Marvel's messy, funny, thoughtful return
MARVEL fans have been waiting with mixed feelings for Thunderbolts*, the 36th entry in the sprawling Marvel Cinematic Universe (MCU), which closes out Phase Five.
After years of superhero fatigue, scepticism over yet another team-up movie and lingering doubts from some underwhelming recent entries, many were not sure what to expect. But here is the surprise: Thunderbolts* turns out to be a solid, entertaining and surprisingly thoughtful film, not perfect, but a step in the right direction for a studio that has been under heavy scrutiny.
This latest Marvel outing brings together a group of antiheroes: Yelena Belova (Florence Pugh), Bucky Barnes (Sebastian Stan), Red Guardian (David Harbour), Ghost (Hannah John-Kamen), Taskmaster (Olga Kurylenko) and John Walker (Wyatt Russell), all wrangled under the watchful, manipulative eye of Valentina Allegra de Fontaine (Julia Louis-Dreyfus).
What follows is a chaotic, action-packed mission forcing these characters, all broken, disillusioned, or jaded, to face their past demons. But the real magic of Thunderbolts* is not just in the fights or explosions (though there are plenty) but in how it tackles the messy, often uncomfortable emotional baggage these characters carry.
Darker MCU, but with heart
At its core, Thunderbolts* is about trauma. Yes, there are big battles, espionage and lots of snarky banter, but beneath all the Marvel spectacle, the movie quietly explores mental health in a way few superhero films dare to. Characters are scarred, some physically, some emotionally and the script (penned by Eric Pearson and Joanna Calo) is not afraid to sit in those dark moments.
The film does not turn its back on the characters' morally grey histories, instead, it leans into them. Bucky's lifelong struggle with guilt, Yelena's complicated grief over losing her sister Natasha, Red Guardian's insecure bluster masking deep self-doubt, all these threads are woven through the film with more sincerity than one might expect. And while some of the dialogue can feel a bit on the nose, the earnest attempt to show characters grappling with self-worth, purpose and identity lands more often than it misses.
Comedy, chaos and chemistry
One of the biggest surprises here is how funny Thunderbolts* is, not in a forced, quippy way, but through the messy, awkward dynamics of a team that probably should not work together but somehow does. The film thrives on its character interactions: Bucky's gruff exasperation, Yelena's dry humour, Red Guardian's over-the-top antics, Ghost's intense awkwardness, all combining into a stew of dysfunction that somehow gels.
Director Jake Schreier keeps the pace brisk, but he allows just enough breathing room for the cast's chemistry to shine. Pugh and Harbour are standouts, delivering sharp comedic timing without undercutting their emotional arcs. Louis-Dreyfus, meanwhile, has a blast as the slippery, power-hungry Valentina, adding a layer of political manipulation that keeps things interesting without bogging down the action.
Writing choices that might surprise
While Thunderbolts* mostly follows familiar superhero beats, some moments genuinely surprise, sometimes in good ways, sometimes in ways that might leave audiences scratching their heads. Certain character arcs unfold in unexpected directions and the movie takes a few bold (if occasionally uneven) swings with its storytelling.
Some viewers may find the tonal shifts jarring, but the film balances heavy emotional beats with absurd humour and flashy action and not every transition is smooth. But part of what makes Thunderbolts* work is that it feels like it is trying. It is not just another cookie-cutter Marvel outing, it is a movie that is willing to stumble a bit in its effort to offer something deeper.
Give it a chance, be rewarded
Thunderbolts* is not flawless, it is messy, occasionally overstuffed and some characters feel a little underdeveloped. But it is also a movie that rewards viewers willing to go in with an open mind. It is not trying to be the next Avengers or Guardians of the Galaxy, it is content to tell a smaller, more intimate story about broken people trying (and often failing) to come together.
Audiences who show up expecting nonstop spectacle might be surprised by how much of the movie focuses on personal stakes rather than universe-ending threats. And those who have been burned by recent Marvel misfires might be shocked to find themselves emotionally invested here. Yes, there are plenty of cool action sequences, but the heart of Thunderbolts* is its exploration of redemption, forgiveness and the messy path toward healing.
Decent comeback for Marvel
In the bigger picture, Thunderbolts* feels like a course correction for the MCU, a movie that remembers why fans fell in love with these stories in the first place. It does not try to pretend to have all the answers for Marvel's future. Instead, it focuses on its characters, their relationships and the small, meaningful victories that come from facing one's past.
With a strong ensemble cast, surprisingly thoughtful writing and just enough humour to balance the darkness, Thunderbolts* is a reminder that Marvel still has gas in the tank and that sometimes, all a film needs to do is ask audiences to give it a chance.
Thunderbolts* would not blow everyone away, but it is a decent, entertaining and sometimes even touching addition to the MCU lineup. It is the kind of film where going in with measured expectations pays off: give it a shot and you might walk out pleasantly surprised. Thunderbolts* dares to believe in the possibility of broken people finding something worth fighting for – and that alone makes it worth watching.
CAST: Florence Pugh, Sebastian Stan, Julia Louis-Dreyfus, Lewis Pullman, Wyatt Russell
E-VALUE: 7/10
PLOT: 7/10
ACTING: 8/10
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