Marvel Studios’ Thunderbolts* doesn’t have much in common with the comic book version of this team, but then it’s not really a Thunderbolts movie. With a mixture of underutilised fan favourites and some of the best new additions to the Multiverse Saga, it establishes a superhero team as effectively as The Avengers in 2012. The MCU now has its New Avengers, and it’s all the better for it.
For the most part, Thunderbolts* is a relatively standalone, self-contained story. With CIA Director Valentina Allegra de Fontaine looking to avoid being impeached, she dispatches Yelena Belova, U.S. Agent, Ghost, and Taskmaster to take each other out, cleaning up the final bit of the mess she created while running O.X.E. Her plan fails, Bucky Barnes, Red Guardian, and Bob enter the fray, and the stage is set for an epic final battle in New York City laden with special effects and pretty much everything else we’ve come to expect from an MCU movie.
However, it never actually comes.
Make no mistake about it; there’s plenty of action to be found in Thunderbolts*, with filmmaker Jake Schreier creating some of the most kinetic, memorable fight scenes of any superhero blockbuster. Still, rather than give us the expected finale, the movie takes a deep dive into depression, loneliness, and the way past trauma shapes superheroes for an unexpected, emotional conclusion that is both high-stakes and undeniably refreshing. The movie is extremely exciting and there’s plenty of set pieces for comic book fans to salivate over, but this movie has something to say and its characters benefit hugely. The Sentry/The Void could have easily been another villain dispatched with a clever plan and lots of flashy special effects, forgotten by the time the credits roll. Instead, Bob is a character we come to care for deeply, as is the bond that forms between him and all of these disparate anti-heroes.
Lewis Pullman and Florence Pugh are superb, exploring their respective characters in a meaningful and touching way that few superhero movies ever do. Showcasing his comic timing in some scenes and terrifyingly unhinged/Homelander-esque in others, Pullman is a scene-stealing delight who puts himself on the map here in a big way. As for Pugh, we know what an immense talent she is, but this beautiful, soulful performance cements her as a new face of the MCU. She needs to be front and centre in as many projects as possible moving forward because Pugh is up there with Robert Downey Jr. and Tom Holland as someone with the potential to build slates of movies and TV shows around.
Wyatt Russell is clearly having a blast as U.S. Agent, injecting John Walker with a little more quirkiness in the process. Sebastian Stan and David Harbour are also great, though it was a delight to see Hannah John-Kamen and Julia Louis-Dreyfus expand on Ghost and Val in a way that takes them from being fine supporting characters to compelling leads. Geraldine Viswanathan and Wendell Pierce are excellent; as for Olga Kurylenko, she needn’t have bothered showing up.
Thunderbolts* isn’t lacking much. The gags land, the visual effects are excellent, and The Sentry’s costume was worth the wait. We’d have liked to see a slightly more monstrous take on The Void in line with the comics, but the version we get works for the story being told, and it feels like there’s likely more to come with the villain. Really, it’s just a shame that Thunderbolts* is lacking any needle drops. Scherier’s movie is incredibly stylish, and a few scenes might have benefited from a catchy pop song. The filmmaker likely wanted to keep the focus on Son Lux’s score, and fortunately, that's strong enough to justify the lack of memorable tunes heard in the trailers.
Schreier also finds ways to brilliantly subvert the genre. Upon realising that none of them can fly, the team finds a hilariously inventive way to escape an elevator shaft, but it's not a scene played solely for laughs. It also highlights where the characters are in that moment and how reluctant they are to work together.
Much has been said about Marvel Studios wanting to offer something different with Thunderbolts*. This is less unlike any MCU movie before it and more just a return to what works so well about the franchise’s best efforts. It 100% feels like what you want from a blockbuster set in this world, and yet, similar to how Captain America: The First Avenger was completely different from Iron Man, it's entirely its own thing. By exploring its characters in a way that this genre rarely does, the movie brings something new to the table, and crucially, it's relatable. That's always been what makes Marvel's characters special, and here, it plays a huge part in ensuring Thunderbolts* is a satisfying, special, and meaningful experience.
The exploration of mental health isn't preachy or tacked on. It's an essential part of the story and makes this feel like a true return to form for a franchise that, having released a greater number of movies and TV shows than ever before since Avengers: Endgame in 2019, has just proved it still has plenty to say. As a result, these go from being characters you might like to superheroes you’ll love; that’s a huge achievement, and cements this as one of the best MCU movies ever.