“Thunderbolts*” is not your typical Marvel movie, and that’s precisely what makes it so refreshing. In a cinematic universe that often leans on bombast, quips, and world-ending stakes, this film stands out for its substance, smaller scale, and introspective tone. It may not reinvent the superhero genre, but it carves out something that feels more grounded, more human, and more emotionally resonant than expected.
Coming into this film, I knew very little about most of these characters aside from the Winter Soldier / Bucky Barnes (Sebastian Stan), and I was only mildly familiar with him. Yet within minutes, I found myself genuinely invested in this unlikely group of misfits. Director Jake Schreier doesn’t waste time with flashy introductions or over-explained back stories. Instead, he lets the characters speak through their actions, their pain, and their evolving bonds. Each member of this ragtag crew, including Yelena Belova (Florence Pugh), Red Guardian (David Harbour), Ghost (Hannah John-Kamen), and John Walker (Wyatt Russell), brings a distinct presence. Their interactions are laced with tension, humor, vulnerability, and heart.
The story goes to unexpected places, including offering up an unflinching look at trauma, regret, and redemption. These aren’t the squeaky-clean heroes we’ve grown used to, but broken, guilt-ridden, and dejected souls who are often at odds with themselves as much as they are with each other. The film dives deep into themes of identity, mental health, and the consequences of past actions. There’s real weight here, and the story never feels like it’s pulling punches emotionally.
The narrative is driven by a mission forced upon them by the manipulative Valentina Allegra de Fontaine (Julia Louis-Dreyfus). It’s a mission that’s part death trap, part therapy session, and total chaos. As the team navigates one impossible situation after another, they’re not just trying to survive — they’re forced to confront who they are, what they’ve done, and whether they deserve a second chance. The line between hero and villain is deliberately blurred, and the film asks tough questions about accountability, redemption, and the cost of loyalty.
The performances are solid across the board. Pugh balances sarcasm and sorrow beautifully, and Stan delivers a quietly tormented performance of a man who feels more complex than ever. Lewis Pullman shows off his range with his turn as Bob / Sentry, and Harbour brings much-needed comic relief (and Big Dad Energy). The rest of the cast carries with them a compelling energy that makes you root for this dysfunctional, damaged team. The chemistry between the actors is real and by the film’s emotional climax, it’s clear that their characters’ shared pain is what ultimately binds them.
Although an emphasis is placed on the storytelling, the film still delivers the kind of action you’d expect from a Marvel outing — it’s just that the spectacle takes a backseat to character development. It’s more about moral dilemmas and internal battles than giant sky lasers or multiverse shenanigans. That doesn’t mean it lacks excitement (there’s plenty of tension), but the stakes feel more personal and the danger more intimate.
“Thunderbolts*” is a Marvel film that dares to slow down, let its characters breathe, and ask what happens after the heroics stop and the guilt sets in. It’s not perfect, but there’s something laudable about a solid, character-driven story about broken people trying to do better. Sometimes, that’s more heroic than saving the world.
By: Louisa Moore
Screen Zealots 