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Every narrative beat [is] stepped on with a goofy read, every moment of importance or narrative heft rendered as a goofy gag delivered with such jazz-hands nodding to the audience that they're simply not funny. Which, considering the source material, is an appalling waste.

The best thing about [Thor: Love and Thunder], as far as I can tell, is its running time. To the 60-plus-hours of theatrical content that have so far rolled off the Disney/Marvel assembly line, this fourth Thor-centric caper adds a mostly painless if largely pointless 120 minutes... The inevitable sequel feels, at this stage, like a singularly unappealing prospect.

Thor: Love and Thunder is packed with gags and jokes, advertising itself so loudly as “Fun!” that it ceases to actually be fun... [The film is, in fact,] is a big snore.

“Thor: Love and Thunder” is out for a good time, even if the journey doesn’t feel quite so novel or giddily buoyant... Waititi has infused the film with the same cheesy, cheap-looking aesthetic that gave his previous films such low-key charm. If the banter, battle scenes and supernatural rainbow bridges feel a bit rote, they’re also frictionless and delivered at a relatively crisp running time of under two hours.

If “Love and Thunder” is more of the same, it’s also never less than that. The MCU may still be looking for new purpose by the time this movie ends, but the mega-franchise can take solace in the sense that Thor has found some for himself.

For good or ill (mostly for good), the film is pitched as the level of a Mad Magazine romp. That approach sits comfortably enough with the potential annihilation of the entire universe. It sits less easily with an effort to have us connect emotionally with more sobering everyday traumas... A strange, strange film. Often in a good way. Sometimes not.

However adroitly Waititi plays it, Marvel’s comedy mode has become a bit of a reflex, a set mode which could almost be enabled in the “settings” menu of Marvel software... This is becoming a bit of a cul de sac – but that isn’t to say it isn’t still funny, and Thor still delivers a mighty hammer-blow, or rather axe-blow, of fun.

[Waititi] and co-writer Jennifer Kaytin Robinson (“Someone Great”) attempt to balance that jokey tone with themes and plot points that would feel more at home in an Ingmar Bergman film, and the results cancel each other out, leaving many of the surface pleasures of an MCU movie but also a nagging sensation that none of this quite works.

Howlingly enjoyable... [Waititi] has an intuitive feel for how these productions now need to pitch themselves: from the crunchy action to the zany comic vibe, everything feels distinctively Marvellous in ways the studio has struggled to pin down since its unplanned Covid-induced hiatus.

A giddy, gleaming guitar solo of a movie; a celebratory blast of colour, energy and emotion... Plenty of Ragnarok’s raucous DNA remains in Love And Thunder, cranked to even greater heights

It's hard to create tension when the stakes are so low... [and] no one ever has to stay dead... But the film's breezy tone and ultimately strong emotional depths make up for that flaw. This big-hearted Thor, thundering and sensitive, may be just the diverting hero we need right now.

“Thor: Love and Thunder” is more or less a victory lap for all that director Taika Waititi achieved with his often hilarious, rousing, and plainly refreshing “Thor: Ragnarok.” And while it has too many familiar flourishes and jokes, this entertaining sequel is still a force for good, with enough visual ambition and heart in front of and behind the camera to stand on its own.