From the Emmy-winning talents behind “Beef” and “The Bear,” respectively, director Jake Schreier and writer Joanna Calo deliver the Marvel Cinematic Universe’s, or MCU’s, best outing in years — “Thunderbolts*.” When Valentina Allegra de Fontaine, played by Julia Louis-Dreyfus, attempts to hide incriminating evidence, a familiar group of antiheroes gets caught in the crossfire — but not before they accidentally unleash one of the most powerful beings in the MCU. Faced with a situation even the Winter Soldier cannot punch his way out of, these misfits come to realize there is something more powerful than super soldier serum — community. Despite “friendship” being a very lackluster sounding superpower, in “Thunderbolts*,” it hits with the power of an enraged Hulk because of how well-realized the film’s core team is.
Since all of the Thunderbolts are characters with whom audiences have spent time across cinematic and small screen stories, they each have a rich backstory that the film uses to inform their interactions. Where John Walker (Wyatt Russell) is ex-military, Yelena Belova (Florence Pugh) and Ava Starr/Ghost (Hannah John-Kamen) are professional killers. Since Walker is used to being a leader, he naturally butts heads with the rogue assassins who take on more solo, covert operations. On a more comedic note, these same characters call Walker “dime store Captain America” — a joke that goes to remind audiences of this character’s rich comic book history.
Likewise, because there are three super soldiers on the team, Alexei Shostakov/Red Guardian (David Harbour) tries to relate to Walker and Bucky Barnes (Sebastian Stan) over their similar history. He talks to Walker about how they were both symbols of pride for their countries. As seen in the trailers, Red Guardian and Barnes share a light hearted moment where they talk about what kind of super soldier serum they received — as if they had a choice in the matter. While these moments are just that — moments — by having these eclectic characters acknowledge, poke fun at and connect over their past experiences, it allows them to feel like real people who have lived real lives as opposed to comic book caricatures who only exist in this particular weekly issue.
In spite of these similar abilities, they still stand as individuals — and nowhere is that more prevalent than in the fight scenes. While there are three super soldiers, they all fight with their own unique style and equipment. From his military background, Walker is tactical, using a shield for defensive strikes. Built larger, Red Guardian is a brawler who throws his body weight around to knock out his opponent. Barnes can deflect massive trucks with his metal arm while also incorporating knives and pistols for close range encounters. The time and effort that went into making just these three similar characters stand out from one another further goes to show the importance and emphasis put into characterization when developing “Thunderbolts*.”
Despite the fact that MCU films have always been comedic, their typical brand of humor comes from big joke setups involving quippy banter and witty dialogue. In ““Thunderbolts*,” however, the humor feels more genuine as they all derive from authentically humorous character interactions. While Red Guardian’s over the top deliveries are the source of comedy in any given scene, the actual laughable moment comes from Belova’s embarrassed reaction to her father’s antics. Since comedic instances like this one are rooted in the character’s natural behaviors and relationships, they play a lot better to an audience because of this relatability factor — another major win for the film.
One of, if not the best, aspects of “Thunderbolts,*” is the way it grounds its larger-than-life scenarios in real world issues. Even though Belova is a super spy who parachutes off of buildings and does cool flips, she struggles to find purpose in her dead nine to five — no pun intended. Despite Walker and Red Guardian having been symbols of their respective nations, at the end of the day, they are still veterans who struggle to find purpose after their governments abandon them. By giving these superheroes real-world issues, it reminds the audience that even those who can go blow for blow with World Breaker Hulk are still human — and nowhere is that more prevalent than with Sentry/Robert “Bob” Reynolds (Lewis Pullman).
While maybe not the most profound depiction of depression in cinema, it is powerful nonetheless. The way the filmmakers use The Void to depict a never ending room-scape where people are forced to relive their worst memories is an inciting way to showcase an oftentimes dark and inescapable rabbit hole. When Reynolds says something along the lines of, “Death doesn’t exist here, the pain only gets worse,” it is a beautifully written and heartbreakingly delivered line that perfectly communicates how suffocating depression is. Even though themes of mental health are no stranger to the comic book genre, they are a refreshing addition to the MCU that promises an emphasis on resonant themes explored through relatable characters with future projects.
All this marvelous character work praised, there is one nitpicky negative that should be brought up: the pacing. The first act is gripping and the third act is an emotional climax but the second act gets lost in the mix. Despite there being the traditional act two “all is lost” moment, it lasts for one scene before our heroes regroup and win the day. Also, because the later half of the second act and the entirety of the third take place in the same location, it plays like one extended set piece as opposed to two distinct film segments. But again, this is a very minor complaint that does not at all take away from the emotional impact the movie has.
Due to the care put into making each one of the core heroes — and Reynolds — relatable, unique and, most importantly, human, “Thunderbolts*” stands as one of the best experiences Marvel has put out in years.
4.5/5
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Featured Image via ©Disney
