Keeping aside the hyperbolic shift between “the MCU is dead” and “the MCU lives” with every other movie, it wouldn’t be too much of an exaggeration to say that the Marvel Cinematic Universe (MCU) has been having a difficult time attempting to please fans across a very wide spectrum… and it may not be much different with Thunderbolts*.
This isn’t to mean that Thunderbolts* isn’t any good, or is less than its other post-Endgame counterparts. In fact, if anything, Thunderbolts* feels like a return to the action-adventure tone of the MCU’s Phase One, while also capturing the themes of belonging and found family which have been a recurrent theme across much of Marvel’s superhero properties, be it in comics or adaptation.
Thunderbolts*, like many other comic adaptations, does depart a fair bit from the comics, sharing more in common with the approach to the Guardians of the Galaxy movies as opposed to the Avengers, or even Fox’s X-Men. And, much like the Guardians of the Galaxy’s line-up, it works well here. And it may be even more rewarding in some sense.
Most of the Thunderbolts feel like they’re characters who’ve been largely neglected since their initial appearances. While characters like Bucky and John Walker have had somewhat exploratory arcs, most of the others still stand to benefit from more screen time with actual dialogue and interactions aside from cool displays of power in action sequences.
Thunderbolts* turns the usual MCU narrative on its head, swapping out longer periods within the story to allow for characters to interact and set up the humour for outright extensive action sets and sequences only punctuated by conversations. Yet, given that none of these characters require any additional introduction, the narrative choices here work well, and are almost liberating.
The movie does make a puzzling, and sour-tasting, misstep very early into the plot and it’ll probably leave you wondering why it even happens. Similar to Finn repeatedly seeking to speak to Rey on a topic that goes unresolved in The Rise of Skywalker, it feels almost as if this plot point was a product of an earlier cut and was only preserved and shaped as such for ease of editing.
Although some certainly odd creative choices plagues the film, the rest of Thunderbolts* is a more emotionally-charged movie than expected, and works exceptionally well despite the easier option to stick with the MCU’s typical tension-breaking banter. A significant contributing factor to this is the choice of characters–all of whom are products of incredibly scarring and traumatising origins and choices, which the movie elects to lean into as opposed to simply making light of, rightfully so.
Most relievingly, is the handling of Lewis Pullman’s Bob Reynolds, the hero/villain better known as the Sentry/the Void. Given the character’s vast and extreme power set, the management of the character is predictable, but the cast’s chemistry and the well-paced action make it work. In no small part does Pullman’s own affable dorkiness help sell the character, with his switch between demeanours sealing the execution of a relatively difficult character to portray.
Thunderbolts* proves itself to be a surprisingly strong entry in the MCU, especially for those who’ve considered the post-Endgame offerings to be lacklustre. More importantly, it finally offers proper continuity for characters who have long deserved it, without shoehorning plot threads from other portions of the franchise into another character’s film a la Multiverse of Madness and Brave New World.
And with Avengers: Doomsday looming upon us and our beloved heroes alike, this band of misfits could not have arrived at a better time!
Also, stop looking at Sam Wilson or Peter Parker–let Yelena Belova lead the MCU going forward. Her chemistry with every other actor is spot on, and her banter with David Harbour’s Red Guardian is unmatched.
Thunderbolts* is now out in theatres and plays an unexpectedly important role in the future of the MCU. Stay in your seats for a mid and post-credits scene.