Thunderbolts* – Film Review
Reviewed by Harris Dang on 1 May 2025
Disney presents a film by Jake Schreier
Screenplay by Eric Pearson and Joanna Calo
Produced by Kevin Feige
Starring Florence Pugh, Sebastian Stan, Wyatt Russell, Olga Kurylenko, Lewis Pullman, Geraldine Viswanathan, Chris Bauer, Wendell Pierce, David Harbour, Hannah John-Kamen, and Julia Louis-Dreyfus
Cinematography Andrew Droz Palermo
Edited by Angela Catanzaro and Harry Yoon
Music by Son Lux
Rating: PG
Running Time: 127 minutes
Release Date: 1 May 2025
Thunderbolts* tells the story of Helena Romanoff (Florence Pugh), a mercenary who works under the leadership of Valentina Allegra de Fontaine (Julia Louis-Dreyfus). She has fallen into a depressive state over the past few years due to actions in her past and the death of her adoptive sister, Natasha (previously played by Scarlett Johansson). Without emotional support from her father Alexi (David Harbour) and yearning for release after a long streak of unfulfilling military missions, she is tasked with one last mission.
Little does she know, she is being led into a deadly trap by de Fontaine where she and other heroes/pariahs, including John Walker (Wyatt Russell), Antonia Dreykov (Olga Kurylenko), Ava Starr (Hannah John-Kamen), and wildcard mystery figure Bob (Lewis Pullman) are like sheep to the slaughter. With only their wits and skills to free them from this mess, they reluctantly team up to escape their predicament. However, their predicament leads them to something bigger than themselves and either a path of redemption or destruction.
The Marvel films post-Endgame have received a mixed reception at best, which has resulted in terribly received clunkers, such as Thor: Love and Thunder (2022), Ant-Man and the Wasp: Quantumania (2023), and Captain America: Brave New World (2025). With the latest film in the Marvel Cinematic Universe, expectations are decidedly low to the point where trailers for Thunderbolts* have drawn responses from people saying the previews reek of desperation. Case in point, a trailer that references the acclaimed film studio A24 with tons of name-checking was so pandering, A24 themselves made fun of it on social media. It is undeniable that there is a lot of talent in front of and behind the camera and with that in mind, it can only go up from here, right?
Thunderbolts* is an improvement over Brave New World and it does explore interesting ideas. It is also unafraid to wear complicated emotions on its sleeve in the service of character. However, there are big deficits in the narrative that hold it back from being a complete success. The film explores mental health and depressive states through our morally compromised and emotionally volatile characters. It is admirable on the part of filmmaker Jake Schreier and screenwriters Eric Pearson and Joanna Calo for it to be at the forefront of their narrative, particularly for a big blockbuster aimed for the whole family that involves redemption and encouragement of discussion. Within that scope, it is forgivable that the themes are less than subtle, seeing as young audiences will be watching.
For example, the opening scene has implications with one of our lead characters standing on the edge of a building. But the filmmakers have the character utilise a voiceover that verbalises their thoughts, which dilutes any pretence of imagination as to what they are thinking. It is understandable for the voiceover to exist to avoid triggering people with such an introduction, but the voiceover is only used in that moment and prevents the film from going in-depth to truly dive into what makes the characters tick. Without revealing plot spoilers, the superficial approach then leads the narrative to take simplistic and prosaic conclusions that not only truly grasp the gravity of mental illness but even become more hypocritical in its approach, veering into moments of dependency.
On the plus side, the relentless barrage of quips has been tempered to allow the story and the actors to breath life into their characters, making the pathos more palpable and encouraging the cast to be identifiably human and empathetic in their turmoil. The action scenes devised by the great Heidi Moneymaker – with too many great action films including several MCU films – are enjoyably grounded. The visual ideas in anthropomorphising its central thesis are clever and striking to behold, particularly with its use of darkness as a villainous power that resembles characters being vapourised.
The cast chemistry is amusingly acerbic, and they all imbue their roles with heart, conviction and spirited fun. Few actresses can pull off inner hatred and subtle resolve better than Pugh. Harbour amiably chews scenery that makes his beard look like leftover chunks of the film sets. Russell capably plays the arrogance and prickliness of Walker without softening the edges. Meanwhile, John-Kamen shows a refreshingly serene presence after her work in Ant-Man and the Wasp, Louis-Dreyfus is enjoyably slimy as the director of CIA who is looking out for her self-interests in public safety and political clout, Stan exudes cool and understated charisma without looking bored, while Pullman portrays the stages for the hapless Bob with admirable dexterity without resorting to histrionics.
All of it amounts to Thunderbolts* being a mixed bag that is also the best MCU film since Guardians of the Galaxy Vol. 3 (2023). While its exploration on mental health remains superficial, the film displays ambition to its lofty goals, thrillingly grounded action, and a great cast.
Summary: While its exploration on mental health remains superficial, the film displays ambition to its lofty goals, thrillingly grounded action, and a great cast.
3
Mixed
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