I’ve always appreciated when Marvel steps away from its usual roster to spotlight lesser-known heroes or teams. It doesn’t always work—Eternals being a prime example—but I respect the effort. Thunderbolts follows this tradition, focusing on a relatively obscure, morally ambiguous team. It’s Marvel’s closest equivalent to DC’s The Suicide Squad, composed mostly of villains or anti-heroes. After the letdown of Captain America: Brave New World, there’s a lot riding on this film with Avengers: Doomsday looming ahead. So, does Thunderbolts succeed, or is it another misfire?
Surprisingly, I really enjoyed the story. While it echoes the familiar trope of a dysfunctional group learning to work together, it avoids being a direct copy of Suicide Squad. There are no bombs in necks or forced compliance. Instead, the film focuses on character-driven growth and survival under pressure. What really stood out was its thoughtful handling of themes like depression and mental illness—it’s done with care and respect, adding emotional depth to the narrative.
Yelena is front and centre here, and Florence Pugh gives a standout performance. Her portrayal captures Yelena’s emotional struggles and growth with nuance and intensity. Another highlight is Lewis Pullman as Sentry. He’s a fantastic addition to the MCU, delivering a layered performance that oscillates between terrifying power and fragile vulnerability. The way The Void—a key part of Sentry’s character—is handled is especially commendable. It’s creepy, unsettling, and exactly what I hoped for.
The film also does justice to returning characters like Red Guardian and Bucky. Red Guardian, whose development in Black Widow was a pleasant surprise, continues his journey as a flawed but well-meaning father figure, especially toward Yelena. Bucky, too, gets his moment to shine, no longer running from his past but actively choosing to do good. Interestingly, the chemistry between Red Guardian and Bucky provides unexpected humour and charm—some of their scenes together are among the most entertaining.
Despite the darker themes, Thunderbolts still delivers laughs, and they feel organic rather than forced. The humour doesn’t undercut the drama, which is something Marvel has struggled with in the past. The action is also strong, especially a chaotic facility battle where the team turns on each other, and a creative, unconventional final act. Son Lux’s score is serviceable, but their work on the Thunderbolts theme stands out.
That said, the film isn’t without flaws. For one, it feels like a poor sequel to Black Widow. Taskmaster, despite her flaws in that film, played a key role in Natasha’s arc—but here she’s reduced to an afterthought, undermining both her character and the previous movie. There’s also no mention of Melina, Yelena’s mother figure, which feels like a significant omission given her importance. Ghost, another team member, is barely developed. The film offers little to no context on what happened to her or Bill Foster since Ant-Man and the Wasp, and her motivation for joining Valentina remains unclear.
Also, while Yelena’s emotional journey is fleshed out, the rest of the team’s arcs are glossed over. During the final battle, we don't see their personal struggles and their growth happens off-screen, which weakens the emotional impact. I also wish there were a bit more bonding moments between the team. There are only 1 or 2 scenes off the top of my head where the team is not bickering or arguing or being mean to each other but there really should have been more.
Still, Thunderbolts feels like a much-needed course correction for the MCU. It balances humour and heart, delivers compelling action, and explores mature themes with surprising sincerity. It’s the first Marvel film in a while that genuinely makes me excited for what’s next—especially Avengers: Doomsday. And for once, the post-credit scene doesn’t feel like a creatively bankrupt setup. That alone is worth celebrating.
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