Thunderbolts* strikes gold in the storm of mediocre superhero films

By Staff Writer Varun Madhavan

As the most recent installment of the Marvel Cinematic Universe (MCU), Thunderbolts* successfully creates a new and compelling story after a series of critical and commercial failures caused by lazy writing and over-abundant fan service. Through its captivating cinematography, three dimensional characters, and heartfelt messages, the movie earns its place as one of the greatest movies of the year. 

In Thunderbolts*, director Jake Schreier continues the stories of six morally grey anti-heroes from the previous MCU installments Black Widow, The Falcon and the Winter Soldier, and Ant-man and the Wasp. The unconventional team, including the U.S. Agent (Wyatt Russell), Black Widow (Florence Pugh), Red Guardian (David Harbour), Ghost (Hannah John-Kamen), Winter Soldier (Sebastian Stan), and Taskmaster (Olga Kurylenko), reluctantly join forces after uncovering CIA director Valentina Allegra de Fontaine’s (Julia Louis-Dreyfus) sinister plans involving a powerful superhuman project. Throughout the story, the characters are forced to confront their past as mercenaries and killers, in order to finally prove themselves as heroes.

The film perfectly resumes the story threads from the previous films and TV shows while still having a focus on its own unfolding plot. The characters’ personalities, motivations, and arcs in this film stay consistent to their earlier appearances, creating a cohesive experience within the franchise that hasn’t been present in recent years. Despite being woven into the MCU’s complex tapestry, the film still manages to stand well on its own; Old and new fans alike can enjoy the film because at no point does the film leave newer audience members confused.

Building upon each of the character’s journeys, Thunderbolts* forms a meaningful story about deeper, serious themes of depression, self identity, confidence, and overcoming trauma. Supported by exemplary acting from Florence Pugh and David Harbour, Thunderbolts* brings gravitas to the typical lighthearted, quip-filled superhero franchise. Unlike other recent MCU stories, the writing doesn’t rely on cheap jokes to undercut the grimness of a scene. Rather, Thunderbolts*’ triumphs by taking itself seriously.

On top of the plot, the characters, and the messages, Thunderbolts* was visually appealing.  The cinematography of Thunderbolts* shines with creative shot compositions and risky color usages. From overhead shots in fight scenes that utilize shadows for emphasizing movements to shaky camera motion for highlighting each character’s nervousness at a given point, almost every camera work decision serves a narrative purpose beyond aesthetics. 

In addition, the soundtrack, composed by Son Lux, adds to the tension of each scene with clever uses of unconventional percussion instruments, such as on the track “Every Man for Himself.” Audiences may also notice the acoustics often subtly pay homage to previous MCU films, such as by reusing motifs and rhythmic patterns from Alan Silvestri’s Avengers theme. Whether the music is aiding a sympathetic flashback or a riveting fight scene, it invariably brings extra emotional punch to an already excellent project.

Ultimately, without having many tangible faults, Thunderbolts* revitalizes the failing superhero flick genre.  The film will no doubt bring back the admiration audiences lost after a series of cash-grab comic book flics.

Rating: A