SPOILER FREE REVIEW

Synopsis: After finding themselves ensnared in a death trap, an unconventional team of antiheroes must embark on a dangerous mission that will force them to confront the darkest corners of their pasts.

Marvel’s ‘Thunderbolts*’ (the meaning of the asterisk is enough reason to watch the film alone) is as turbulent as its characters. Not just in structure, but uneven tone (and rather odd plotting).

The film centers on a group of emotionally frayed antiheroes who are more defined by their psychological baggage than their powers or suits. These are characters who wear their trauma as visibly as any costume, and in doing so, offer something that raw and refreshingly vulnerable.

Florence Pugh leads the ensemble as Yelena Belova, the charismatic and wounded sister of the late Black Widow. She’s joined by a rogues' gallery of emotionally scarred allies, each more in need of therapy than a mission briefing. While their heroism is reluctant and messy, there’s an undeniable appeal in their imperfection — which one could argue is the point. They may not be the saviors Marvel fans are used to, but they may be just what the franchise needs at this moment.

After a string of lackluster entries (i.e. ‘The Marvels,’ ‘Captain America: Brave New World’), the MCU has found itself in a creative holding pattern, awaiting its next Avengers-sized reset. ‘Thunderbolts,’ unexpectedly offers a jolt of personality and purpose. It’s the studio’s most compelling film outing ‘Avengers: Endgame’ — the epic conclusion to a 10-year story.

Originally introduced in comics as villains posing as heroes in the Avengers’ absence, the cinematic version reimagines them as a ragtag crew of outcasts and second-chancers. One could argue them being some kind of ‘Suicide Squad.’

Returning characters include David Harbour’s Red Guardian, still amusingly out of place in peacetime; Wyatt Russell’s John Walker, the disgraced super-soldier from ‘The Falcon and the Winter Soldier,’ and highly underrated Hannah John-Kamen’s Ghost, who played the underutilized antagonist from ‘Ant-Man and the Wasp.’ Most familiar is Sebastian Stan’s Bucky Barnes, whose long-running arc as the Winter Soldier makes him an emotional compass for the team’s shared journey toward redemption.

‘Thunderbolts’ succeeds in recapturing the magic of the pre-‘Endgame’ era, even when walking on more “grounded” territory. Florence Pugh herself noted in an Empire interview that the film borrows stylistically from A24 dramas — a fair observation considering the film’s darker tonal palette and surreal flourishes. After all, the director at the helm is none other that Jake Schreier… the director of hit Netflix series ‘Beef.’

Visually, there are some striking moments in this film that immediately grab you, which correlates with the emotion and action being presented. It’s very tone-heavy, with the director letting the choreography and mood do the storytelling — which is needed more now than ever in Hollywood.

Pugh is certainly the highlight here, delivering emotional moments with nuance, showcasing Yelena’s emotional fracture that’s never fully resolved. The film manages to resonate, largely thanks Pugh’s performance — bringing authenticity to a movie that frequently struggles to find its emotional footing. She moves effortlessly between humor and heartbreak, grounding the chaos in something human.

The plot kicks into gear with covert missions for Julia Louis-Dreyfus’s morally ambiguous CIA director, Valentina Allegra de Fontaine. When Yelena’s team becomes its own target, alliances are tested, leading to a reluctant team-up that feels organic despite its brisk pacing. One new addition, Lewis Pullman’s Bob, a genetically engineered weapon of mass destruction, introduces a darker sci-fi thread.

The film’s climax, while not always on-target with the end goal, has mcuh more purpose and entertainment than the usual Marvel third act set-piece. The ending is a tad messy but puts its characters on the forefront — their trauma on display with the purpose of healing. Though these ideas may not be fully earned, it’s hard not to appreciate the ambitiousness Schreier takes within this genre.

‘Thunderbolts’ doesn’t completely escape the MCU’s pitfalls. Its engagement with mental health, while thematically central, often feels too literal or shallow… meaning issues are spoken aloud rather than explored — sometimes becoming a plot convenience.

At the end of it, ‘Thunderbolts’ might be one some my predict: volatile and sporadic. It’s a superhero film that embraces its own persona, and in doing so, offers a glimpse of the kind of creative risk-taking the Marvel Cinematic Universe desperately needs.

‘Thunderbolts*’ releases May 2, 2025 (USA).

Our score: ★★★½
(out of 5 stars)

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