‘Thunderbolts*’ receives 8 out of 10 stars.
Opening in theaters May 2nd is ‘Thunderbolts*,’ directed by Jake Schreier and starring Florence Pugh, Sebastian Stan, David Harbour, Wyatt Russell, Hannah John-Kamen, Olga Kurylenko, Lewis Pullman, and Julia Louis-Dreyfus.
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Initial Thoughts
This writer doesn’t look to Marvel Studios for deep, penetrating, sober films about the existential crisis of the human race or the inner workings of the heart. At their best, Marvel movies have occasionally delivered something along those lines, but for the most part, they’ve offered the cinematic equivalent of the comic books themselves – fun, breezy to read, occasionally awesome, and genuinely surprising at times.
If that means we’re a little more forgiving of Marvel movies, so be it. But there’s no question that the franchise has had it rough the last few years, with a sense of aimlessness permeating even the best of the recent films and a miasma of apathy seeping out of the worst (hi, ‘Thor: Love and Thunder’). So it gives us great pleasure to report that ‘Thunderbolts*,’ directed by Jake Schreier (‘Paper Towns’), is a focused, fun, character-driven adventure that recaptures a lot of the spirit of the MCU at its best pre-‘Avengers: Endgame.’
The cast is superb, with several standouts, and largely expands on characters who have been mostly second-stringers up to this point. The action is crisp, not as heavy on the CG as in the past, and germane to the story, which is given a lot of heart, humor, and humanity in the script by Eric Pearson and Joanna Calo. And while no one would accuse the MCU of going too deep into more weighty topics, it does handle the subjects of mental illness and depression with sensitivity. ‘Thunderbolts*’ is a more human superhero story than we’ve seen in recent times from this franchise, and it’s all the better for it.
Story and Direction
If ‘Thunderbolts*’ does have any major flaw, it’s that the story follows a pretty straightforward course that you can determine not just from the trailers, but from the fact that it’s been done more or less along the same lines with other MCU properties – specifically, ‘Guardians of the Galaxy.’ But the action is firmly earthbound here, as Yelena Belova (Florence Pugh), sister of the late Natasha Romanoff (Scarlett Johansson), is sent on a clandestine mission by CIA director Valentina Allegra de Fontaine (a haughty Julia Louis-Dreyfus) to track someone who’s intent on robbing secret materials belonging to de Fontaine and her secretive OxGroup organization.
It’s clear early on (and from her previous MCU appearances) that de Fontaine is corrupt up to her eyeballs and dealing in things she doesn’t want the government to know about. That draws the attention of Congressman Bucky Barnes (Sebastian Stan), who’s given up the superhero life for the Washington D.C. cocktail and committee circuit, although he’s already bristling at it. But he knows de Fontaine is up to something and wants to get the goods on her for impeachment or even jail.
Meanwhile, Yelena arrives at the OxGroup facility buried deep under the desert somewhere and quickly finds out that she – along with other de Fontaine operatives John Walker/U.S. Agent (Wyatt Russell), Antonia Dreykov/Taskmaster (Olga Kurylenko), and Ava Starr/Ghost (Hannah John-Kamen) – have been set up: they’ve all been led there so that de Fontaine can incinerate them from afar and tie up her loose ends. But what no one has foreseen is the presence of a dazed, seemingly loopy young man named Bob (Lewis Pullman), who doesn’t remember how he got down there but whose very existence both alarms and excites de Fontaine once she finds out he’s alive.
Although this disparate group of “losers,” as de Fontaine describes them, initially distrust and dislike each other, they must work together to escape the facility and intend to bring down Valentina with the help of Yelena’s loud, colorful adopted father, Alexei Shostakov, aka Red Guardian (David Harbour), and Bucky, who discards his suit and tie for something more battle-ready. But their plan hits a new, potentially catastrophic snag as Valentina reacquires Bob – the only test subject to survive an experimental process to create a superbeing – and reawakens the power placed within him via the Sentry project. Except that Bob is not equipped mentally or emotionally to become a god.
Under Jake Schreier’s smooth, free-flowing, yet economical direction, ‘Thunderbolts*’ succeeds at giving its characters space to breath and its audience a chance to understand what makes many of them tick. Yes, some characters inevitably get short-changed – we’re thinking of Ghost and Taskmaster in particular – but there’s still enough time spent with almost all of them to earn their eventual (and inevitable) formation into a team. A number of the characters get their own individual moments, and thanks to an early ability exhibited by Bob we get to find out what haunts several of them as well.
Every one of these people is damaged in some way, and looking for peace of mind and acceptance. Since they’re castoffs, not heroes, and certainly not the Avengers (who we’re told are not coming back, although it’s never really been explained where everyone who’s still alive has scattered to), they have to find it where they can get it in a world that doesn’t know they exist and in which they don’t even trust each other.
‘Thunderbolts*’ also addresses depression and mental illness, in a comic book way to be sure, but still with enough tact to drive the pain of both home. Yelena, Walker, and Bucky all strive to find meaning in their lives, while Bob struggles to keep his darker impulses in check with disastrous results. This makes ‘Thunderbolts*’ darker than usual in some respects, although the film is still leavened with humor throughout. The third act, however, delves fully into the darkness, both on a physical and psychological level, making for one of the more satisfying MCU climaxes in a while.
While care has been taken to differentiate the action from some of the more generic Marvel set pieces of the past, Schreier’s strength is still with the characters. This is a quieter than usual Marvel movie in some ways, with long scenes of people talking, but that makes the action pop more when it happens. Some of the film’s scenes are well-suited to IMAX projection, making the movie look bigger than other MCU efforts, and it’s all powered by a propulsive yet nuanced score from Son Lux.
Does the film feel familiar in some ways? For sure. That template of a bunch of misfits coming together as a team is well-worn within the MCU. The movie doesn’t veer in the big picture from the Marvel house ‘feel’ and ‘style.’ But it does add enough depth to the characters and their actions to recover the energy that has been missing for a lot of the last five years.
Cast and Performances
Everyone does excellent work here, but Florence Pugh is the clear leader of the pack. Facing an existential crisis of her own and still grieving the death of her sister, Yelena is deeply haunted by the copious red in her own ledger as well as a future than she only sees as bleak. “Your light is dim even by Eastern European standards,” Alexei tells her solemnly, although even he can’t reach her (nor does he try very hard at first). Pugh gives a full, emotional, and complex performance, while also effectively portraying Yelena’s compact, deadly physicality.
Equally heartrending to watch is Lewis Pullman as Bob, who is one of the better supervillains of recent MCU vintage. Like Yelena and the others, Bob is damaged goods, but his wounds may run deeper than anyone’s and ultimately manifest themselves in more dreadful ways. Pullman’s heel turn from slightly off, clumsy, yet enigmatic doofus to frightening harbinger of death and destruction is chilling and believable.
Of the rest of the pack, Sebastian Stan is so comfortable with Bucky now that he’s the grounding presence of the movie, linking it to adventures past. David Harbour’s Red Guardian is hilarious and scenery-chewing throughout – until he isn’t, in a scene with Yelena that’s lovely and emotionally resonant. Wyatt Russell’s John Walker – the “dime store Captain America,” as he’s reminded – was hard to like in ‘The Falcon and the Winter Soldier’ and initially obnoxious here, but grows into a genuine hero despite his own personal pain. And Julia Louis-Dreyfus clearly relishes having her most screen time yet as de Fontaine, who can be charming, deceptive, and manipulative all at the same time and enjoying every minute of it.
Final Thoughts
It goes without saying that you should stick around for the end credits of ‘Thunderbolts*’. The mid-credits scene is amusing if slight; the post-credits scene is not only important, but actually points to a not-too-distant payoff, unlike many other recent bonus scenes in Marvel movies (ask Harry Styles, Brett Goldstein, and Charlize Theron how they feel about theirs).
That fact alone only adds to the impression that Marvel has at least started a major course correction with ‘Thunderbolts*,’ which at one time was arguably considered a kind of also-ran in the MCU release schedule. Yet this under-the-radar movie fixes a lot of the problems that have become more visible in other Marvel entries, while telling an entertaining, exciting, quite dark, and also moving story populated by characters you like to spend time with and wouldn’t mind seeing again.
ySD9fRBhzaiO2TcznWDp2What is the plot of ‘Thunderbolts*’’?
A group of dangerous, unstable antiheroes and castoffs are set up on a doomed mission by a government operative (Julia Louis-Dreyfus), only to find themselves confronting a powerful new menace that threatens Earth.
Who is in the cast of ‘Thunderbolts*’?
- Florence Pugh as Yelena Belova
- Sebastian Stan as Bucky Barnes
- Wyatt Russell as John Walker/U.S. Agent
- David Harbour as Alexei Shostakov/Red Guardian
- Hannah John-Kamen as Ava Starr/Ghost
- Olga Kurylenko as Antonia Dreykov/Taskmaster
- Lewis Pullman as Robert “Bob” Reynolds
- Julia Louis-Dreyfus as Valentina Allegra de Fontaine
List of Movies and TV Shows Featuring ‘Thunderbolts*’ Characters:
- ‘Captain America: The First Avenger‘ (2011)
- ‘Captain America: The Winter Soldier‘ (2014)
- ‘Captain America: Civil War‘ (2016)
- ‘Ant-Man and the Wasp‘ (2018)
- ‘Avengers: Infinity War‘ (2018)
- ‘Avengers: Endgame‘ (2019)
- ‘The Falcon and the Winter Soldier‘ (2021)
- ‘Black Widow‘ (2021)
- ‘Hawkeye‘ (2021)
- ‘Black Panther: Wakanda Forever‘ (2022)
