Thunderbolts is the anti-Marvel movie. The final act doesn’t end in a huge action set piece. It doesn’t have a villain in the traditional sense. And it spends a good chunk of the runtime unpacking the character’s trauma and emotional issues. The result is the weirdest, and boldest Marvel Studios movie ever.
Thunderbolts sees a team of washed-up assassins hired to cover up a secret government project to build a superhuman. When things go wrong, they’re stuck trying to stop a Superman-level threat with nothing but guns and knives. Naturally, this seems like an unfair matchup. But the way the story deals with this is by immediately shifting the threat from a physical to a psychological one. This comes in the form of a final battle that is one not by fists, but by something more meaningful.
Jake Schreier is the most talented director Marvel has hired in years. He brings an adept vision that makes it the most visually interesting Marvel Studios project in years. The lighting of certain scenes is a particular strength. Cinematographer Andrew Droz Palermo brings a wonderfully gritty and handheld look to the scenes unfolding on the streets of New York in the final act. Another highlight is the brilliant wide-angle shots of an excellent motorbike and car chase that takes place against the sunwashed backdrop of the Utah deserts.
The cast develops a decent dynamic, but the standouts are Florence Pugh and David Harbour. Florence Pugh is one of those rare MCU stars that manages to ace jumping off a building just as well as she can carry a heartbreaking conversation with someone. Harbour is simply one of the best comedic reliefs the MCU has had. In a cinematic universe filled with all-too-often self-aware snark, his unabashed corniness allows the freedom to provide a more classic comedic relief where he’s unafraid to be the punchline himself. Sebastian Stan remains one of the most brilliant actors in the MCU who smashes every scene in this in his limited screen time.
Though the film drags a bit in the first act as it slowly sets up its team dynamic and central plot, the second act delivers genuinely thrilling action, and the final act brings the thematic message home. After a series of flashbacks and character interactions establish how emotionally broken each character is, the final payoff is the realisation that they can only overcome that darkness together.
While it’s certainly not the first film to deal with issues of mental health, it is one of the most creative depictions of it. Parts of the final act are reminiscent of 2023 Oscar Winner “Everything Everywhere All at Once”, where physical battles become literally intertwined with mental ones. Thunderbolts delivers a compelling dream-sequence of sorts that is honestly the most bizarre and bold storytelling Marvel has attempted in years. To say that it’s metaphorical is an understatement. The way the Thunderbolts must battle, and escape, “The Void” is truly innovative and emotionally impactful.
With superhero movies that can feel too repetitive, Thunderbolts makes bold choices unlike any film in the genre in recent memory. It’s a brilliant metaphor for mental health and a reminder of the powerful vehicle that fantasy storytelling can be for transmitting meaningful and important stories.
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Thunderbolts* releases in Australian cinemas on May 1st.
The movie has two post-credit scenes (one mid-credits and one end-credits).
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