Thunderbolts*, even with typical MCU flaws, is a charming hangout feature and a stellar Florence Pugh star vehicle

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In a new adventure titled “Thunderbolts,” character Yelena Belova (played by Florence Pugh) expresses her feelings of monotony and emptiness in her life as a hired assassin for Valentina Allegra de Fontaine (portrayed by Julia Louis-Dreyfus). Beyond this, she’s grappling with emotions stemming from the loss of her adopted sister, Natasha Romanoff. It seems she could be speaking about the Marvel Cinematic Universe (MCU) over the past few years as well. This franchise has become quite fond of nostalgic cameos from 2000s superhero films, uninspired gay humor, and attempts to recreate the success of “Captain America: The Winter Soldier.” I completely understand your sentiments, Yelena – it’s a challenging world we live in.

Seeking a touch of refinement in her existence, Belova chooses to embark on one final covert operation for de Fontaine, with the possibility of transitioning to something more noble and public soon afterward. In this mission, Belova crosses paths with other mercenaries that de Fontaine often recruits – notably, John Walker, who replaced Captain America but fell from grace (portrayed by Wyatt Russell), and Ava Starr/Ghost, a powerful assassin (played by Hannah John-Kamen). These individuals have been hired to eliminate each other to conceal any evidence that could incriminate de Fontaine.

With the addition of civilian Bob (Lewis Pullman) to their group, these antiheroes – comprising Belova’s adoptive father Alexei Shostakov/Red Guardian (David Harbour), Bucky Barnes (Sebastian Stan), and others – will find themselves compelled to collaborate. Best of luck with that, given they are all highly individualistic, ruthless fighters, with the exception of kind-hearted Bob.

After watching recent Marvel Cinematic Universe (MCU) films such as Deadpool & Wolverine and Captain America: Brave New World, I found myself frequently reminded of earlier superhero movies. These new productions seemed to nudge me to recall plot details from 2008 Marvel Studios releases or cheer at the return of veteran superhero film actors. One of the greatest compliments I can give to Thunderbolts* is that its appeal stands alone independently. Additionally, its portrayal of mental health struggles resonated with me, as it reminded me of the empathetic advice I’ve received during my own therapy sessions concerning “young Lisa.” The raw and tangible humanity present in Thunderbolts*, rather than teasers for upcoming Disney+ series, sets it apart.

The brilliance of many classic Marvel Comics characters, such as Spider-Man, lies in their portrayal of ordinary people’s struggles magnified by superhero abilities. The MCU movies have maintained this approach effectively, particularly in the Guardians of the Galaxy and Black Panther films. Regrettably, several recent Marvel productions focused on appearances from 20th Century Fox superheroes or setting up sequels that were never made. Fortunately, the film Thunderbolts* brings back this relatable quality. Director Jake Schreier and screenwriters Eric Pearson and Joanna Calo managed to counteract this trend by focusing on more personal goals for the movie Thunderbolts*.

This movie takes its time to build up to a CG-heavy ending, opting instead for extended scenes that showcase the characters in unusual situations like traversing an elevator shaft or riding in an old limousine together. These lengthy dialogue scenes allow the actors’ chemistry to truly shine, with Russell’s witty Walker character particularly standing out. His arrogance is often countered by the no-nonsense attitude of Pugh and John-Kamen, creating a steady stream of humor. Harbour, on the other hand, brings a jovial energy whenever he appears on screen. The comic moments do not overshadow the emotional depth, as seen in Black Widow‘s poignant post-credit scene with a de Fontaine cameo. Instead, these contrasting tones enhance each other, providing both laughter and vulnerability.

Pearson and Calo’s writing gives these characters a sense of realism that makes them more captivating. For instance, de Fontaine seems to satirically resemble some Disney and Marvel executives. Her fixation on using Avengers symbolism to appease the public is noteworthy. She even uses feminist language (“I love supporting women,” she says to Belova before sending her on a suicide mission) but ultimately prioritizes her own interests above all else. Indeed, she would fit seamlessly into the over-compensated executive ranks at Disney, and many other white women who turn a blind eye towards the working class.

Enhancing the storyline of Thunderbolts*, the minute, humorous parallels to contemporary political issues (such as one character’s belief that a “packet” could outmatch de Fontaine, which seems quite relevant today) add depth to the narrative. Similarly, the nuanced portrayal of each team member’s unique personality is reinforced in a subtle yet effective manner. For instance, Walker’s military background is humorously reflected through his tactics, like extracting water from a cactus. These small details effectively bring the diverse Thunderbolts* ensemble to life, as they all shine within more relatable and grounded settings.

In a fresh take on wording: Pugh imbues her comic book character with the same intense urgency she brought to her roles in ‘Midsommar’ and ‘Little Women’. She’s an exceptional lead, relishing in portraying Belova’s complex and messy aspects. The emotional depth she infused into that poignant ‘Little Women’ scene where Amy March casted her foot for Laurie is evident in Belova’s darkest and quirkiest scenes. Meanwhile, Pullman delivers a convincing everyday quality to his portrayal of Bob, adding a charming puppy-like charm that quickly endears him to the audience. The entire cast performs admirably (kudos to Geraldine Viswanathan for securing such a prominent, although underdeveloped, role), but Pugh and Pullman undoubtedly shine as the standout performers.

As a follower, I acknowledge the strengths of Thunderbolts*, but it’s undeniable that certain flaws hold it back. For instance, a subplot involving Mel, Viswanathan’s assistant, seems to lead nowhere and ends up feeling incredibly awkwardly handled. It’s fortunate that Ayo Edebiri didn’t invest too much into this aspect.

Thunderbolts* struggles to delve deeply into mental health and trauma issues considering it’s still tied to promoting Happy Meal toys and Funko Pop figurines. The depth a Disney-backed blockbuster can reach seems to be limited, as this film frequently brushes against that barrier. Essentially, Lynne Ramsay can rest assured that the Thunderbolts* franchise won’t dethrone her as the queen of emotionally challenging cinema.

As a die-hard fan, I must admit that while the latest Marvel Cinematic Universe installment, Thunderbolts*, manages to sidestep some issues from its predecessors, it unfortunately persists in perpetuating the most disheartening visual flaws that have marred this franchise. Instead of the kaleidoscope of colors one would expect from Marvel Comics, the scenes in Thunderbolts*, including those set on the bustling streets of New York City, are often shrouded in muted tones and a dismal light blue filter. Despite this being a more “serious” offering from the MCU, it seems that somberness doesn’t have to mean sacrificing vibrant visuals.

Recently, I was captivated by April, a film set in Georgia, which delicately portrayed the daily battles people face in preserving their reproductive rights amid societal norms that stigmatize abortions. Despite this heavy theme, Director Déa Kulumbegashvili still found room for scenes bathed in warm light, stunning color palettes, and close-ups of radiant cherry blossoms. It seems only fitting that a movie featuring Russian Captain America could also find space to showcase similar splashes of vividness.

Narrow framing detracts from dialogue-centric sections, such as a crucial third-act encounter between Belova and her adoptive father, which showcases exceptional acting and scriptwriting. However, Schreier and cinematographer Andrew Droz Palermo frequently shoot Belova and Shostakov in close-ups that are overly tight. This gives the impression that they’re ensuring *Thunderbolts* remains visually coherent even for viewers watching on a 3rd generation iPod nano. A previous scene at the gas station, where Bucky confronts the main antagonists, also suffers from this excessive cramped framing. A wider camera angle and more deliberate staging would have significantly improved these scenes.

In my viewpoint, it’s truly disheartening to encounter such flaws when the cinematic approach of “Thunderbolts” actually offers some striking highlights. For instance, its third act concludes in an unconventional manner for superhero films, offering grandiose symbolism instead of typical finale tropes. However, releasing two weeks after “Sinners” unfortunately spotlights these visual issues within “Thunderbolts”. After witnessing the “I Lied to You” sequence, I can’t help but question the return to mainstream blockbuster filmmaking. Yet, on its own terms, “Thunderbolts” manages to captivate with a subdued aesthetic and impressive performances. It’s remarkable that a superhero movie can triumph without relying on endless fan-service – as Smash Mouth once sang, that’s quite a unique idea!

THIS REVIEW IS EMBARGOED UNTIL 11 AM CENTRAL TIME ON APRIL 29

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2025-04-29 19:16