Movie review: Thunderbolts*

Going into Thunderbolts*, I didn’t expect it to blow my mind — but I did expect it to bring something a little different to the Marvel Cinematic Universe (MCU).

On that front, it delivers … kind of. It’s not a bad movie. In fact, it’s good — entertaining, even. But it’s also a little overrated, carried almost entirely by Florence Pugh, and weighed down by Marvel’s insistence on framing these new characters as the “New Avengers” — a branding move I’m not sure does them any favours.

Pugh once again proves she’s one of the strongest actors in the MCU. Her portrayal of Yelena Belova is equal parts vulnerable, badass, and surprisingly funny. She gives the film the emotional core it desperately needs and turns what could have been a messy ensemble piece into something with a real heart. I found myself caring most about her arc and her dynamic with the other characters, even when the plot started to drag.

David Harbour as Red Guardian has his moments, but he’s mostly comic relief. Sebastian Stan returns as Bucky Barnes, and while I’m a fan of the character, he didn’t feel as central here as I thought he would. His screen time and emotional depth felt diminished.

Wyatt Russell’s John Walker is still the MCU’s most conflicted bro (sorry, he’s no Chris Evans), and while he adds to the film’s tension, he doesn’t steal scenes the way Pugh does. The rest of the team are, well, there but not particularly memorable.

The introduction of The Sentry, portrayed by Lewis Pullman, adds a compelling layer to the film. Pullman’s performance captures the duality of Bob Reynolds, a character grappling with immense power and profound psychological turmoil.

The film delves into themes of mental health, illustrating Reynolds’ internal struggle between his heroic persona, The Sentry, and his darker alter ego, The Void. This portrayal resonates with real-world discussions on mental health, emphasizing the importance of acknowledging and addressing one’s inner demons.

However, the biggest issue I had wasn’t even with the film itself, but with the way it’s packaged as the birth of the “New Avengers.” That’s a lot of pressure to put on a team made up of anti-heroes, ex-villains, and government experiments.

It feels like Marvel is trying to tell us these characters are on the same level as Tony Stark, Steve Rogers, Natasha Romanoff, Thor, Bruce Banner, and Clint Barton — when, realistically, they’re not. At least not yet.

Calling them the “New Avengers” sets them up for failure in some ways. It invites constant comparison to the original six, a group that was built up over several phases with real emotional stakes, losses, and wins.

This team, in contrast, is being introduced as a packaged deal. We’re supposed to root for them together before we’ve even had time to connect with most of them individually. That might work for some viewers, but, for me, it felt rushed and unearned.

That being said, Thunderbolts* does attempt something different. It leans more into espionage, trauma, and redemption arcs, which is refreshing. The action is solid, if not spectacular, and there are a few visual set pieces that stand out.

The third act doesn’t fall apart the way some other Marvel movies have (I’m looking at you, Ant-Man and the Wasp: Quantumania), and the emotional beats — especially when tied to Yelena — are genuinely effective.

I think the film is going to be divisive. Some people will love the darker tone and the moral ambiguity, while others might find the pacing uneven and the stakes unclear. Personally, I enjoyed it for what it was — a transitional piece in the MCU’s ever-expanding puzzle.

Thunderbolts* is not quite The Suicide Squad, and it’s certainly not The Avengers, but it has potential, largely thanks to Pugh’s performance and the groundwork it lays for future stories.

So no, it didn’t live up to the massive hype, but it didn’t flop either. Thunderbolts* is a good film, maybe even a necessary one. But until Marvel stops trying to sell every new team as the next big thing, comparisons to the OG six are inevitable — and that’s a tough fight to win.