Thor: Love & Thunder

I must admit to reflexively preferring Star Trek's classification of the Gods, in the age old episode of The Original Series where the Enterprise's crew encounters Apollo.

He had to leave Earth long ago and set out to the Heavens in search of worshippers, along with his Greek and Roman brethren, eventually settling on an isolated planet.

Upon encountering the crew of the Enterprise, he seeks to coerce their admiration, but the imaginative space-faring ill-disposed citizens soon find a way to outmanoeuvre him.

Thor is rather chill for a God preferring to sleep in and engage in horseplay, when the people need him he courageously responds but otherwise disdains regal pomp and pageantry. 

Thus, he fits in well with laidback demonstrative interstellar particularities, and is much easier to actively root for than someone demanding obedience and loyalty.

I thought it was cool that Marvel included the less widely known Norse Gods in its narratives, because it was fun to learn more about them while watching the athletically staged theatrics.

But Love & Thunder introduces every God the all and sundry you can possibly imagine (even Q: The Wingéd Serpent), it's out of touch with the creative genius that led to the X-Men and the Avengers.

The abundant Gods no longer seek worship but rather inhabit a far off realm, where they lounge about and entertain as decorum permits with unheralded alacrity. 

Thor fittingly disrupts their balanced order keeping in tune with contemporary shenanigans, functioning in a similar way to Captain Kirk in that Star Trek episode from long ago.

Marvel and D.C's creative brilliance has no doubt been proven time and again, but as their films continue to exponentially multiply has Star Trek's multivariable imagination been overlooked?

Gods no doubt exist within the diverse multilayered Trekkian sagas, but the emphasis is usually on how human ingenuity can resourcefully outwit them.

Star Trek isn't as reliant on superhuman strength or exceptional idiosyncrasy, to find a logical working solution to the crafty predicaments it faces week after week.

Rather it champions science and the ingenious solutions expediently found, by a group of curious travellers who search the universe to expand their minds.

Marvel and D.C etc certainly deserve a place in the forefront. They've dynamically carved multiple scenarios overflowing with daring and remarkable teamwork.

But something's lost if Star Trek's focus on the human factor loses its cinematic edge.

Not just human, alien as well.

Interactively engaged in inclusive environments (where you'd also find Thor). 

Guardians of the Galaxy Vol. 3

Geez Louise.

The spirit of the '90s lives on.

It hasn't been replaced by some mad bigoted dysfunctional totalitarian complex.

Writers and directors still seeking a reasonable balance amongst the levels harmoniously sustained with heartfelt respect.

Racist discrimination isn't dominating.

Neither is elitist pretension. 

In Guardians of the Galaxy Vol. 3, posthaste, which holds a coveted place within the mass market, and is theoretically quite influential in terms of meaningful intergalactic liberty.

Within an ingenious megalomaniac seeks to reinvent ye olde planet Earth, with genetically modified animals, but the results are not utopian (Chukwudi Iwuji as The High Evolutionary). 

He's such a piece of shit that he doesn't try to fix the ailing society he's created, instead since it isn't ideal, he decides to utterly annihilate it.

He can't accept that the creation of a world has too many variables to cohesively caress, and that manifold multivariable mutations naturally challenge strategic planning.

You can't just destroy tens of thousands of lives if your perfect world lacks ornate distinction, that's tens of thousands of murders on your hands, if you create life, it happens to be living.

That's what he does though, that motherfucker, the Guardians fighting him along the way, while offering glimpses into Rocket's (Bradley Cooper) past, the Evolutionary's most gifted creation.

A ship is self-destructing, everyone must flee and move quickly to avoid oblivion, a voice shouts out to save the higher lifeforms at which point I thought elitism had won the day.

But an alternative voice rich with multilateral concordance soulfully contradicts it with compassionate equipoise. 

And the animals locked down upon the vessel are also freed and led to safety.

In the end, there's an awesome party which looks like it must have been fun to attend, different species from different walks of life exchanging observations and jokes and memories.

We were taught long ago way back when to value life in all its form, and not to condescendingly judge those whose grades lacked brilliant correspondence. 

Not to let them run the show but certainly to give them a salient voice, not everyone fluent in microbiology, but generally aware of ways and means.

Guardians of the Galaxy Vol. 3 cherishes life and celebrates community, regardless of I.Q or test scores, or biological resiliency.

In a wild unpredictable way that isn't preachy or overwrought.

I may have to pick up a copy.

Along with Avatar: The Way of Water.

🦝🐘🐻🦏🦛🦑🐄

Guardians of the Galaxy Vol. 2

The characters have been introduced, and have come together to forge a resilient team.

Traits briefly developed in vol. 1 must now be convincingly expanded upon in order to keep generating cheeky sly endearingly rebellious momentum, even if the Guardian's antics are no longer officially outlawed.

Rocket (Bradley Cooper) screws up though, and, after saving a guilded race from a thick-skinned monster, he steals some of their precious batteries to profit on the side, and that very same none-too-amused excessively proud community decides to vengefully hunt the Guardians down consequently, which leaves them troubled and divided after Star-Lord (Chris Pratt) meets his father (Kurt Russell as Ego) who turns out to be an immortal Celestial.

For the first time.

Ego wants to destroy the galaxy but I've said too much already.

Nevertheless.

There's still more to be told.

Yondu (Michael Rooker) and Rocket wind up imprisoned after Yondu's crew mutinies and deprives him of his mellifluous arrow.

While imprisoned, Rocket begins to understand that perhaps he is somewhat abrasive, as he's critique by the rather unpolished Yondu, and referred to as "a professional asshole."

Sticking two assholes in prison together and having them play who's the severest was a great idea, and one that helped them tone it down a bit without spoiling their characteristic alarm.

A new empathic character named Mantis (Pom Klementieff) complicates Star-Lord and Gamora's (Zoe Saldana) relationship after revealing his true feelings, and they interrelate ala Sam and Diane of old afterwards as pride and improvisation delicately yet ruggedly blend.

Star-Lord must also relate to his newfound dad while Gamora contends with her psychotic sister (Karen Gillan as Nebula), the former becoming more estranged as the latter begin to bond.

The Guardians themselves are concerned with their collective identity and whether or not their wild unheralded intergalactic shenanigans have united them together as an im/penitent family?

Without acknowledging the unconscious focus of many of their conversations, they consider the nature of their beguiling consensus, while unravelling supervillainous plots and doing their best to universally grind.

Drax's (Dave Bautista) comments thematically reflect this Guardians of the Galaxy Vol. 2 prerogative, as his colourful blunt wholesome yet provocative observations coddle and crucify the group as a whole.

Groot (Vin Diesel) assists as well.

It's a great sequel, multilaterally pondering life and why it's worth living without sugarcoating its contentions or shying away from its responsibilities from diametrically opposed perspectives.

Big time.

Complacency is structurally criticized as its warm and friendly formal aspects contradict its argumentative content, until the Guardians realize that if both its fuzzy and festive features are to continuously chill, or if Ego conversely gains the upper hand, their raison d'être, their status as Guardians of the Galaxy, will become somewhat mute, multivariably speaking.

The transformation accelerates around the time Star-Lord's walkman (walkperson) is destabilized.

If they didn't care, if they just embraced eternal isolated luxury, they would have gluttonously imploded.

Also visually stunning.

Tragic artistic melodramatic sci-fi?

Correct.

I'd say that designation is correct.

Yes I would.

Vermillion.

Guardians of the Galaxy

Penetrating deep within the lighthearted ventricles of fashionable intergalactic cysts, reflexive agility accommodating both the hunting of bounties and the wisecracking elite, plans projected then prorated, the deviants atomically deified, internal struggles, deconstructive precision, posterity balancing the incision of the blade, a rabble, a rabble arousing, athletic unexpected altruistic instance, for serenity's stringent spawn, the edification of the miscue, teamwork, trust, in tune.

Peter Quill (Chris Pratt) accidentally assembles a formidable team.

They have no choice but to restore order to the galaxy.

Well, not galaxy, more like the region of space they happen to be occupying.

She's green (Zoe Saldana as Gamora). Like on Star Trek.

The film intertextually plays with Star Wars as well, respecting, not glorifying, to hyperdrive into its own interplanetary perspectives.

And a characters says, "there's too many of them."

Searched for a YouTube collage but couldn't find one.

Classic.

I thoroughly enjoyed watching this band of misfits unite to attempt to thwart a fanatical genocidal dick, self-sustaining in their independence, stronger fighting as one.

Cheesy at times, but still raw, resplendent, and finicky.

Can't wait until they save the Avengers.

That must be coming up at some point.

Although, if the frequency of these films increases, curtailed earth shattering attempts to subjugate entire planets are going to start to seem humdrum, unless they continue striving for excellence.

Peter Quill saves Tony Stark, then gives him the finger.

On down the road.