“Marvel is so back.” “Marvel is over.” “Marvel is back!” “Marvel is toast.” It’s a never-ending roller coaster of people who are tired of superheroes, eager for the MCU to fail, and fans who still believe in this brand. To the surprise of all, “Thunderbolts*” was a solid flick.
The film follows a group of “rejects” and side characters from past Marvel properties who are thrown together in an awful situation and have to team up to save a teammate (and part of New York).
When “Captain America: Brave New World” was released in February, it received mixed reviews. It was fun, but certainly not great. Thankfully, “Thunderbolts*” managed to provide a great story with shockingly tender moments and absolutely no cameos or nostalgia bait.
This is primarily Yelena’s movie, and Florence Pugh certainly has the energy and heart necessary to anchor a movie of grouchy killers suffering from mental and physical illnesses. Pugh can do it all. Action scenes, moments of desperation and hopelessness, and amidst all of the darkness, provide a bright light to lead her team forward.
Sebastian Stan returns as Bucky. Wyatt Russell makes a tad more bearable return as Great Value Captain America. Lewis Pullman, David Harbour, Hannah John-Kamen, and more all round out Marvel’s answer to “The Suicide Squad.” (Sort of).
The Thunderbolts team manages to provide enough grumpy teamwork to stay entertaining throughout the film’s runtime. And throughout the movie, audiences are treated to some fun action sequences, grounded themes of mental health, and just enough Julia Louis-Dreyfus to come out with a pretty good story.
Marvel’s had some duds over the last few years. That’s no secret. But the few films that managed to be something special and relight the famed MCU fire did so by thinking small. Movies like “Ant-Man and the Wasp: Quantumania” and “Thor: Love and Thunder” tried to make things too big. What audiences wanted post-“Endgame” were smaller-scale adventures. They wanted simpler stories.
That’s where “Thunderbolts*” delivered. At its core, this is a story about a group of people who feel lonely and depressed, seeking a cure to their collective isolatory ailments. Nowhere does the film show this more than with Yelena and newcomer Bob (Pullman). These two are so good together when they’re just trying to stop the pain. It’s human. It’s mortality front and center. It’s the collective consequences of a highly individualistic society.
A large number of Americans are struggling with a loneliness epidemic right now. They’re more connected, yet more isolated than ever before. And this movie speaks to that. It’s people who just want to know they’re not alone and that SOMEONE cares about them.
The writer of this particular review found herself tearing up not once, not twice, but three times during this movie. And thank god Marvel finally let its emotional moments breathe without interrupting them with constant jokes.
There are some truly heartfelt connections in this movie. Not just between Bob and Yelena, but Yelena and her father, the Red Guardian, as well.
And THAT is what makes “Thunderbolts*” such a refreshing win for Marvel. Relatable problems (depression and loneliness). Small-scale threats (Manhattan being swallowed in literal darkness). Great team chemistry led by the amazingly talented Pugh.
It was the same story in “Guardians of the Galaxy Vol. 3.” That film succeeded where other Marvel films were failing by narrowing the focus to Star-Lord’s team trying to save Rocket’s life. In that same vein, “Thunderbolts*” is just about a group of lonely rejects trying to find a little redemption and maybe even some community.
No massive alien invasioons. No multiverse shenanigans. No other realms to explore. Just some hurting people looking for a little relief. The lesson here is simple: Hug friends and remind them they’re not alone.
