And then, bursting forth from the dregs of the MCU's garbled multiverse arose Thunderbolts*, a expertly crafted superhero film second only to Black Panther when it comes to the importance of its message. In spite of what appear to be numerous potential pitfalls on paper, Thunderbolts* manages to weave together a timely and personal examination of depression from the tattered remnants of previous failed Marvel projects.
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Whereas the Avengers were formed from the top-billed A-listers of their respective films, the Thunderbolts are a real who's who of who cares. While Pugh's Yelena was the breakout star of Black Widow. John Walker arrived in the MCU via the TV show The Falcon and the Winter Soldier, Ghost was the villain of the second Ant-Man film, and even Bucky Barnes has never helmed a Marvel film alone. The island-of-misfit-toys energy of the Thunderbolts, however, is the perfect backdrop on which to discuss depression and mental health. Whether that be Yelena's purposefully repressed trauma and purposelessness, John Walker's masculine entitlement and feeling that the world has passed him by or Alexei's longing for the successes of his past, every member of the Thunderbolts is suffering in loneliness.
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After a string of Marvel movies clogged by easter eggs, bad CGI and set up for future films, Thunderbolts* is a welcome reminder as to what a good superhero film can look like. It's a completely intact story even if there are certainly references to past MCU films and a post-credits scene pointing to things to come. Much of the credit must be given to the writing team of Eric Pearson (who wrote Black Widow) and newcomer Joanna Calo (who wrote on Hacks and The Bear), who steer the film in a more personal direction. Jake Schreier, the director and another Marvel rookie, also seems to have relieved the film from the drag of past lore and tacky visual effects.
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Rating: B+
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