Review of Marvel’s ‘Thunderbolts’: A Promising Small-Scale Superhero Tale with Big Potential for the MCU’s Future

In Marvel’s newest addition to the MCU, ‘Thunderbolts’, right before the climactic final battle, David Harbour’s Red Guardian has a heartwarming moment with his daughter Yelena Belova (played by Florence Pugh). He recalls a time when Yelena, as a young girl playing soccer, expressed her desire to be the goalkeeper so she could be the one to rely on when mistakes were made. Interestingly, this mirrors the current situation of Yelena, Red Guardian, Bucky Barnes (Sebastian Stan), John Walker (Wyatt Russell), Ghost (Hannah John-Kamen), and the rest of the ‘Thunderbolts’ crew, who find themselves in a vulnerable position after facing setbacks and errors in the once invincible Marvel Cinematic Universe.

Following the success of the ‘Avengers: Infinity Saga’, the MCU has been struggling to regain its former dominance in popular culture. Various challenges like the untimely passing of ‘Black Panther’ star Chadwick Boseman, allegations against Jonathan Majors, who plays a potential supervillain, and a series of poorly received Disney+ projects have made it tough for Marvel to pave the way for their next major crossover event. While ‘Deadpool vs. Wolverine’ was a box office hit last summer, it heavily relied on nostalgia for past Marvel films under 20th Century Fox. With the lukewarm reception of ‘Captain America: Brave New World’ in February, the relatively low-key ‘Thunderbolts’ story about a group of anti-heroes teaming up bears the responsibility of reigniting excitement for the MCU’s future, with mixed results.

‘Thunderbolts’ may not live up to the high expectations set by a playful Marvel trailer, which hinted at an indie film vibe with its connection to numerous A24 talents. Nevertheless, it marks a positive step forward for the Marvel brand. The film’s concise plot, engaging ensemble cast, and genuine humor contribute to an enjoyable cinematic experience. Director Jake Schreier and cinematographer Andrew Droz Palermo bring a thoughtful approach to each scene, paying attention to details like color palette and composition, a rarity in many current MCU productions. Above all, ‘Thunderbolts’ grasps the essence of what made early Avengers movies and Marvel Comics so captivating: an emphasis on characters’ humanity rather than just superpowers and hidden references.

Thunderbolts* has what might be one of the most simple and straight-forward storylines in the MCU in years. There’s no time travel or Infinity Stones. You don’t need to understand the Quantum Realm or have beefed up on every fan theory video about Mephisto. It probably helps to have watched Black Widow (2021), Ant-Man and the Wasp (2018) or Disney+’s The Falcon and The Winter Soldier, but you can pull enough from context clues and commentary to get that all of the main characters of this film are b-list heroes with dark pasts. Even if they can’t fix their trauma, they can at least kill and steal for cash.

A deeply depressed Yelena agrees to do one last black ops job for shady spymaster Valentina Allegra De Fontaine (Julia Louis-Dreyfus) in exchange for a gig that’s more “public-facing.” To Yelena’s surprise, she’s been led into a tense standoff with fellow MCU assassins John Walker, Ghost, Taskmaster (Olga Kurylenko), and… a guy named Bob (Lewis Pullman)? The misfits of the MCU soon piece together they’ve been conned by Val and will only survive if they manage to work together.

Elsewhere, Bucky Barnes has retired his Winter Soldier mantle and is trying to work as an upstanding member of Congress, representing his native Brooklyn. Bucky’s moral and political agenda puts him at odds with Val, leading him to snoop around her current schemes. Naturally, you see how this puts him on a collision course with Yelena, her dad, and reluctant new “friends.”

While other MCU films position the big bad as an invading force from another world, Thunderbolts* is about fighting the darkness within. There are pros and cons to this approach. It grounds the storytelling in the emotional, which is good, but the final battle becomes literally insular in a way that limits the film’s overall scope. Nevertheless, I’d take an over-the-top metaphor for heroes battling mental illness over the same ugly CGI muscle monster any day of the week.

Thunderbolts* is ultimately a win for the MCU because it remembers that the characters come first before the lore. Florence Pugh’s magnetic presence is the energy that pulls this ragtag team together and yanks you in. Sebastian Stan’s Bucky finally takes his place as a real leader among the MCU’s massive cast of characters and Wyatt Russell brings depth and pathos to his dirtbag copycat Cap. David Harbour is in pure hilarious, bananas, embarrassing dad mode and Geradline Viswanathan is back on her scene-stealing bullshit.

However, the place where Thunderbolts* excites me the most is the hint, the tease, the taunt that the MCU might be open to flirting with romance in this next stage. There’s a surprising jolt of chemistry that sparks whenever Yelena and Bob are sharing quiet moments or frantic battle scenes. It’s probably a no-brainer that two of Hollywood’s hottest rising stars, Florence Pugh and Lewis Pullman, can connect with a hand hold or quiet word, but it’s still thrilling to watch. Marvel’s always had a weird, prudish approach to romance, but between the zing I get watching “#Boblena” and the knowledge that this summer’s Fantastic Four: First Steps will have a pregnant Sue Storm? Maybe…just maybe…we’ll get some hint of steam on screen?

Thunderbolts* is far from a cinematic masterpiece, but it’s a much-needed course corrective for the Marvel Cinematic Universe. With Kevin Feige and company betting big on next year’s star-studded Avengers: Doomsday, it’s only fitting that Stage Five ends with an outing that remembers that characters are what makes Marvel marvelous.

The Thunderbolts* struck its target. Can July’s Fantastic Four: First Steps stick the landing?

Thunderbolts* opens only in theaters this Friday, May 2.