As someone who’s deeply immersed in the Marvel universe, I can’t help but feel a pang of irony when I learn that the nickname bestowed upon my fellow Thunderbolts member by some rough-and-tumble superhero is none other than the one from our old Pee Wee Soccer team – the group that, let’s face it, never managed to secure a win. This seems fitting for a crew that’s constantly underrated and dismissed as a bunch of misfits by our nemesis, who sees us as nothing more than a group of social outcasts he wants out of the picture.
However, the asterisk (*) attached to Thunderbolts’ title hints at a future where our past and that label won’t hold us back. Instead, it’s a symbol of change, growth, and the potential for greatness that lies within this unlikely team. It’s an exciting chapter in Marvel’s expansive universe, one that’s sure to surprise even the most jaded comic book fans.
Although some characters and their portrayers have been seen in earlier installments, this fresh combination of actors brings a unique charm and, surprisingly, emotion. This is largely because of the talented ensemble cast, as well as the innovative vision of the new creative team who breathe life into the genre with their distinctive approach.
Leading the pack is director Jake Schreier, famed for the Netflix sensation “Beef,” alongside screenwriting pair Eric Pearson, who collaborated on “Thor: Ragnarok” and “Black Widow,” as well as Joanna Calo, another alum of “Beef.” Notably, her resume includes several episodes of “The Bear” and “BoJack Horseman.
In the film titled “Thunderbolts“, it doesn’t bring anything revolutionary to the superhero genre and its rhythm isn’t always steady. However, considering the impact of Marvel exhaustion on several underperforming blockbusters, it’s refreshing to see a comic-book adaptation where the frequent smart-aleck remarks are significantly reduced and the characters exhibit depth beyond their abilities, even showing vulnerability and emotional vulnerability. This doesn’t mean there’s any less physical action or impending destruction, but there’s a certain simplicity here that makes the danger seem more authentic.
Yelena stands as the heart of the team, while Pugh shines brightest as the standout player in a portrayal that delves deeper into the characteristics that made her character so intriguing in the movie “Black Widow” – the casual nonchalance, yet more remarkably, the layers of hurt she conceals beneath her trained assassin’s skills. If the 2021 film revolved around mending torn family bonds and the complex yet powerful bond of sisterhood, the new film “*Thunderbolts*” finds Yelena grappling with the void left by her adoptive sister’s demise.
She’s pondering if the emptiness she experiences is merely boredom or something more significant while carrying out a clean-up task at a Malaysian lab, erasing any physical and personal traces that could be traced back to CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus) through the scientific research company OXE. Yelena feels lost, leading her to ask Valentina for a transfer to a more public role.
The dubious CIA director, clearly hiding something, consents under a specific condition that Yelena must dismantle one final OXE facility, nestled within a mountain range. Due to her part in testing powerful serums on human test subjects, Valentina finds herself under scrutiny during an impeachment hearing led by Congressman Gary (Wendell Pierce). To mitigate the damaging evidence against her, her resourceful assistant Mel (Geraldine Viswanathan) is working tirelessly to conceal it.
Freshman Representative Bucky Barnes (played by Sebastian Stan), who finds it challenging to leave his Winter Soldier past, is discreetly making efforts to uncover Valentina’s wrongdoings. He sees Mel as a possible ally in this mission.
Yelena finds herself locked in combat with John Walker, whom she nicknames “the budget Captain America”, Ava Starr, alias Ghost, and a quick glimpse of Taskmaster within an underground vault at the last OXE site. This event is characteristic of the team-up aspect that’s typically found in the Marvel Cinematic Universe formula.
Understanding that Valentina had unwittingly placed them in a dangerous situation, potentially causing further harm, the team joins forces, deciding to extricate themselves from it. They take with them a disoriented lab subject named Bob (Lewis Pullman) as they make their escape.
In this rephrased version:
The character who serves as a father figure, often causing an eyeroll from Yelena (played by David Harbour as Alexei Shostakov), arrives in a “Red Guardian” vehicle that functions as his limo service. The slogan on the door reads “Protecting You From Boring Evenings.” However, when a convoy of tanks pursues them across the desert (with Utah providing a scenic backdrop), it’s Bucky who swoops in on a motorcycle to potentially rescue them. Yet, it appears their rescue might not be complete…
Fans who are well-versed in Marvel Comics lore might anticipate the unveiling of Bob’s backstory and the reason for his estrangement from the group. However, for those less familiar with the comics, the character’s journey and his connection with Yelena will offer a captivating aspect of the narrative. Pullman delivers a heartwarming portrayal of Bob as a kind-hearted, damaged man grappling with his turbulent past. The movie uses Bob as a complex character to delve into themes of mental instability and the battle between good and evil.
The initial scenes of the screenplay present “linked memory chambers,” where characters become trapped in past pains such as Yelena’s persistent trauma due to her upbringing as a child assassin and John’s emotional turmoil from his estrangement from his wife and child. Although it might seem somewhat overtly psychological, these emotional struggles add complexity to the characters, making their development in the movie more rewarding and engaging.
The catastrophic events in New York serve as a wake-up call for the Thunderbolts, helping them overcome their disenchantment and rekindle their love for being heroes. Red Guardian, the Russian super soldier portrayed by Harbour, expresses this sentiment beautifully: “There is no greater purpose.” Embracing the quirky elements of his character and delivering lines with a delightfully thick accent, Harbour often provides the most humorous moments. At one instance, he playfully remarks to Yelena: “The light within you is barely shining, even by Eastern European standards.
The chaos inflicted upon the city and its resolution seems reminiscent of old-school Superman and Batman films, where physical stunts replaced mass computer-generated destruction as the main source of excitement. Instead of watching actors interacting with nothing but green screens, it’s a breath of fresh air to see characters dodging falling debris or moving cars, saving New Yorkers from harm at the last possible moment.
The distinct shift in aesthetics can be attributed to a creative crew deviating from the typical Marvel Cinematic Universe (MCU) lineup, featuring Andrew Droz Palermo, an acclaimed cinematographer, who has previously provided unique visuals for films like “A Ghost Story” and “The Green Knight”. Unlike the usual polished plastic veneer, this team delivers a gritty and textured film. The details of Grace Yun’s sets mirrors this roughness, and the score by experimental group Son Lux offers a refreshing change from traditional orchestral grandeur, moving us into more subtle realms instead.
Pugh shines as the perfect choice for spearheading a Marvel collaboration, making it feel like her movie above all others, even though every member of the Thunderbolts contributes significantly to the narrative’s themes. The humor between them is clever yet understated, never overstepping its bounds, and their occasional bickering never undermines their cohesion as a team. This playful dynamic persists throughout the closing credits scene, setting up the next chapter in much the same way that the end of Black Widow hinted at this film’s central plot point.
In their respective roles reprised from previous Marvel Cinematic Universe films, Stan, Russell, John-Kamen, and Harbour each discover fresh hues. Louis-Dreyfus, who seems to revel in Selina Meyer’s shameless persona yet again (perhaps it’s the return to Washington), delights in portraying Valentina, a power-hungry, ruthless villain, infusing her with humor without compromise. Viswanathan, a standout in Ethan Coen’s ‘Drive-Away Dolls’, remains a charming character with potential for further growth. Lastly, Pullman shines as the most impressive newcomer.
As a dedicated gamer, I’m eagerly anticipating the new Thunderbolts* release, hoping it might breathe some fresh life into the Marvel Cinematic Universe (MCU) that’s been feeling a bit stale lately. Fingers crossed that it’ll spark a creative revival!
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2025-04-29 19:28