Thunderbolts* Ditches Marvel’s Usual Chaos for Gritty, Surprising Depth

by

Over the past five years, I’ve noticed that the Marvel Cinematic Universe has had its fair share of highs and lows. It’s no secret that these movies have been consistent box office hits, but the quality of their production has significantly fluctuated post-“Avengers: Endgame”, whether on the big screen or streaming on Disney+. The franchise is clearly marching towards a “Doomsday”, yet it feels surprisingly aimless. In just a few months, we’ve gone from the scattered and bloated spectacle of “Captain America: Brave New World” to the more introspective and moody “Thunderbolts“. It’s like flipping a coin – one moment it’s day, the next it’s night.

Initially, upon hearing about the movie and watching its initial previews, I had some doubts if Thunderbolts would be too complex for ordinary viewers due to its roster of characters who were secondary or even minor figures in less successful Marvel comics. However, it’s reassuring to know that one of those characters is Florence Pugh, whose captivating performances have made her a fan favorite, and another is Sebastian Stan’s Bucky Barnes, a well-established original character within the MCU. The storyline revolving around Florence Pugh’s Yelena Belova seeking purpose in the monotonous world of hired assassins provides an excellent starting point for a franchise that desperately needs guidance.

In the previews of “Thunderbolts”, you’ve probably noticed, the movie focuses on Yelena who has lost her zest for living since her sister Natasha passed away some years ago. She’s grown tired of performing dangerous missions for CIA Director Valentina Allegra de Fontaine (portrayed by Julia Louis-Dreyfus), and is now facing a potential impeachment hearing due to Valentina’s shady and unlawful dealings, with Junior Representative James Buchanan Barnes (Stan) being a significant part of the controversy. On her last mission given by Valentina, Yelena may find a chance to break free and focus on more visible acts of good.

In the plot of this story, Val assigns identical missions to multiple agents, such as Ava Starr (Hannah John-Kamen), John F. Walker (Wyatt Russell), Antonia Dreykov (Olga Kurylenko), and even a mysterious figure named Bob (Lewis Pullman). They all arrive at a location, each assigned to eliminate one of the others. However, they soon uncover that this was all orchestrated by Val as a means to destroy evidence. Consequently, they along with Bob attempt to flee and go into hiding. Yelena’s father Alexei (David Harbour) arrives to lend assistance, and eventually, Bucky brings them together in an effort to potentially bring down Val forever in the upcoming team called Thunderbolts*. However, various complications, including Bob’s uncontrolled powers, interfere with their plans.

In my opinion, I was genuinely taken aback by the straightforwardness of the storyline in “Thunderbolts.” Contrary to my initial expectations, this film is significantly more character-driven and intimate than I had anticipated, which, in my humble opinion, only adds to its strength. Director Jake Schreier’s background in television series like “Beef” and indie movies such as “Robot & Frank” shines through in a production that, refreshingly, avoids the glossy artificiality that characterizes many recent MCU films.

Of course, there is the customary potential world-ending catastrophe, but the action feels more grounded, the lighting more realistic, and the narrative delves into the feelings of isolation and self-doubt that afflict Yelena and her compatriots. These aren’t heroes by conventional standards, but they’re all weary of their misdeeds. The sense of displacement and lack of purpose they experience resonates deeply in these challenging times.

The film Thunderbolts, despite occasional witty banter and sarcasm, generally aligns with the movie’s overall tone. However, there are a few instances where Val’s PR maneuvers and especially Alexei’s portrayal as an over-the-top Russian stereotype became repetitive and tiresome. The heartfelt relationship scenes between Yelena and Alexei stand out as some of the movie’s finest moments, but they are less frequent than desired. Pugh and Pullman keep the film engaging, and it is through their performances that the film finds its emotional core, even amidst conventional superhero battles.

I didn’t find myself ecstatically enjoying Thunderbolts*, nor was I frustrated by its messiness. Unlike Brave New World, it doesn’t give off an impression of being pieced together haphazardly, which can be quite disorienting. I believe it falls in the upper half or even top quarter of Phase 4 and 5 films. Phase 5 has been stronger overall, but it just so happens that it includes two major flops.

What I appreciate about Thunderbolts* is that it doesn’t seem like it was made solely to prepare for the next big event. Instead, it aims to tell a story centered around side characters stepping into the limelight, which resonated with me greatly.

Focusing more on character development than grand spectacle effectively allows the movie “Thunderbolts” to accomplish its aims gracefully, albeit without striving for something more extraordinary. Yet, in certain instances, being content with what you have is sufficient.

Thunderbolts* ⭐ (3.5 of 5)

Kyle Anderson serves as the Senior Editor at TopMob, where he also runs the popular weekly podcast, Laser Focus, which delves into various aspects of pop culture. His film and television reviews can be found on this platform. You can keep up with him on Letterboxd.

Read More

2025-04-29 19:33