Thunderbolts*: The MCU Just Got Saved! (But There’s a Catch…)

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Calling Marvel’s Thunderbolts a much-anticipated studio project could potentially be considered as going too far. Although the film boasts an impressive cast featuring seasoned actors like Florence Pugh and Sebastian Stan alongside MCU newcomer Lewis Pullman, there remains a possibility that general viewers might ask themselves, “who are these individuals?” when viewing the movie’s promotional materials.

Fortunately, there’s lots to appreciate in the film “Thunderbolts” for longtime Marvel enthusiasts as well as casual viewers. The plot revolves significantly around the personal struggles associated with being a superhero (though keep in mind that it also includes substantial external conflicts). The main characters deliver strong performances, although some of them could have been more fully fleshed out by the movie’s conclusion. Additionally, this Marvel production boasts impressive visuals, as it largely abandons the vibrant, overly bright colors and flat lighting seen in previous productions, and includes a heart-stirring score from Son Lux.

In “Thunderbolts”, the main emphasis lies on Yelena Belova, portrayed by Florence Pugh, who made her debut in “Black Widow” and reappeared in “Hawkeye”. She’s growing discontent with her assignments, one of which involves an awe-inspiring jump from one of the world’s tallest buildings. However, there seems to be a deeper issue with Yelena, hinted at during a conversation with her surrogate father, Red Guardian (David Harbour), who appears to be thoroughly enjoying every moment on screen. Yelena yearns for more in her line of work, craving a public role to put her past to rest. On the other hand, Red Guardian remains fixated on the past, watching old clips of his triumphant days and impatiently waiting for a food delivery.

The movie explores the concept of dwelling too much on the past, which significantly impacts all character developments. John Walker, portrayed by Wyatt Russell (previously seen in “Captain America and the Winter Soldier”), is still bitter about his controversial stint as the new Captain. Meanwhile, Bucky Barnes, played by Sebastian Stan, grapples with being a different kind of government instrument: a freshman congressman. His journey intertwines with that of CIA director Valentina Allegra de Fontaine, portrayed by Julia Louis-Dreyfuss, who is under threat of impeachment due to questionable activities involving her private company, O.X.E. The accusations against her are valid, making her desperate to eliminate incriminating evidence. This sets the stage for all main characters (Valentina’s employees) to converge, as each one is assigned to eliminate another.

The “double-cross” tactic unveils Bob, also known as Sentry (portrayed by Lewis Pullman in a heartrending yet chilling dual role). Subsequently, the film hastens towards its end, often sacrificing character growth and the nurturing of relationships for pace. Regrettably, Ghost (Hannah John-Kamen) experiences the least character development, with mere hints at her history and little delving into deeper aspects. Similarly, John Walker’s inner darkness seems incompletely explored, with a glimpse into his family life appearing more routine than insightful.

In essence, throughout the film, it appears that Bucky’s role is more about taking on a mature, responsible position rather than expanding his own character. At this stage, there isn’t much else to be explored about Bucky, as even a typical humorous line from Marvel in the climax seems to suggest “we already know everything there is to know about Bucky; there’s no need to revisit him.” Apart from the main heroes, Mel, Valentina’s assistant (played by Geraldine Viswanathan), seems superfluous, despite being quite important in the Marvel comics.

Within the hurried narrative, it’s the well-orchestrated action by director Jake Schreier that stands out. The initial fight among the future Thunderbolts, happening inside Valentina’s vault, is skillfully filmed, ensuring each character gets a moment to display their unique abilities in the chaotic four-way battle. Later on, there’s an astonishing single-shot scene where the team makes valiant attempts to subdue the Sentry, yet he consistently outmatches them at every turn.

As a die-hard cinema enthusiast, let me tell you, director Schreier’s mastery lies not just in the pulse-racing action sequences, but in crafting a chilling climax that stands out from typical Marvel fare. There’s a certain level of skepticism one could apply to the resolution, but Schreier and screenwriters Eric Pearson and Joanna Calo infuse the narrative with profound psychological depth that gives it substance. They even manage to make this film feel self-contained, an impressive feat given its reliance on previous titles like “Black Widow”, “Falcon and the Winter Soldier”, and surprisingly, “Ant-Man and the Wasp”. To fully appreciate every detail, viewers will need to have watched these preceding stories.

One key theme running throughout the story is the impact of a lack of support at home and manipulation by others on someone’s wellbeing, illustrated through the characters Bob and later his alter ego, the Void, who serve as comic book representations of bipolar disorder. Lewis Pullman delivers an emotional portrayal of a character struggling to suppress his darker instincts while preventing catastrophe, all while grappling with inner turmoil. The unique selling point of Thunderbolts lies in its fresh take on the traditional ‘evil Superman’ narrative, opting instead to explore what transpires when a fundamentally good but untreated individual is granted divine power.

Similar to its primary team of superheroes, Thunderbolts* has its share of imperfections. Yet, much like them, it manages to accomplish more good than bad. This film serves as a strong addition to the Marvel Cinematic Universe and provides a foundation for upcoming movies. Despite the absence of characters like Iron Man, Thor, or Captain America, Thunderbolts* presents a group of lesser-known heroes destined for greatness, reminiscent of the Guardians of the Galaxy. Whether it will become the blockbuster Marvel is counting on remains to be seen, but it offers a refreshing change for Marvel Studios, which could certainly benefit from such success at this time.

Thunderbolts* hits theaters on May 2nd.

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2025-04-29 19:07