The Marvel Cinematic Universe (MCU) is in an interesting place right now. Whether or not they reach the financial heights of Deadpool and Wolverine or the average numbers of Captain America: Brave New Worlddoesn’t seem as relevant as them having a clear vision for the future of their connected universe. There are now so many Marvel characters, stories, and overall content that it feels almost impossible to seamlessly connect.
They may have flown too close to the sun when wanting to create both interesting, expressive superhero films and also interconnected phases. There have been so many threads that have seemingly not have gone anywhere – from Charlize Theron’s Clea character, to the Eternals set up of incoming Celestials, to yes, the infamous Blade movie that is so up in the air it appears it will never come down. The MCU is in need of a definitive win. Thunderbolts* appears to be that win, with a story that still clearly follows the classic formula but veers off just enough with originality that it noticeably stands out in the post-Endgame era.
Thunderbolts* feels like a focal point in the MCU’s interconnected universe. The film stars Florence Pugh as Yelena Belova, the former Red Room spy/assassin, who was first introduced in the Black Widow movie as Natasha’s forgotten sister. Regardless of the varying opinions on that film, there was no doubt that her character was a stand out. A lot of this was due to the stellar performance of Pugh who has proven to be one of Hollywood’s biggest stars even outside of superhero/genre films. She brings so much enthusiasm, heart, and creativity to her role that Yelena has quickly become a fan favorite.
The film adds minor characters around her as fellow loose ends in Valentina Allegra de Fontaine’s (Julia Louis-Dreyfus) illegal black ops unit. Characters like Ghost (Hannah John-Kamen) from the Ant-Man films, John Walker (Wyatt Russell) from Falcon and the Winter Soldier, and Bucky (Sebastian Stan), returning as the one righteous member of the group. All this sets up a core support group for our newest member “Bob” (Lewis Pullman) who is noticeably awkward and insecure yet the most powerful one of them all.
The group dynamics are well trodden and, truthfully, unoriginal yet they work remarkably well. However, there is enough variety to keep the interactions fun and enough earnestness to engage audiences. These group dynamics are crucial to the success of the film so the fact that they nailed them right away is a significant victory.
Right away, Thunderbolts* sets itself apart from recent MCU films, with its emphasis on quality filmmaking. The cinematography has actual purpose, the score is truly incredible (one of the best in years), and the action sequences feel intentional and lively. All these aspects have been forgotten elements of MCU movies in recent years with films that are poorly lit, visually lazy, and, frankly, dire in their foundational filmmaking facets.
The film breaks the mold in another way, by keeping the three act structure to three central locations instead of jumping to various spots in a mindless, head-spinning manner. Thunderbolts* lays it’s foundation on solid ground with a reiteration on old school deliberate filmmaking, where every camera move, every frame, every acting choice has a purpose. This return to filmmaking basics is incredibly refreshing and one of the biggest reasons Thunderbolts* succeeds where other films have failed.
However, the biggest priority of Thunderbolts* that makes it so unique is it’s focus on the internal battle of our characters instead of a fight against a physical, tangible villain. Thunderbolts* is more concerned with exploring the heartaches of our protagonists and the real struggle of confronting personal demons. The film engages with the theme of depression, first with the lead, Yelena, and then with the supporting crew. The idea of hurt people hurting people feels surprisingly raw and real in a world that is constantly pushing the envelope of believability. This central theme is remarkably effective with these characters. The grounded nature of their powers adds to the grounded nature of their relatability in their mental health struggles. Bob embodies this with a cry for help that becomes intertwined with his abilities, and he seeks refuge and comfort in a manner that is a plot point that feels worthy of audience investment.
As much as the themes and characters lift the Thunderbolts* script, Valentina drags it down. She is the main villain of the movie and is overtly malicious and nefarious throughout the film, yet her character and performance still feels out of place and a drag to the forward momentum of the story. Julia Louis-Dreyfus feels like she’s in a different movie with no regard for any realism. Her over the top villainous role is certainly important the plot but is undoubtedly the worst part of the film. This also adds to the somewhat lackluster conclusion to the film in which she is a crucial part in. Thankfully, the rest of the cast pushes past these sour notes in resonant ways that stick with audiences more than anything the mustache twirling Valentina is plotting.
Thunderbolts* is no doubt a win for Marvel. An emotionally effective and incredibly entertaining team up film that is a huge step forward for the MCU. Director Jake Schreier brought his own vision and personal touches to the MCU formula and it worked. The themes were far more personal and relatable, tackled perfectly by the ensemble cast. Pugh impeccably embodies the precise lead needed for a story like this. Yelena is equally personable as she is charming. Every moment with her on screen brought a whirlwind of emotions and all of them played into the story flawlessly. She perfectly epitomizes the future of the MCU.
Thunderbolts* sets itself apart from previous MCU films with a heartfelt, captivating story that is sure to hit resonate with audiences. Hopefully, Marvel continues to head int this direction because the possibilities are endless.
Rating: 8/10