Thunderbolts Review: A Ragtag team that almost rekindles Marvel's spark

Marvel's Thunderbolts may not bring back the full Avengers-era magic, but it certainly delivers a refreshing detour from the studio’s usual high-gloss formula — thanks to a crew of flawed antiheroes and two powerful women at its emotional core.

Florence Pugh once again proves her acting mettle as Yelena, the conflicted assassin with a past. She brings depth, pain, and authenticity to the screen. On the other end of the emotional spectrum stands Julia Louis-Dreyfus as Valentina Allegra de Fontaine — the cynical, sharp-tongued CIA chief who uses these former operatives like disposable chess pieces. Her character offers biting commentary on power and manipulation, with a line that lands hard: “Righteousness without power is just opinion.”

Director Jake Schreier centers the film around this moral clash, as we follow Yelena, John Walker (Wyatt Russell), and Ghost (Hannah John-Kamen) — each of whom carries emotional baggage from their time doing the CIA’s dirty work. Things heat up when Valentina, facing heat from Washington, tries to have them eliminated.

Enter Bob (Lewis Pullman), a mysterious fellow prisoner in a secret CIA vault. His role feels ambiguous at first but later proves pivotal. Meanwhile, David Harbour returns as Red Guardian, still chasing past glories and stepping up to protect his adoptive daughter, Yelena.

The tone of Thunderbolts is notably looser than your typical Marvel fare. The first half is full of awkward encounters and dry humor as this unlikely group attempts to escape Valentina’s clutches — joined eventually by Bucky Barnes (Sebastian Stan), who shows up just when the plot needs a boost.

These aren’t invincible superheroes. They don’t fly, wield mystical hammers, or have legions of fans. They’re just trying to stay alive — and maybe, just maybe, do the right thing along the way. That’s why the asterisk in the title makes sense — they’re Thunderbolts*, but not quite a team. Not yet.

As the film progresses, the stakes rise and the tone shifts into darker territory. The CIA's labyrinth of "shame rooms" becomes a symbol of guilt and trauma. While the concept is intriguing, the execution wobbles in the final act, losing some of the earlier energy.

Florence Pugh remains the film’s beating heart. Whether she’s tearing through enemies or yearning for a father’s love, she’s endlessly compelling. Unfortunately, Pullman’s Bob doesn’t quite match her intensity, leaving the emotional weight lopsided.

Still, Louis-Dreyfus steals scenes with ease, her wry charisma intact even as chaos unfolds around her. Marvel would be wise to keep her just the way she is.

In the end, Thunderbolts isn’t about saving the world — it’s about broken people trying to salvage pieces of themselves. That’s a story worth watching.