Anthony Bergamini
The latest Marvel Cinematic Universe (MCU) offering, Thunderbolts*, has come out as an unmitigated success critically. Despite so-so marketing, a cast of characters that largely served in the background of various other MCU properties, and a rock simple premise, Thunderbolts* comes across as one of the most genuine, character driven, emotional, and engaging films that Marvel has put out since Guardians of The Galaxy Volume 3.
- Completing Promises Made by Setup in Earlier Films
First and foremost, one of the largest complaints about the MCU post Avengers: Endgame is that nothing really felt that interconnected. Yes, events in some films were referenced in others; but there was not really a narrative throughline in the same vein as the Infinity Saga. One of the several interconnected tissues that Marvel tried to start up immediately after Endgame was the emergence of Julia Louis-Dreyfus’s Valentina Allegra de Fontaine. Throughout a few different MCU films and Disney+ TV shows, Valentina appeared to be recruiting a random assortment of side characters, while also acting towards some nefarious purpose. In Thunderbolts*, this storyline finally gets paid off.
The most astounding part of this is that this is one of the several plot setups that finally has come to fruition. With the ousting of Jonathan Majors as Kang the Conqueror, many worried that Marvel would struggle to course correct. But, unlike the other plot threads that have seemed to dissipate in the wind, the meandering nature of Valentina gets to genuinely bear some fruit, and that is something fans have been clamoring for. The most exciting part about the MCU is that it is this giant, expansive, shared universe. Thunderbolts* is one of the first films in a while that really relies on that premise and allows it to breath in a way that makes this universe feel interconnected once again.
- Maintaining a Character Focused Story
The sad truth about many of the recent Marvel films is that they feel like a means to an end. While many enjoyed The Marvels, there is no doubt that it all feels like a waste of two hours to just get Monica to the alternate universe so that other films could take place. The same could be said for many MCU properties, going as far back as Iron Man 2, where many complained that it just existed to set up the events in The Avengers.
With Thunderbolts*, the film centers itself around the characters first and foremost. At no point does it feel like a means to an end, and the actual growth of the characters feels like the payoff. The story itself feels like a natural progression of events as these characters navigate this world, rather than the characters being thrust through the story that the studio wants to tell. That doesn’t mean that certain events do not have a greater impact on the future of the MCU, but instead, the characters come first, and their choices lead to events that have that shared impact.
Additionally, the events of the film genuinely feel like the MCU is being depicted through the lens of these characters. With the central character of Florence Pugh’s Yelena Belova, the film always feels like its events are centered around her perspective of how the world operates. This film is about depression, and that subject is pushed through the lives of these characters, with Yelena identifying as the one that shares the most about her past self.
- Not Relying on Cameos
Cameos can be an endless pitfall if done wrong. A film that relies on its cameos to bring audiences to theaters is essentially telling the audience that nothing else in the movie actually matters. This was many people’s experience with Doctor Strange in The Multiverse of Madness, with the scene with the Illuminati acting as the event that the film is celebrating, despite it being a film about Doctor Strange. Even Deadpool & Wolverine falls into this trap despite succeeding in other elements. These cameo appearances feel weird upon rewatches at home, because it is obvious that the filmmakers left room for crowds to cheer.
With Thunderbolts*, there are zero cameos outside of a post credit stinger, which is where those cameos belong. This keeps the focus on the characters that the film is centered around and never takes away from the events of the film. Rather than the focus being on the cameos, the Thunderbolts* is always focused on the specific subject matter and characters in the film. Every scene in the film serves that same purpose and it makes the film a while feel complete and not disjointed.
- Discussing Real World, Relatable Issues
While many view superhero films are viewed as escapism, there has to be some semblance of relatability that keeps the audience engaged. In many ways, this is why Eternals did not succeed. The film was a spectacle for sure, but its subject matter felt very disjointed form what was happening in the MCU, and none of the characters really felt relatable. Thunderbolts* is the complete opposite, opting to focus on each of the character’s depression, showcasing their vulnerability in the face of all of the conflicts they are up against.
Wyatt Russell’s John Walker (U.S Agent) is a good distillation of this, with the film delving into his past as a failed Captain America. Throughout the film, Walker discusses how he is the “All American Man” with a wife and child at home, with Bucky revealing later that his family left him because of his obsession over trying to win back public favor. This is the kind of personal, yet relatable storytelling that makes the Thunderbolts* film feels so authentic and enjoyable. Without these moments, the film would almost feel dead, but instead it serves as a greater purpose to discuss, analyze, and dissect depression and how it can be treated.
- Thunderbolts* Feels Like a Genuine Film
When you see “Genuine Film,” there’s a lot that can mean. Technically, any film is genuine; however, this is more in reference to it not feeling like a chopped-up mess that was severely edited to the point where it barely resembles the original script. Yes, we are looking at you, Captain America: Brave New World.
Thunderbolts* never has those moments where it is obvious that a character or scene was modified. Every scene in the film feels like it was part of the original intent, which is also carried over by the significant improvements in flow when comparing the film to some previous Marvel films.
There is a lot of film discussion around pacing, and Thunderbolts* is a good example of how pacing can make or break a scene or a group of scenes. For example, early in the film, there is a scene where Yelena and the other future Thunderbolts* enter a locked chamber where they attempt to kill one another due to Valentina’s machinations. Meanwhile, Valentina is having a party where she is navigating through criticism while Sebastian Stan’s Bucky Barnes plots her downfall. This is all cut together in a way that makes it all feel hectic, which is exactly the point. The filmmakers want this chaotic series of events to feel that way because that is how the characters feel. This is an intentional filmmaking choice that impacts the pacing in a way that benefits events greatly.
Thunderbolts* is a huge step in the right direction for the MCU, with the aforementioned aspects making all the difference. With the emergence of James Gunn’s DC Universe (DCU), there is some hope that he will take a lot of notes from a success like this, prioritizing genuine filmmaking before allowing the film to lose focus of the core idea that spawned it.
