"Marvel is so back!" Not the first time we've heard this (and it probably won't be the last), but on the strength of the studio's latest movie, it might just be true this time.
Even if you've enjoyed Marvel Studios' post-Avengers: Endgame efforts, it's difficult to argue with the perception that the once untouchable MCU has not been firing on all cylinders since Tony Stark's noble sacrifice put an end to Thanos' machinations in the block-busting Infinity Saga finale.
There have been some bright spots (whatever you may happen to think of the movie, Deadpool and Wolverine certainly gave the franchise a much-needed box office jolt), but by and large, the notion that the studio has been treading water with lacklustre efforts such as The Marvels, Ant-Man and the Wasp: Quantumania and the most recent Captain America: Brave New World is hard to dismiss.
With Thunderbolts*, Kevin Feige and co. have managed to recapture some of the old magic by pulling back on spectacle and CGI superhero battles (though the movie does feature its share of impressive action sequences) in favor of a more introspective approach to its characters and a surprising premise: Superheroes vs. depression.
Before you recoil in horror at the prospect of the Marvel machine ploughing in on sensitive topics such as mental health, crippling self-doubt and suicidal thoughts (yes, things get pretty bleak), director Jake Schreier and his writers Eric Pearson and Joanna Calo do a fine job of tackling these subjects with care and a modicum of subtlety (believe it or not) while also delivering on the usual MCU tropes.
Our team of disillusioned antiheroes assemble when CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus) finds herself under impeachment for illegal experiments on humans in an attempt to create a super... person who could be installed to replace The Avengers as Earth's Mightiest Hero. Val sends any assets who know a little too much - Former Red Room assassin Yelena Belova (Florence Pugh), disgraced Captain America wannabe John Walker/U.S. Agent (Wyatt Russell), teleporting former S.H.I.E.L.D. agent Ghost (Hannah John-Kamen), and Black Widow baddie Taskmaster (Olga Kurylenko) - to a secret underground bunker in the hopes that they'll kill each other (even if they don't, they're basically walking into a giant incinerator).
Unfortunately for Val, the group's resourcefulness and a wildcard in the form of Lewis Pullman's shifty amnesiac Bob - a human test subject she wasn't aware had survived her clean-up op - lead to their escape. Along with Yelena's adoptive father Alexei Shostakov/Red Guardian (David Harbour) and Congressmen Bucky Barnes (Sebastian Stan), the "Thunderbolts" (they sarcastically take the name of Belova's useless childhood soccer team) join forces to put a stop to Val's nefarious plans, which involve a now fully powered-up and highly unstable Bob/Sentry.
A crew of disparate characters forming a bond and realizing their potential in the face of overwhelming odds isn't exactly an original concept, but Thunderbolts* feels fresh in its approach and execution. Though there are flesh and blood villains to be taken down, the movie's big bad - a literal Void - represents the darkness, fear of failure and uncertainty our protagonists must overcome to move forward. The script isn't afraid to take this group therapy session to some dark places, and the film's most emotionally impactful moments come via a number of third act interactions between these broken individuals as they try to figure out a way to defeat more than one seemingly invincible enemy.
But this is still a superhero movie at the end of the day, and there are a several exciting action sequences (isn't it funny how the action is more effective when we care about the characters involved?), including the initial meet-fight, Bucky's Terminator 2-inspired motorcycle chase, and - mild spoilers ahead - the team doing their best to bring down Sentry in Val's Watchtower.
The ever-present MCU humor is also on full display, but - crucially - the vast majority of the gags land, and don't become the movie's default setting. When things take a more sombre turn, those moments are given space to breathe without the interjection of a witty one-liner.
From a performance standpoint, the movie belongs to Pugh, who makes a strong case for Yelena to take just as much of the spotlight as Captain America or any other heavy hitter in the upcoming Avengers films. There's a reason the versatile Dune: Part Two star has emerged as one of Hollywood's most sought-after talents, and making her the main focus here was a wise move. The rest of the cast are also on top form (John-Kamen deserves her flowers), but it's actually Pullman who ends up giving Pugh a run for her money as the standout in a very difficult role.
Thunderbolts* doesn't necessarily break the Marvel mould, but nor does it try to. It's a simple story told well, with compelling characters and a strong, surprisingly thoughtful emotional core. The best Marvel movie since Avengers: Endgame? That's certainly debatable, but give it a chance and Thunderbolts* might just become your new favorite.