Thunderbolts*
Release Date: May 2, 2025
Directed By: Jake Schreier
Written By: Eric Pearson and Joanna Calo
Starring: Florence Pugh, David Harbour, Sebastian Stan, Wyatt Russell, Olga Kurylenko, Lewis Pullman, Hannah John-Kamen, Geraldine Viswanathan, and Julia Louis-Dreyfus
Rating: PG-13 for intense violence, language, thematic elements, and some suggestive and drug references
Runtime: 126 minutes
At this point, Marvel fans are looking for a reminder of what drew them to the franchise: engaging adventures, charismatic heroes, intricate villains, and thrilling action that showcases character abilities. Thankfully, the new movie fulfills those expectations… for the most part.
While it falters in fully integrating all characters and has a few weak plot points, it compensates with its charm and the depth of its themes—a refreshing change for recent MCU titles. Thunderbolts* may not be the conclusive return to glory for the franchise, but it offers satisfaction in ways that films like Ant-Man And The Wasp: Quantumania and the aforementioned Captain America: Brave New World have not.
Addressing threads left from 2021’s Black Widow and the Disney+ series The Falcon And The Winter Soldier, the film kicks off with CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus) facing serious trouble. Impeachment proceedings and investigations into her questionable actions are underway, with newly elected Congressman Bucky Barnes (Sebastian Stan) among those aiming to expose her. Desperate to destroy evidence, Valentina resorts to employing independent agents and mercenaries for covert missions worldwide.
In a bid to tie up loose ends in a single sweep, Valentina plots missions for Yelena Belova (Florence Pugh), John Walker a.k.a. U.S. Agent (Wyatt Russell), Ava Starr a.k.a. Ghost (Hannah John-Kamen), and Antonia Dreykov a.k.a. Taskmaster (Olga Kurylenko), inviting them to a secluded spot where she plans for them to eliminate each other. However, she underestimates two factors: 1) that these outcasts will collaborate and work together, and 2) that they will encounter Bob (Lewis Pullman), a subject of a controversial experiment thought to be dead.
While billed as an ensemble film, the focus of Thunderbolts* is ultimately pretty narrow.
Though Thunderbolts* is marketed as a team film, it tends to favor certain characters and may disappoint fans expecting equal spotlight on all members. Those looking forward to Ghost and Taskmaster’s moments should lower their expectations, as neither character contributes significantly to the story, appearing mostly as extras. U.S. Agent gets a bit more depth with some backstory and characteristic traits (he’s a complete jerk), but lacks a substantial arc or moment of redemption.
This holds true for Bucky Barnes and David Harbour’s Alexei Shostakov a.k.a. Red Guardian. Bucky has some exciting action scenes, showcasing growth since his introduction years ago, but lacks new development. Red Guardian primarily serves as comic relief, which can wear thin but doesn’t entirely detract from the film.
A more fitting title for the film might be Yelena Belova & Friends, as Florence Pugh’s portrayal of Yelena stands out. She brings depth to the character, who grapples with boredom after years of being a solitary assassin. Her journey leads her to find purpose through interaction with the enigmatic Bob.
Thunderbolts* has a strong emotional core with an effective message about living in the modern world.
The dynamic between Yelena and Bob embodies the film’s intended message, presenting a socially relevant theme that feels refreshing in contrast to recent MCU entries. Without revealing too much about Bob to avoid spoilers, he shares a troubled past that resonates with Yelena’s. The narrative explores the theme of not allowing darkness to overshadow the light of life. The film emphasizes finding purpose, expressing emotions healthily, and building community in its impactful third act.
Stylish cinematography and choreography come together for a number of exciting set pieces in Thunderbolts*.
Complementing the emotional weight of the movie, the action scenes effectively mask the fact that Jake Schreier is a first-time blockbuster director. His collaborations with cinematographer Andrew Droz Palermo and stunt coordinator Heidi Moneymaker are impressive, particularly in the opening sequence where Yelena battles armed guards in a visually arresting tracking shot. Although the film exhibits a lack of variety in character abilities, the action is substantiated by well-designed settings, high stakes, and thrilling choreography.
While Thunderbolts* may not reach the heights of earlier Marvel Cinematic Universe classics from Phase Two and Phase Three, it successfully finds its own footing, distinguishing itself from other recent titles which often feel hastily assembled. The film, with its uneven moments, manages to forge a unique identity and sets the stage for the upcoming Avengers chapter (and hopefully, Matt Shakman’s Fantastic Four: First Steps can continue this positive trajectory later this summer).
