chris Hemsworth und Natalie Portman in den Hauptrollen

Der nordische Gott Thor (Chris Hemsworth) kehrt für einen vierten Solo-Auftritt auf die Leinwände zurück. Nachdem er zuletzt in „Thor 3: Tag der Entscheidung“ seine Heimat verlor und in den Ensemble-Filmen „Avengers: Infinity War“ und „Avengers: Endgame“ erfolgreich gegen Thanos kämpfte, wurde ein neues Asgard in Norwegen gegründet. Valkyrie (Tessa Thompson) hat in diesem Reich das Sagen, während sich Thor gemeinsam mit den Guardians of the Galaxy rund um Starlord (Chris Pratt) und Rocket ins Weltall begab.

Im vierten Solo-Auftritt wird Thor auf seine verflossene Liebe Jane Foster (Natalie Portman) treffen, die in dieser Auskopplung sogar selbst zum Mighty Thor wird.

„Thor 4: Love and Thunder“ – Hintergründe zur Marvel-Romanze Mit einer ungewöhnlichen Aussage überraschte Regisseur Taika Waititi die Fans der MCU-Filme. „Thor 4“ sei eine irre Romanze, verriet er im Sommer 2020. Der Regisseur hat bereits „Thor 3“ inszeniert und damit mehr Humor in die „Thor“-Filme gebracht. Beim vierten Solo-Abenteuer soll es „größer und lauter und noch bombastischer“ werden als bisher.

Fest steht, dass Waititi viel vereinen möchte. Der Ansatz der Romanze muss sich dabei nicht zwangsläufig auf Thor und Jane stützen, die in vergangenen MCU-Filmen ein Paar waren. Stattdessen sucht Valkyrie als offene bisexuelle Figur nach einer Königin für ihre bevorstehenden Aufgaben im neuen Asgard. Könnte sie diese in Lady Sif oder vielleicht Jane Foster finden?

Außerdem überreichte Waititi auf der Comic Con 2019 Natalie Portman den Hammer Mjölnir in einer symbolischen Geste. In den Comics „The Mighty Thor“ von Jason Aaron sah man Jane Foster als die erste weibliche Thor-Superheldin. Als wichtiger Teil ihrer dortigen Geschichte ist Jane Foster an Brustkrebs erkrankt ehe sie sich als würdig erwies, um den Hammer zu tragen. Waititi bestätigte bereits, dass er diesen Handlungsstrang sehr interessant finde, jedoch nicht wisse, wie er ihn am besten in seinen Film unterbringen wird.

„Thor 4: Love and Thunder“ – Besetzung Neben den Superstars Chris Hemsworth, Natalie Portman und Tessa Thompson dürfen sich Fans auf die Verpflichtung von Christian Bale als Antagonisten freuen. Der „Dark Knight“-Schauspieler gab zwar in der Vergangenheit zu, nicht der größte Fan von Comic-Verfilmungen zu sein, umso erfreute waren seine Fans über die Zusage für den 29. MCU-Film. In „Thor: Love and Thunder“ verkörpert er „Gorr, the God Butcher“, einen Bösewicht der es sich zur Aufgabe macht alle Götter zu töten.

Nicht nur hinter, sondern auch vor der Kamera ist Taika Waititi selbst als Korg, über den die Zuschauer*innen Details über seine Herkunft erfahren werden. Natürlich ist ein wurm-ähnlicher Freund Miek nicht weit. Das i-Tüpfelchen ist die Rückkehr der „Asguardians of the Galaxy“. Star-Lord, Nebula, Drax, Rocket und Groot sind allesamt mit von der Partie. Ebenso darf man sich auf Kraglin freuen: Darsteller Sean Gunn wurde in dem entsprechenden Outfit bereits bei den Dreharbeiten in Australien gesichtet. Erst ein Jahr später 2023 werden die Guardians ihr drittes Solo-Abenteuer bestreiten.

„Thor 4: Love and Thunder“ – Kinostart 2022 Obwohl bereits ein Kinostart im Herbst 2021 geplant war, musste „Thor 4: Love and Thunder“ aufgrund der Corona-Pandemie nach hinten verschoben werden. Der wohl verrückteste Film des MCU startet am 6. Juli 2022 in den deutschen Kinos. „Thor 4“ ist der 29. Film der Reihe und Teil von Phase 4, folgt nach „Doctor Strange 2“ und vor „Black Panther 2“. Die Dreharbeiten fanden zwischen Januar bis Mai 2021 im sommerlichen Australien statt.

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thor4deutsch · 2 years

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Thor 4: Love and Thunder 2022 GANZER Film StreamCloud Deutsch

Thor: Love and Thunder STREAM DEUTSCH: Vierter MCU-Solo-Auftritt mit Chris Hemsworth und Natalie Portman in den Hauptrollen