Thunderbolts* (dir. Jake Schreier)
By: Adam Freed
For better or worse, Thunderbolts* boldly spins the Marvel Cinematic Universe in an introspective new direction. Much of the vibrant glitz and glam that audiences have come to expect of the MCU is noticeably muted, offering instead a more visually and tonally morose take on what it means to be a superhero. Noticeably absent from Jake Schreier’s film are the metallic allure of Iron Man’s suit and Captain America’s shield, offering instead a C-list group of superheroes, all deeply flawed yet recognizably self-aware of their shortcomings. With the impenetrable shroud of Marvel’s invincibility long gone, what remains is something that feels remarkably human and surprisingly worthwhile.
Thunderbolts* takes its time in introducing, or reintroducing, its rag-tag group of misfit operatives. Most notable is the film’s central character Yelena Belova played by Florence Pugh (Midsommar, Little Women). Belova was first introduced to the MCU as the younger sister of Natasha Romonov in 2021’s Black Widow, as Florence Pugh clearly became the lasting memory from an otherwise busy and forgettable film. Quite relevantly though, Yelena Belova is to Marvel what grunge music was to pop radio in the early 90’s. Thunderbolts* opens as Belova perches precariously at the edge of a Malaysian skyscraper, and despite sitting inches from death, bares her tortured soul, vocalizing her inability to find meaning in her existence. One could almost hear the echoes of Kurt Cobain reverberating through Belova’s pain. Thunderbolts* is not what most audiences will expect, especially younger viewers who aren’t prepared for a dialogue driven exploration on the meaning of existence and the inevitable war with the demons that lurk within.
Narratively, Jake Schreier’s film methodically intertwines the lives of each rogue superhero by luring them to a clandestine mountain lair upon the orders of the nefarious Valentina Allegra de Fontaine. Famed in the MCU for her cloak and dagger manipulation, de Fontaine, who is once again portrayed by Julia Louis-Dreyfus (Veep, Seinfeld), takes center stage in Thunderbolts* as a character who unlike Samuel L. Jackson’s Nick Fury, desires the assemblage of super powered characters for her own designs, rather than in search of a greater public good. Joining Pugh and Louis-Dreyfus in the sturdy cast are David Harbour (Stranger Things), Sebastian Stan (The Apprentice) and Lewis Pullman (Top Gun: Maverick). Pullman stands out as his character “Bob” is asked to undergo the greatest dynamic performance arc within the film, presenting a bashful allure as well as exploring the murky depths of his emotional range.
No, Thunderbolts* may not be the film that Marvel fans want, but it may be just the type of thinking that can catapult the once heralded studio out of the creative funk in which it has been stuck for years. Jake Schreier’s film is overly patient in its execution and presents a complex visual narrative that risks the alienation of younger audiences. Those hoping for the freewheeling fun of early 2010’s Marvel are almost assuredly going to leave disappointed, which very well could be the greatest success of the film. There is an inherent darkness alive in Thunderbolts*, not a darkness that invades Earth from outer galactic realms, but rather one that invades from within. Art has long been inspired by this type of personal turmoil and perhaps it's finally time that the MCU is willing to let superheroes have a conversation about their feelings.
Target Score: 7/10 - At long last Marvel is willing to talk about its feelings. After more than a half decade of underwhelming releases and decreasingly lucrative box office results, the MCU has spun itself in a new direction. Thunderbolts* is going to be both loathed and loved, revered and rejected by the same audiences that made Marvel king. Brooding, introspective, and emotionally relevant, director Jake Schreier may not have helmed a box office smash, but he certainly created a film worthy of some much deserved thought.