THUNDERBOLTS*

You know how Marvel used to be at its best when it explored different themes and genres with each film? Like, “The Winter Soldier” was basically an espionage thriller, and “Ant-Man” was a fun heist movie. That kind of variety made the whole universe feel fresh. But after “Endgame,” a lot of that started to fade. I’ve still enjoyed most of the newer movies, but something’s been missing.

“Thunderbolts*” totally brings that feeling back. The moment the Marvel logo kicked in and then drones out, I knew we were in for something special.

Florence Pugh is an absolute standout. We already knew she was amazing in indie films, but seeing her bring that same level of depth and intensity to a big-budget Marvel movie? That’s the kind of energy the franchise has been lacking.

The chemistry between the whole team is great too. David Harbour is hilarious in all the right ways, Hannah John-Kamen really levels up as Ghost, and Sebastian Stan absolutely nails the badass vibe. The one weak point for me was Julia Louis-Dreyfus. I usually love her, but something about her performance as the initial villain didn’t quite land.

What really surprised me, though, was how the film tackled depression. The “big bad” ends up being a metaphor for it, and I thought that was powerful—seeing this idea of facing darkness together, as a community, in a superhero movie. Also, the father-daughter dynamic really hit me, especially with Florence Pugh’s performance (“Daddy, I’m so alone”). She brought so much heart and she left me in tears.

And visually? The cinematography and direction are on another level compared to a lot of recent entries. Some people say Marvel’s been in a slump since “Endgame,” and while I don’t totally agree, “Thunderbolts*” definitely feels like a return to form. It reminded me why I fell in love with the MCU in the first place. Hopefully, this sets the tone for what’s to come.

VIEWED ON
Friday, May 2, 2025
Regal Edwards Valencia