Review: ‘Thunderbolts*’ Finds Its Spark in a Solid Effort

Being a villain isn’t easy. Even with the occasional superpowers, a stylish lair and a wardrobe full of sleek black outfits, there’s the constant hassle of dodging pesky heroes, evading the law and knowing a happy ending is never part of the deal. Add in a tragic, haunted backstory — often leading to unresolved trauma, deep psychological issues, and a few violent tendencies — and it’s a tough gig all around. So naturally, the Marvel Cinematic Universe decided to make a movie about it.

Thunderbolts* takes a handful of the MCU’s also-rans, second-stringers, and forgotten antagonists and puts them in the perilous position of having to become champions (and end Phase Five). Plucked from several different Marvel franchises from screens both big and small, former villains and occasional comic reliefs come together in a Marvel movie meant to rescue both innocent civilians and the MCU. Among them are Black Widow‘s Yelena Belova (Florence Pugh) and Alexei Shostakov aka The Red Guardian (David Harbour), Ant-Man and the Wasp‘s Ava Starr aka Ghost (Hannah John-Kamen), Captain America’s best bud Bucky Barnes aka The Winter Soldier (Sebastian Stan), The Falcon and The Winter Solider‘s hero-turned-antagonist John Walker (Wyatt Russell) and the mysterious Bob (Lewis Pullman). 

Forced to work together thanks to the devious deeds of CIA head honcho Valentina Allegra de Fontaine (Julia Louis-Dreyfus), the motley crew of metahumans and mercenaries team up to face common foes: a corrupt government, bad press, situational depression, and dwindling interest in the MCU.  

Directed by Jake Schreier (Beef, Skeleton Crew) and written by Eric Pearson (Thor: Ragnarok) and Joanna Calo (The Bear), Thunderbolts arrives in theaters with an impressive pedigree both behind and in front of the camera. Although marketed as an ensemble action film, the movie clearly places Florence Pugh at its center, allowing Yelena’s tragic origin story and brooding current state to drive the narrative. Given audiences’ familiarity with Pugh’s charismatic portrayal of Yelena in Black Widow and Disney+’s Hawkeye, narrowing the focus to a single antihero proves a smart decision. Otherwise, the film would risk becoming a long parade of character introductions and fragmented backstories that could dilute the momentum and diminish valuable storytelling time.

(Disney)

As fellow Thunderbolts, David Harbour and Wyatt Russell deliver strong performances in their respective roles, providing much of the film’s comic relief through their dynamic interplay. Louis Pullman also makes a memorable entrance as Bob, stepping beyond his usual thoughtful, soft-spoken characters to take on a role designed to spark a bit more attention. However, matching Pugh’s energy is Julia Louis-Dreyfus as the villain’s villain, Valentina Allegra de Fontaine. After lingering in the background of past films and series, de Fontaine finally takes center stage, stealing scenes with every snide remark and sarcastic smirk. She proves to be one of Marvel’s more entertaining villains, injecting the film with a refreshing energy beyond the expected CGI showdowns.

The story is far from revolutionary. We’ve seen Suicide Squad. We’ve seen The Suicide Squad. We’ve also seen Guardians of the Galaxy, Ocean’s Eleven, The Dirty Dozen, at least one or two of the Fast and the Furious films, just to name a few. This is not a new concept: a ragtag group of misfits become unlikely heroes when they are called upon by the forces that be to embark on a mission that just might save lives, maybe even the world. 

What Thunderbolts* offers, however, is an attempt to reengage MCU audiences through a sense of familiarity and nostalgia, revisiting characters, storylines, and emotional beats from earlier phases and gently laying them to rest. The film acts as a soft reset from the media franchise looking to recapture the glory of the old days with fresh faces wrought with bitter backstories and mental health issues. 

Thunderbolts* is neither an uproarious comedy like Deadpool nor a film with the emotional resonance and fan-service highs of Spider-Man: No Way Home or Spider-Man: Across the Spider-Verse. At the same time, it avoids the irrelevancy of Captain America: Brave New World and the CGI overload of Ant-Man and the Wasp: Quantumania. Instead, Thunderbolts* is an entertaining, occasionally funny entry that brings Phase Five of the MCU to a close while setting the stage for Marvel’s next chapter.

Thunderbolts* may not redefine the superhero genre, but it effectively balances action, character-driven storytelling, and moments of levity, setting the groundwork for Marvel’s continued evolution. Bolstered by strong performances and a sharper focus than some of its more recent predecessors, it positions itself as both a culmination of past storylines and a bridge to new narratives still to come.