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Is Natalie Portman Returning for ‘Thor: Ragnarok?’

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Natalie Portman Thor: Ragnarok MovieSpoon.com

[dropcap]A[/dropcap]hhh, the fickle heart of a Norse god. When Chris Hemsworth first appeared as Thor in the movie of the same name in 2011, his character immediately fell for Natalie Portman‘s scientist Jane Foster. But then, poof! Jane Foster disappeared.

At the end of Thor, Jane was looking for a way to reach Thor in Asgard. In the sequel Thor: The Dark World, Jane Foster actually got to come to Asgard. She even got to meet Thor’s dad, who just happens to be Odin.

Natalie Portman Thor: Ragnarok MovieSpoon.com

Thor and Jane Foster on Asgard.

But then what? At the end of Thor: The Dark World, Loki was on the throne, disguised as Odin. The pseudo-Odin gives Thor permission to follow his heart, and Thor heads back to Earth. But after that, Thor showed up in Avengers: Age of Ultron. But aside from a quick mention, Natalie Portman’s character was nowhere to be seen.

Related: Trailer: ‘Thor: Ragnarok’ Is SO Worth the Wait

Portman herself speculated that this was the end of Jane Foster, and that she wouldn’t appear in the upcoming Thor: Ragnarok. “As far as I know, I’m done,” she said. “I mean, I don’t know if maybe one day they’ll ask for an Avengers 7 or whatever.”

Considering a new love interest is supposed to be introduced for Thor (Tessa Thompson as Valkyrie), it would make sense for Portman to make her permanent exit.

Leave It to Taika

However, now a tweet from Thor: Ragnarok director Taika Waititi is causing fans to question that. He shared two pictures. The first was Natalie Portman in Leon: The Professional. The second was from her movie Where the Heart Is. The caption read, “Heed the signs. #Ragnarok.”

So what could it mean? They are in the midst of reshoots for Thor: Ragnarok, so many people are speculating that Portman could be shooting a cameo. We’ll have to wait until Thor: Ragnarok comes out on November 3, 2017, to know for certain.

MovieSpoon Staff


Box Office

Deadpool Dethrones Avengers With Triple-Digit Debut

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The first film to knock down Marvel Studio’s towering juggernaut of Avengers: Infinity War from the #1 slot has arrived. It’s no surprise that it would indeed be another superhero movie, but it is surprising by how much it overtook. Deadpool 2, Fox’s Marvel property of a fourth-wall breaking anti-hero that satirizes comic book movies, premiered to a huge first weekend of $125 million domestic. Despite being just a few million dollars short of its previous film, it’s still an impressive achievement for an R-rated Marvel movie that keeps the momentum going both in comedy and box office. Even more impressive is it’s worldwide gross that is currently sitting at a beefy $301 million. Expect it to stick around for such a successful first weekend.

With such a high take from Deadpool, Avengers: Infinity War naturally took a big hit. Dropping by 53%, the blockbuster made only $28.6 million in fourth weekend. It’s still standing tall with a domestic total of $595 million, but it’s doubtful at this point that it’ll reach the same heights as Marvel’s earlier 2018 blockbuster of Black Panther. Other debuts this week were not so lucky with such limited takes. The all-female comedy Book Club premiered at #3 for the weekend with a $12.5 million domestic gross. The family comedy Show Dogs placed at #6 with $6 million in its domestic take.

Returning films are weathering the Marvel storm decently with expected drops. A Quiet Place is still hanging in there with the lowest drop of the weekend, bringing in another $4 million to boost its domestic total up to $176 million, still an amazing gross for the $17 million horror movie that could. The giant monster movie Rampage is clinging to the top 10 in its #9 slot, but it’s not looking good for such expensive blockbuster still so far away from meeting its budget. And RBG, the documentary on Ruth Bader Ginsberg, remains in the #10 spot from last weekend with its domestic total now up to $3.8 million.

View the full top 10 for the weekend below.

Deadpool 2 ($125,000,000)
Avengers: Infinity War ($28,672,000)
Book Club ($12,500,000)
Life of the Party ($7,725,000)
Breaking In ($6,470,000)
Show Dogs ($6,034,770)
Overboard ($4,725,000)
A Quiet Place ($4,040,000)
Rampage ($1,500,000)
RBG ($1,280,000)

Next weekend will pit Deadpool against another anti-hero in Disney’s Solo: A Star Wars Story, the Star Wars side story on Han Solo. It will indeed be interesting to see how a Star Wars movie plays in the summer as the previous three Disney Star Wars productions have all been massive blockbusters in December. For debuting in 4,200 theaters, the pressure is on to see Star Wars topple Marvel.


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Box Office

Another Astounding Weekend at the Box Office for Avengers: Infinity War

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Box Office Weekend 5/4/18-5/6/18

Not the least bit surprising, Marvel’s Avengers: Infinity War has dominated the weekend box office with another massive gross. In its second weekend, the grandest superhero ensemble to date brought in $112.4 million. This brings its domestic total up to $450 million, and its worldwide take well over $1 billion. Time will tell if it has the legs, however, to hold its own against Marvel’s other superhero epic this year, Black Panther. Considering Black Panther is still in the top 10, and has almost passed $700 million domestic, it’ll be a close race between the two Marvel movies.

Of course, the success of the Avengers is due in no small part to this being a rather sparse weekend of premieres appearing in fewer theaters. Braving the Marvel storm to come in at #2 was the romantic comedy remake, Overboard, starring Eugenio Derbez and Anna Faris, making $14.7 million domestic. And if that’s the gross of the #2 spot, you can imagine how lower the other films are. Tully, a new comedy Jason Reitman and starring Charlize Theron, came in at #6 with a domestic gross of $3.1 million. Further down at #10 is the new David Tennant starring thriller, Bad Samaritan, making $1.7 million for the weekend.

There were expected dips all around with no huge surprises, but many of the successful films that have hung around are growing a considerable gross. John Krasinski’s A Quiet Place had the lowest drop and is currently sitting at a robust $159 million domestic total. Ryan Coogler’s Black Panther has already blazed many records, but it’s only $7 million away from clearing $700 million domestic.

See the full top 10 box office results below.

  1. Avengers: Infinity War ($112,474,000)
  2. Overboard ($14,750,000)
  3. A Quiet Place ($7,600,000)
  4. I Feel Pretty ($4,900,000)
  5. Rampage ($4,620,000)
  6. Tully ($3,186,000)
  7. Black Panther ($3,146,000)
  8. Truth or Dare ($1,885,000)
  9. Super Troopers 2 ($1,815,000)
  10. Bad Samaritan ($1,758,000)

Next weekend, Avengers will be battling against the Melissa McCarthy starring comedy Life of the Party and the Gabrielle Union starring thriller Breaking In. Considering that Life of the Party will have the most significant theater count, McCarthy has the only real shot at being the first film to knock the superhero giant down from the top 10, though it’s doubtful of the Avengers hype will have died down by then.


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Marvel

Review: “Deadpool 2” is Reheated Chimichangas That Mostly Hold Up

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Deadpool is third-wall breaking anti-hero that feels more needed than ever in the current crop of amassing superhero films. His self-aware satire made his 2016 film a hoot with commentary on the messy timelines, the lack of casting, and even mocking Ryan Reynolds himself. And while his sequel film does maintain that fast-paced and joking nature that made the character a breath of fresh air, it’s mostly the same brand we’ve come to expect from the merc with the mouth.

All the familiar scenes are present, even with the same bits of dialogue repeated from the previous film. There’s an opening fight where Wade “Deadpool” Wilson (Ryan Reynolds) narrates how this isn’t a superhero movie for the kids. There’s an extended bit where he trots around the X-Men headquarters where there are little to no mutants present. Hugh Jackman isn’t present in the film, but he always seems to find his way into the script in one form or another. Deadpool even rides up to the finale in a taxi and mentions chimichangas once again. While these segments still garner a laugh, there’s a lingering notion with each smirk that this superhero is running out of originality.

Ryan Reynolds (Deadpool) and Karan Soni (Dopinder) in Twentieth Century Fox’s DEADPOOL 2. Photo Credit: Courtesy Twentieth Century Fox.

One of my biggest complaints about the previous film was that there needed to be more actors for Deadpool to play off so that his fourth-wall narration doesn’t overwhelm the screen. The sequel features the opposite, amassing too many characters for Wade to rib that they struggle to work their way into the script. Cable (Josh Brolin) is a soldier of the future that travels back in time to kill a mutant kid and becomes bitterly frustrated with Deadpool being an obstacle. This would’ve been enough for a buddy picture, but the film keeps stuffing in heroes. Deadpool takes a liking to Cable’s target of the overweight teenage mutant Firefist (Julian Dennison), but the kid is so cocky and stand-offish that their chemistry doesn’t have much time to develop. Not when Deadpool must also ally himself with Domino (Zazie Beetz), a hero whose superpower is plot armor. And while Colossus and Nega return from the previous film, their roles are so standard that they naturally become lost in the shuffle.

There’s a tightrope of typical superhero staging and self-aware silliness that Deadpool walks once more, and there’s a larger wobble this time around. There’s a bitter pathos to push Deadpool forward in his plight, but it comes with knowledgable spite for last year’s Logan pulling the same strings, of which Deadpool curses outright. A change of pace for the character is his desire to embrace the X-Men philosophy of no killing, but Wade still plays fast and loose with this logic, counterintuitive of his journey to better carve out a family.

Ryan Reynolds stars as Deadpool in Twentieth Century Fox’s DEADPOOL 2. Photo Credit: Courtesy Twentieth Century Fox.

And, wow, does the diversity angle feel so much like bullet-point lip-service, where the black Domino has no flaws, and the lesbian Nega has no character. It’d be nice to have a film where Deadpool coordinates a diverse collective, but everything is so tightly packed with little room to breathe that the inclusivity feels more like a quota, trying to appease everyone without exploring any one angle deeply. Let me know more about Domino’s tragic past without wedging it in at the last minute. Give Nega some better lines considering that her girlfriend, whose only interactions are saying hi to Deadpool, has more dialogue than she does. You wouldn’t even know Firefist has a problem with the perceptions of his weight if he hadn’t brought it up in conversation.

Yes, Deadpool 2 is still funny, especially with one of the most hilarious mid-credit sequences in recent memory. But most of the laughs are familiar ones, reiterating previous jokes and not landing as many original ones past the update of commenting on the current state of superhero cinema. It’s a bit sad that a film this satirical of the genre doesn’t realize it’s coming down with a severe case of sequel-itis, throwing far too many characters at the screen and hardly balancing any of them. There is levity and life in Deadpool, but it needs to start going that extra mile of absurdity in its awareness if it doesn’t want to become one of the lesser superhero franchises it loves to mock so much.

Deadpool (Ryan Reynolds) and Colossus in Twentieth Century Fox’s DEADPOOL 2. Photo Credit: Courtesy Twentieth Century Fox.


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