Thunderbolts*

That Thunderbolts* (and yes, the movie explains that asterisk) emerges as one of the MCU’s most successful team-up movies is its own victory, considering that the team in question is made up of a collection of sidekicks, oddballs, and losers, mostly culled from lesser-known Marvel movies and even TV shows.

Although it’s hard to shake the sense that on a practical level this studio is just scraping the bottom of the barrel, desperately hoping their minor characters can be converted into headliners, they’ve done a damn good job of it.

A funny-but-tortured femme-fatale performance from Florence Pugh as Russian assassin Yelena Belova, brutal and tactile fights and a merciful lack of confusing backstory makes for the most enjoyable MCU entry in a while.

This might be the funniest cast Disney has ever assembled in the MCU. Every character plays off the others wonderfully, giving the whole movie the kind of chemistry that the franchise hasn’t had since the original Avengers.

Thunderbolts* is the most solid the sacred timeline has felt in a little while, providing an adventure befitting its overlooked title characters. While it very capably dabbles in a darker tone – touching on the mental health of heroes and villains alike – the filmmakers struggle to balance that dabbling with a snappy, comedic energy. While the movie as a whole left me feeling like it was a downer on the balance, it’s at least the good kind of downer, filled with characters I’m looking forward to seeing again.

Thunderbolts* works best as a jokey romp at home to tolerable quips amid mounting chaos.

While Florence Pugh and David Harbour try to inject some soul into the chaos, the film proves that no amount of punchlines can save a story that forgot its superpower. Sometimes you don’t need a group hug—you need a good old-fashioned throwdown.

What more can I say? DC needed two ‘Suicide Squad’ movies to properly bring its anti-heroes together, while Marvel nailed it on the first try. There’s never a dull moment — action, humor, and the perfect balance of both!

A Chronicle of Imperfect Heroes Rising Above the Abyss of Loneliness Through Human Warmth250921 (3.2)The film masterfully explores the crushing weight of existential void—a tiny dot of emptiness in the heart that eventually consumes one's entire being. It rejects the cold, clinical advice of relying on others as a mere obligation, illustrating how such words can often build higher walls. Instead, it powerfully demonstrates that only the silent, physical warmth of someone saying "I am here" can truly thaw a frozen soul. The narrative journey of Yelena, who has transitioned from losing a sister to becoming a "big sister" to a ragtag team, is deeply moving. Her struggle to process Natasha's death while battling alcoholism and a sense of purposelessness adds a layer of raw realism rarely seen in the genre. Alongside her, Alexei emerges as a standout "cutie" of 2025, providing a perfect blend of comedic relief and paternal warmth that anchors the emotional stakes.Despite some jarring narrative jumps, the film succeeds in rebranding these "misfits" into a functional, if unconventional, family. The introduction of Sentry and the personification of "The Void" serves as a brilliant metaphor for the internal trauma each character carries. The contrast between the polished, "classic" Avengers and this gritty, flawed group of mercenaries—including the surprisingly capable bureaucratic characters like Valentina and Mel—refreshingly deconstructs hero tropes. The film's conclusion, though slightly simplistic in its resolution of the Sentry threat, leaves a lasting impression by emphasizing that in a world where everyone feels destined to be alone, the simple act of a hug or shared presence is the ultimate heroic feat. It is a heartwarming yet bittersweet addition to the franchise that makes the audience eager to see this dysfunctional squad return.

Average over all. The movie seems to be an introductory piece for future movies. The movie is mainly about the phycological elements of each character. The movie also introduces another OP villain, only this time we have only mortal humans to fight it instead of gods and aliens.

[SPOILER ALERT: This review contains spoilers.]

Cette nouvelle marvellerie est moins woke que d’habitude, ce qui ne veut pas dire qu’elle ne l’est pas (bien entendu) mais on observe par exemple moins de diversité ou du reste, le minimum admissible en tout cas, ce qui ne laisse pas d’étonner de la part d’une marvellerie moderne !En outre, la réalisation s’avère de bonne facture, ce qui permet de profiter de quelques bastons agréablement, sans compter les effets spéciaux « boum-boum-badaboum » communs à toute merdvellerie de super-héros et super-héroïnes (bien entendu) : c’est de l’archi classique de chez classicus à cet égard. C’est la dinde Florence Pugh qui s’y colle et remporte la tête d’affiche (carrément) : c’est une jambonneuse un peu rude et un peu rustre, une jambonneuse de la campagne en quelque sorte… elle n’en reste pas moins assez charmante dans l’ensemble et même plutôt convaincante ici et là. C’est que ces héros-là sont plutôt ici des anti-héros, pas aussi cons que ceux de « Suicide Squad » (mais presque) et en proie à leurs propres démons via hélas une psychologie de comptoir souvent maladroite (même si on peut saluer l’effort pour leur donner un début de personnalité… notamment le personnage -dépressif !- de Yelena). La trame néanmoins de cette pseudo histoire tourne un peu trop vite à vide comme un hamster désoeuvré… la bêtise et la bouffonnerie l’emportent sur les enjeux (dramatiques) et donnent à l’ensemble une allure de mauvaise comédie et de film d’action souvent mollasson… C’est donc finalement une marvellerie assez regardable mais pas trop quand même : difficile en effet de ne pas passer en avances rapides (au pluriel)… ici et là, de temps à autre, pour réveiller (ou passer plus vite) ce merdier !