Thunderous* Applause: Marvel’s “Thunderbolts*” has everything viewers could want in a superhero movie, and more

“When I look at you, I don’t see your mistakes.” 

David Harbor’s heart-felt performance as “The Red Guardian” doesn’t begin to establish the amazingly realistic and fleshed-out characters of Marvel’s newest film “Thunderbolts*.” 

Before I watched “Thunderbolts*,” I didn’t know the difference between a “dark” film and a “gritty” film. Gritty films are grounded in realism and dire situations while dark films can present themselves through many different genres. 

While the film is easily Marvel’s darkest — having some of the most emotional and personal moments since “Infinity War” and “Endgame” — watching “Thunderbolts*” was the most fun I’ve had with a Marvel film since I was twelve. 

The film follows Florence Pugh’s character Yelena, one of several secret agents — such as Red Guardian, who also happens to be Yelena’s father — set up to die by CIA Director Valentina. Valentina is attempting to cover up her top-secret “Sentry” initiative, aimed at creating a superhuman stronger than all of the Avengers combined whom she controls. 

Yelena, along with the rest of the special agents all band together to stop Valentina’s scheme for global power, naming themselves the “Thunderbolts.” 

Though the film covers themes of loneliness and PTSD brought on by guilt and shame, the dark topics don’t define the film as a whole. The underlying message of hope is a contrast to the nihilistic and gritty takes on superheros like in Zach Snyder’s “Watchmen.”

Though gritty films have their place in comic-book movies, “Thunderbolts*” is able to achieve something few other action films have — mass appeal in genre and entertainment. Anyone can enjoy “Thunderbolts*.”

Even the name “Thunderbolts*” comes from Yelena’s childhood soccer team “The West Chesapeake Bay Thunderbolts,” who never won a single game, a clever and oxymoronic detail that emphasizes the film’s ability to genre-blend. 

“Thunderbolts*” is just as much a “family” film as it is a dark action thriller and balances the two components seamlessly through the characters’ witty banter amongst each other.

The villain of the film is an over-powered void of a “superhero” that isn’t stoppable with guns and flying fists, giving way for a creative and unique approach at stopping an Avengers-level threat. 

Ever since I watched “Thunderbolts*,” I’ve wanted to watch it again, since I’ve genuinely never seen anything like it. 

I find it incredibly promising that both “Captain America: Brave New World” and “Thunderbolts*” work incredibly well on their own and are enhanced by an extensive knowledge of the Marvel Cinematic Universe. 

I’m not one to give Marvel a lot of leeway when it comes to the quality of their films and still think post-“Spider-Man: No Way Home” there hasn’t been much of value in the MCU. But after “Thunderbolts*,” I’m incredibly optimistic about future Marvel films. 

When I see “Thunderbolts*,” I don’t see its mistakes.

Touching, deep, fun and personal. There’s no better way to describe this film. I walked out of the theater with a smile on my face and a happy message to take home, making me optimistic about my future and my goals, much like the characters in the film.
So, if the West Chesapeake Bay Thunderbolts didn’t win a single soccer game, even with a future world-saving assassin on their team, I’m sure your failures won’t define your future.