Expert’s Rating
Our Verdict
Thunderbolts* has revived the MCU’s well-worn formula with a familiar but fresh energy. If the Avengers were the A-Team, this is the B-Team of rejects and losers, ready to take on the world one punch and shot at a time. Addictively entertaining, hilarious and heartwarming.
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The phrase ‘we are so back’ gets thrown around a lot when it comes to the Marvel Cinematic Universe, but if there was one film to adopt that mindset, it’s Thunderbolts*.
Marvel has a new gaggle of misfits on the block, reminiscent of the Guardians of the Galaxy, though this cohort of “losers” can only “punch and shoot”. It’s made up of the dime store Captain America, John Walker (Wyatt Russell), ex-Red Room super assassin Yelena (Florence Pugh), quantum-shifting ghost, Ava (Hannah John-Kamen), former soviet hero turned limo drive, Alexi/Red Guardian (David Harbour), Taskmaster (Olga Kurylenko) and everyone’s favourite bad boy, now congressman, Bucky Barnes (Sebastian Stan).
If you’re a bit behind on the MCU or have been disappointed by recent offerings, Thunderbolts* is the perfect point to jump back in
From the combination of actors alone, the fresh dynamic is instantly entertaining, with Harbour providing most of the film’s light relief. Throw in Bob (Lewis Pullman), a man who can’t remember anything that happened before he woke up in an underground vault, and you’ve got yourself a vibrant team.
Marvel’s anti-heroes, who are bound together by their assignments from Valentia Allegra de Fontaine (Julia Louis-Dreyfus) have to work together to defeat a darkness they’ve never encountered before on such a scale. Built on immense action sequences, endless banter and emotional beats that pack a punch, Thunderbolts* is a revival of the best of Marvel with an addictive new energy.
Steering away from the standard MCU formula, Thunderbolts* starts to reimagine what this world, filled with isolated remarkable individuals, could become. It is self-aware, recognising that the Avengers are gone and that the team is trying to operate without heroes… though many are on the periphery, waiting to reappear in Avengers: Doomsday and The Fantastic Four: First Steps. That said, even with the deviation from the set structure, Thunderbolts* has a few predictable plot points, slightly spoiled by the trailers.
The film reads as a more definitive end to the long-lasting Infinity War saga and a bridge to something new, yet familiar, that audiences can invest in. All of which is consolidated by an end-credit scene that received a glorious roar of excitement in the cinema, as it broadens out to the wider universe to tease some old-school Marvel excitement about what’s to come.
Disney / Marvel Studios
Thunderbolts* ultimately did what Captain America: Brave New World didn’t quite achieve, asking the question: in a world used to being rescued by heroes, what happens if no one is coming to save you? It even goes one step further, delving into what happens when you can’t save yourself.
This internal conflict between the light and the dark has echoes of WandaVision, and is a reminder of the struggles that both Bucky and former Black Widow Natasha Romanoff (Scarlett Johansson) went through. It’s immensely grounding and relatable for the audience, who share those good and bad days with these misfits. In turn, it makes you feel more invested in their journeys.
All of which is consolidated by an end-credit scene that received a glorious roar of excitement in the cinema
For the most part, the mental health elements are handled well, but there are a few sections that deserve more nuance. Characters are reduced to stereotypical terms such as ‘broken’ when struggling with depression and suicidal thoughts and needing to be ‘fixed’. However, the resolution does end on a positive note.
Pugh is, rightly, the backbone of this film, providing immense emotional depth with her intricate facial expressions. She crafts a true heart underneath the action that elevates the already strong storyline. Pullman also deserves a mention for his complex performance as Bob, aka the Sentry, navigating difficult emotional beats with a raw honesty that heightens the main messages of the plot.
Marvel seems to have learned from its best offerings (such as WandaVision and Avengers) for Thunderbolts*, exploring an out-of-this-world threat on a human level. It’s as much about each mercenary working through their own trauma as it is the battle against the silently terrifying Void.
Should you watch Thunderbolts*?
If you’re a bit behind on the MCU or have been disappointed by recent offerings, Thunderbolts* is the perfect point to jump back in. It is the greatest instalment in the MCU for the past few years, and it should be celebrated as such on the big screen with an audience filled with fans (and soon-to-be fans) of the Avengers 2.0.
Those familiar with the Marvel formula will enjoy plenty of easter eggs, as disconnected storylines from entries such as Black Widow and Falcon and The Winter Soldier intersect. Thankfully, there’s enough context for newcomers to also enjoy the film without wondering what every reference alludes to – a common misstep for past entries in the franchise.
It’s not completely perfect – I’d recommend avoiding the trailers if you want completely fresh eyes, and the mental health aspects could have been handled with more complexity. But these negatives don’t spoil what is a solid anti-hero film.
Thunderbolts* is an entertaining, action spectacle with a big heart and an ambitious swing for Marvel that restores faith in the franchise. Most importantly, it’s a reminder that the best has not passed in the MCU.
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