By Keith Walther | Rose Law Group Reporter
Let’s get this out of the way first, this is not the film that’s going to reel in disenchanted Marvel fans. “Thunderbolts*” is the 36th film in the Marvel Cinematic Universe (MCU) and the sixth and final film of Phase 5. While the story is formulaic and it doesn’t quite recapture the magic of the “Guardians of the Galaxy” films that it tries so hard to emulate, there is enough passion and intrigue to make it worth a watch.
Working clandestine missions for Valentina Allegra de Fontaine (Julia Louis-Dreyfus) has left Yelena Belova (Florence Pugh) despondent and detached, going through the motions unsure of how to find joy again. One particular mission finds her in a life-or-death battle with capable combatants only to discover Valentina had sent them all there to die as a means of cleaning house and avoiding political fallout. The misfit group of Yelena, Red Guardian (David Harbour), John Walker (Wyatt Russell), Bucky Barnes (Sebastian Stan), and Ghost (Hannah John-Kamen) wisely choose to set aside their differences and team up to take Valentina down.
During their fracas they awaken a human experiment gone horribly right, and his name is Bob (Lewis Pullman). Initially, Bob seems completely ordinary, but what the ragtag team doesn’t realize is that they unleashed the most powerful being in the world, Sentry and his alter ego, the Void. Outmatched in every imaginable way, the group must confront their dark pasts to find a more creative solution to subdue this all-powerful being before he shadow blasts everyone on earth.
This is the first feature film Jake Schreier has directed in ten years, primarily working on music videos and TV series like “Beef” in between. “Thunderbolts*” is far from perfect, but he does a good job of giving the film a soul, highlighting serious themes of depression and isolation as the driving force of the plot. Even though this is Marvel’s version of “The Suicide Squad,” Schreier makes it more relatable with flawed antiheroes dealing with their internal issues. This is a smart move that allows audiences to connect with these characters, which is only exemplified by the fact that their powers or lack thereof also humanize them. However, this does paint the plot into a predictable corner with only one viable possibility as the inevitable conclusion. Jake even ensures the film doesn’t take itself too seriously, implementing well-timed self-deprecating humor.
Unfortunately, Schreier’s inexperience helming a big budget action production rears its ugly head. The action sequences are limited and underwhelming for the most part with rudimentary cinematography and fight choreography. He also commits some sloppy logic errors that cause gaping holes in the narrative, such as the evolution of the Bob character into Sentry and then the Void. One minute, he’s shown clearly struggling with harnessing his power to simply move a glass of water, and the very next moment he’s shown in a garish gold costume with his hair died blonde and in complete control of his limitless powers. Schreier also leaves some of the side characters like Ghost sorely undeveloped. Not to mention, he does the Taskmaster character (an iconic and powerful comic book character) completely dirty.
Florence Pugh is clearly the focal point of this film, and she’s proven more than capable of handling that responsibility. This may not be her most challenging or complete role, but it’s one that she’s grown comfortable playing, having appeared in both “Black Widow” and TV’s “Hawkeye” previously. In this film, she’s able to explore the depth of her character more, wearing the weight of grief over the loss of her sister as well as the traumas she endured as a child. Florence wears this pain a bit more subtly to show her character’s strength but allows viewers windows of insight into her soul that enhances connectivity. Even when her Russian accent slips, it is a well-rounded performance that garners respect.
There are also key performances from the others in the cast that warrant attention. David Harbour reprising his role as the aging Russian super soldier is a welcome sight, and he’s responsible for much of the comic relief, but also for some of the more touching moments. Julia Louis-Dreyfus shines as the self-serving manipulator who keeps viewers guessing as to her true motivations. Then there’s Lewis Pullman whose comical normalcy is appealing until his lonely, darker side is revealed, instantly turning his character into one to be feared.
Even though this plays like the B-side of an album with an assemblage of secondary Marvel characters, there’s enough well-intentioned heart to make it an entertaining watch. “Thunderbolts*” is not the cinematic revival Disney/Marvel is hoping for and probably would have been better suited for Disney’s streaming platform than a theatrical release. If you do go see it, then stick around for the end credit scene. Next up is “The Fantastic Four: First Steps” in July, which will kick off Phase 6. Let’s just hope for continued improvement.
This movie earns:
