On May 2, Marvel Studios released their newest project, “Thunderbolts*” — with it a thunderous reminder that the studio still knows how to make stellar movies. After a streak of mixed reviews and oversaturated multiversal arcs, “Thunderbolts*” marks a pivot back to character-driven storytelling. It’s not just another ensemble movie; this is Marvel’s most emotionally attuned project. It’s reminiscent of the early original “Avengers” movies.
With themes of grief, redemption and depression woven into the heart of the story, “Thunderbolts*” stands out as one of the latest and best Marvel Cinematic Universe (MCU) projects produced, offering a unique sense of team camaraderie compared to the lighthearted yet heart wrenching “Guardians of the Galaxy.”
Set after the events of “Black Widow,” “Captain America: Brave New World” and “Hawkeye,” “Thunderbolts*” follows a government-assembled squad of morally grey “heroes” tasked with doing the jobs the Avengers never could.
Florence Pugh takes center stage with her wit and emotional depth, joined by a surprisingly grounded Congressman Bucky Barnes (Sebastian Stan). Alongside them are tightly-wound U.S. Agent (Wyatt Russell), unpredictable Ghost (Hannah John-Kamen), lovable bruiser Red Guardian (David Harbour), Taskmaster (Olga Kurylenko) and wild card Bob (Lewis Pullman) are all under the watchful eye of Valentina Allegra de Fontaine (Julia Louis-Dreyfus). Their portrayals are brilliantly brought to life on screen, and remain closely aligned to Marvel comics source material.
The film gives characters time to breathe on screen as they carry their own emotional baggage. It’s through these moments of vulnerability, viewers come to recognize how their past shapes their journey to be deeply personal. This film shifts from what many might expect to be a movie about saving the world to one about living in it.
The fight choreography in “Thunderbolts*” returns to the hand-to-hand combat choreography that made “Captain America: The Winter Soldier” stand out — brutal, tactile and deeply personal. Gone are the weightless computer-generated imagery (CGI) brawls of recent years. Instead, “Thunderbolts*” leans into close quarters combat that feels earned. Each punch, grapple and fall carries emotional weight, grounded in the characters’ unique fighting styles and psychological states.
For example, the teaser trailer showcases epic fight choreography well-suited to the chaotic first encounter between these characters in a secure facility building, where trouble suddenly ensues. The fight sequence that follows captures each character’s unique fighting style, making practical stunts all the more thrilling. From the classic “Black Widow” “poser” fighting to the trained quantum fazing fighting style in “Ant-Man” — the movie is truly a collection of premier hand to hand marvel anti-heroes.
Although “Thunderbolts*” doesn’t rely on overt visual effects (VFX) as much as its MCU predecessors, the animation that is present is selectively used to elevate the film compared to other 2020s MCU projects. The movie makes excellent use of 2D animation that greatly enhances the story in a sad yet thrilling way. There’s restraint in not overusing these effects by allowing emotional realism to take center stage. VFX serves the story, not the other way around.
This film wouldn’t work without its stellar cast. Florence Pugh continues to shine, balancing Yelena’s biting humor with aching vulnerability. Sebastian Stan gives one of his most restrained but layered performances as Bucky, who is world-weary but not numb. Wyatt Russell brings complexity to U.S. Agent, crafting a character that is both antagonistic and tragic.
David Harbour’s Red Guardian offers unexpected heart, while newcomer Lewis Pullman delivers a somber, gut-wrenching performance as Bob, mellowed out by occasional moments of brief humor.
And then there’s Julia Louis-Dreyfus. Her Valentina isn’t just smug or scheming — she’s infuriating, but in the best way. She acts with such cold precision and unapologetic manipulation that audiences are able to feel the tension whenever she enters a scene. It’s the kind of performance that makes audiences upset, which is the mark of a great actor.
In fact, one of the best deliveries from the movie is from her when she is asked about power and brilliantly answers: “Ideals without power is just an opinion.” The line is reinforced by the cinematic setting where everyone is trying to do good in the world in their own imperfect ways.
Her performance is similar to how Wyatt Rusell debuted in “Falcon and the Winter Soldier,” as audiences hated him at first. This newest movie humanizes him in a way that follows the story’s subplot about mental health. Similarly, audiences will believe Juila’s power not because of her lines, but because of her control.
What makes “Thunderbolts*” feel like a true evolution for Marvel is its willingness to sit with discomfort. Depression, grief and post-traumatic stress disorder (PTSD) aren’t afterthoughts; they are the story. The mission isn’t about defeating a world-ending villain. It’s about confronting personal demons and learning how to carry them without collapsing.
Where past Marvel films are taunted with emotional depth before pivoting to punchlines, “Thunderbolts” allows for a more mindful way of storytelling. Creative decisions like long pauses between characters, flashbacks and layered symbolism truly help the movie shine.
The writing strikes a delicate balance by being sharp without being redundant and emotional without becoming a melodrama. The banter is lively and purposeful, revealing character dynamics rather than purely cracking jokes, although the jokes are much appreciated. Conversations are often laced with subtext, especially between Yelena and Bob, whose evolving mutual understanding wrapped in a sadness becomes one of the film’s most important anchors.
The dialogue is smart, natural and at times, deeply sorrowful in the best way. It trusts the audience actually to listen and not just be dazzled.
“Thunderbolts*” won’t change the MCU with multiverse-shattering stakes. Instead, it reminds audiences why they cared about this universe in the first place. Not for gods and timelines but for people who are flawed, hurt and still fighting.
It’s a thunderous reminder that Marvel can still tell grounded, emotionally resonant stories. Not with explosions, but with eye contact. Not with magic or quantum mechanics, but with broken people trying to matter.
Sometimes, that’s all it takes to save a world. It’s almost like they are a renewal of the Avengers.
Verdict: The old Marvel is back! It is gritty, emotional and grounded in character-driven storytelling that finally reminds us why fans cared in the first place. Do not forget to watch the end credits; they are truly a game-changer and set forth a new Marvel arc.
