Thunderbolts* is easily one of the best films Marvel has released since the Infinity Saga concluded in 2019. The film shines above most Marvel films released since the Avengers defeated Thanos as it follows a simple formula that all the beloved Marvel films have — embrace being different.
Thunderbolts*, like Guardians of the Galaxy, Captain America: The Winter Soldier, and Black Panther, does not shy away from its comic book roots, nor does it eschew from terrific action or the opportunity to land a well-placed joke. However, instead of just being a big, loud film fueled with guns, jokes and a CGI big bad; it’s also an honest and fantastical exploration of themes like isolation, depression, self-hatred, and the need for connection.
Director Jake Schreier (BEEF) and writers Joanna Calo (The Bear) and Eric Pearson (Thor: Ragnarok), instead, give you an intense, character-driven film that subverts the classic Dirty Dozen “band of misfits team together to save the day” archetype. They take the time to examine what exactly makes these characters — Yelena Belova (Florence Pugh), Ghost (Hannah John-Kamen), US Agent/John Walker (Wyatt Russell), Bob (Lewis Pullman), Red Guardian (David Harbour) and even Congressman Bucky Barnes (Sebastian Stan) — actually misfits. They take an unflinching approach in discussing that the very talents, superpowers, and enhancements of these characters is the source of their trauma and what isolates them from having connection with the world.
Florence Pugh is the perfect person to lead Thunderbolts*. The Oscar-nominated actress unloads a full arsenal of emotions that is just so wildly believable and relatable. She’s at times heartfelt and hilarious while at crucial moments her despair and sense of loss jump off the screen. Pugh effortlessly embodies these emotions that any person can relate to, especially in the current day. During her quiet, sorrowful moments Yelena is the avatar for so many.
Similarly, Lewis Pullman is able to deliver a wildly complex performance. At times Bob is a source of goofy humor, at others he’s a satirical figure, while at others he is a man at odds within himself. He’s the perfect counterbalance to Yelena and the scenes between Pugh and Pullman are just electric.
While the film is not shy about exploring these very prescient emotions and attitudes, it is not without a large helping of comedy. Humor and Marvel have not always been the best of friends. “Marvel Humor” is something many find wildly irritating as it’s often deployed during moments of high tension, and when done wrong it undercuts really terrific scenes in such a tragic way. Thunderbolts* always seems to find the perfect moment for comedy — which runs a wide gamut throughout. Since this is the director of Beef, there is plenty of acerbic and sarcastic humor peppered throughout and it lands thanks to the natural comic chops of Pugh, John-Kamen, Stan and Wyatt Russell (who’s giving major toxic John Wayne vibes).
The one performance that could be seen as a problem for some is David Harbour. If you’re not into his brand of gregarious, big dad energy then your eyes will likely roll on more than one occasion. However, if this is your brand of vodka you are in for an absolute treat.
However, the true comedic star of the film is Julia Louis-Dreyfus. The comedic legend is essentially being directed to be a less swear-filled version of her Veep character, Selena Meyer. Her Valentina Allegra de Fontaine is always on and is able to deliver great bile-spewing dialogue without ever breaking her saccharine smile. Allowing Val to be the quasi villain of the film is a wonderful call that pays off huge in multiple high points of the film — particularly the villain reveal.
MCU villains have often been an issue. More times than not, they are often underwhelming super-powered beings with generic motivations that are more of a nuisance to our heroes than an actual threat. The villain in Thunderbolts* is actually portrayed as an actual threat and their use of power generated an audible gasp from this reviewer’s packed theater. This villain is treated as a monster, and given that our heroes can only, as Yelena says, “punch and shoot” — leads to an unbelievable end sequence audiences will not see coming.
Thunderbolts*, also benefits from not having the burden of building the MCU, saddled upon it. This is not a film that you watch because it’s homework. You will not be sitting around waiting for that big connective reveal, or the patented Marvel end credit scene. Thunderbolts* lives and breathes within the MCU, and does excellent work connecting different parts of the universe together in the background. (Don’t worry, the end credit scene is worth it.)
The risks taken in Thunderbolts* easily propels it into a Top 10 MCU film of all-time. The cast is able to take the rich source material and run away with it. It’s able to explore real human issues like mental health and loneliness in a meaningful way, while never losing sight of being a wildly entertaining superhero film.
