Thunderbolts* is way more than just the MCU’s version of the Suicide Squad

Beginning with its inaugural launch with “Iron Man” in 2008, the Marvel Cinematic Universe has been a staple of movies ever since. Spanning 36 films, 11 TV series and having grossed over $31 billion, it’s a juggernaut to be reckoned with.

However, since the 2019 wrap of its Infinity Saga with the event that was “Avengers: Endgame,” the franchise has been stumbling, trying to find its footing. In the six years since, Marvel has been putting out subpar movies and shows alike, with many meeting mixed to negative critical and audience reactions.

But, despite the string of flops and poor reception, the franchise still chugs along. Including the 36th film entry, Thunderbolts*.

With its seeds first planted in 2021’s series “The Falcon and the Winter Soldier,” as well as in the end credits sequence of that year’s “Black Widow,” it officially began development in 2022.

Hitting roadblocks such as 2023’s SAG-AFTRA strikes (which resulted in the recasting of the Sentry character, following Steven Yeun’s departure due to the delays conflicting with “Mickey 17”), the film finally arrived in theaters on May 2, coincidentally lining up with “Iron Man’s” 17th anniversary. The movie serves as the final film in the MCU’s fifth phase.

As someone who has seen most of Marvel’s movies, it’s easy to tell the quality has been declining as Disney churns out film after film, contributing to a phenomenon dubbed “superhero fatigue.” Another problem lies with recent films such as “The Marvels” failing because people did not want to watch endless movies and TV shows, essentially doing homework, to be able to enjoy a movie.

So, what makes this film different than the usual quantity-over-quality model Marvel has seemingly adopted?

For one, this film feels similar in tone to the early MCU, when the series was more character driven and plot dependent rather than slogging through an adventure just to set up the next entry. It treats its characters as real people. It allows those characters to be flawed.

The antagonist of the film, Sentry, is an extremely complex character who deals with complicated issues of abuse and mental health. In fact, the plot balances on the emotions of all its characters to varying degrees, forcing them to face their pasts and in many cases, their shame.

The film also allows its serious moments to play out without interrupting them with jokes. As many know, Marvel’s fast-quip style tends to undermine any bit of seriousness, such as Thor comically smashing a vending machine during the reveal that Jane Foster becoming Thor is draining her life.

Thunderbolts* thankfully doesn’t do that, permitting moments such Yelena confessing to Alexei that she actually wants him in her life, giving more gravitas to the shaky father-daughter relationship set up in “Black Widow” and providing actors Florence Pugh and David Harbour some real concrete emotional moments amidst the more super-hero storyline.

Even though the third act tends to stumble around, and the movie collapses to the old power of friendship trope, it still balances its humor and character work in a way not seen in a long time.

I like how organic the characters feel. Yes, they’ve all done bad things. And their shame over their past deeds is an anchoring point of the climax. But this is probably the most complex Marvel characters have felt in a long while, with more human emotions at the root of their motivation to save their new friend Bob than some super-hero trope to save the universe.

And you really get a chance to connect with these characters over the film, instead of relying on humor to prop them up. Alexei is not just comic relief, he’s a man trying to reach his daughter with silly dad jokes. John Walker is not just the villain from the “The Falcon and the Winter Soldier,” he’s a man trying to find the good in himself again. Ghost is not just a science experiment, she’s a woman trying hard to fit into a world she doesn’t know.

Then there’s Yelena, easily the most conflicted of this new team. She’s tough, she’s resilient, she’s hurt, she’s at her breaking point. Yet, the film is able to find her compassion for the Bob character and carry it through to the end.

Let’s not forget good old Bucky Barnes, back again as the Winter Soldier, a role that fits him better than a junior congressman. Props to Sebastian Stan for returning to the role and always seeming to find new ways to make this character’s arc of redemption interesting.

I’d like to say the bad guys in the form of Julia Louis-Dreyfus are just as complex, but the movie’s not really about her. She’s just as shallow as other Marvel characters with bad intentions, despite the fun way Louis-Dreyfus plays her.

I enjoyed the action set pieces, and the general feel of the movie. It’s actually less a Marvel movie as they’ve come to be known, and more an action movie fused with levity and human resilience to keep itself from getting too dark.

The movie’s received mostly positive reviews from audiences and critics alike. It’s at a 88% on the Rotten Tomatoes’ Tomatometer and 94% on the Popcornmeter. Letterboxd audiences rate it at 3.8, but mostly 4 stars.

The only question I have now is can Marvel keep it up?

FINAL VERDICT: 3.5 out of 5 stars.

Marvel’s Thunderbolts*, now known as *The New Avengers, is playing in theaters.

Adrien Coakley is a writer who not only enjoys super-hero movies, but every aspect of movie making. He is getting ready to launch a new podcast, where Gen Z and Gen X go the movies and offer their takes on new and classic films.