After Avengers: Endgame, my interest in the MCU began to fade. It felt like a natural conclusion, a satisfying high note that didn’t need a sequel. I’ve always appreciated a good ending, and I’m not a fan of franchises that are stretched past their prime. As expected, the MCU soon began to spoil like expired milk, plagued by a string of box office disappointments and critical failures. The few projects that did resonate leaned heavily on nostalgia, only to eventually crash once that novelty wore off. With a film festival on the horizon, I figured Thunderbolts* might serve as a decent palate cleanser. Plus, I’m always happy to support Florence Pugh and Sebastian Stan, as they have used their Marvel money to fund more personal, ambitious projects. Going into the film with low expectations, I was pleasantly surprised: it’s actually pretty good. It’s not a top-tier MCU flick, but it definitely feels like a step in the right direction.
We follow Yelena Belova (Florence Pugh) during what she believes is her last mission for CIA Director Valentina Allegra de Fontaine (Julia Louis-Dreyfus). She is feeling unfulfilled with her life as her health is riddled with depression, loneliness, and anxiety, and she hopes this final mission will finally allow her time to find herself as she walks away from her assassin life. However, when several other anti-hero operatives arrive—each with orders to eliminate her and one another, including Ghost (Hannah John-Kamen), John Walker (Wyatt Russell), Taskmaster (Olga Kurylenko), and the mysterious Bob (Lewis Pullman), the chaos forces an unexpected alliance. With help from the Winter Soldier (Sebastian Stan) and the Red Guardian (David Harbour), they band together to stop Valentina before she unleashes a dangerously unstable weapon of mass destruction.
Based on that synopsis and Marvel’s history, you might expect Thunderbolts to follow the usual MCU formula; big CGI battles, world-ending stakes, and forced jokes that undercut the tension. However, by some act of God, Thunderbolts* breaks free from Marvel’s tropes by grounding its story in reality instead of relying on CGI spectacle to entertain its audience. At its heart, Thunderbolts* is a movie about mental health and the dangers of burying our depression and loneliness deep inside of us, instead of confronting it and seeking connection with others. If you don’t process your grief, it’ll consume not just you, but everyone around you, dragging them into a dark void. The commentary is a little on the nose and feels a bit desperate at times, but it’s a much-needed breath of fresh air for the MCU. And when it manages to keep the serious moments intact without ruining them with a bad joke, that welcome feels even warmer.
It’s not just the story that feels grounded, but the world the Thunderbolts* inhabit actually feels real, rather than characters just standing in front of a greenscreen. The film’s use of practical effects, on-location shooting, and large-scale sets gives it a sense of reality and authenticity that’s been sorely missing in recent years. And instead of the usual big CGI battle at the end, our heroes are fighting their way through their own personal hell, navigating a maze of depression, regret, and trauma. They could’ve taken the easy route, but I respect the bold direction they chose.
That being said, Thunderbolts does run into a few issues. Throughout the movie, it often felt like it was holding my hand, making sure I understood every piece of commentary and plot point, which came off as a bit intellectually insulting. Bob’s arc, where one moment he is struggling with his powers and the next he has complete control. And his sudden shift from a quiet guy to a power-hungry monster, felt rushed. Furthermore, his complete trust in Valentina, after being told not to trust her, also felt forced. And when the jokes did land, they fell flat, with the audience rolling their eyes at every awkward attempt at humor.
That said, the ensemble cast is the beating heart of Thunderbolts. With Florence Pugh leading the charge, delivering one of the best performances of her career, herself and the entire cast elevates the material beyond what Marvel gave them. Through their sharp banter, constant squabbling, and moments of teamwork, they make it work. Lewis Pullman adds real nuance and tragedy to his character, Bob, turning what could’ve been a one-note antagonist into something more complex. Julia Louis-Dreyfus absolutely owns every scene, embodying one of the most villainous figures on the planet, a politician. Meanwhile, David Harbour feels a bit underutilized, only really showing up in the second half of the film, where he’s mostly relegated to comic relief, but, of course, Harbour nails it.
Overall, does Thunderbolts mean Marvel is “really back”? Not exactly, only time will tell. And if you think that, maybe it’s time to watch a few more films outside of the big IPs. But Thunderbolts is definitely a step in the right direction. It shifts the focus back to its themes and characters, rather than relying on references, member-berries, and CGI spectacles. It’s the first Marvel movie since Guardians of the Galaxy Vol. 3 where you actually feel a creative team behind it, not just corporate filmmaking. That’s a win for Marvel, and hopefully, they’ll learn the right lessons from Thunderbolts moving forward.
My Rating: B
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