THUNDERBOLTS* (2025) Review

Review

This year Marvel Studios is taking three distinctly different swings at the box office. We’ve already swung political with Brave New World and later this year we go multiversal with Fantastic Four: First Steps. Sandwiched between them is Thunderbolts*, a film which emerges as perhaps the most intriguing gamble of them all. As the MCU steadily builds momentum toward 2026’s Avengers: Doomsday, director Paul Schreier faces the delicious challenge of elevating what many casual viewers might consider an MCU “B-team” to headliner status. By assembling this ragtag crew of morally ambiguous anti-heroes and former villains, Scheier doesn’t just expand the MCU’s narrative playground—he reinvigorates it with a jolt of unpredictability.

What is ostensibly the final movie in the prime universe before Doomsday – First Steps is taking place elsewhere – could easily bear the weight of the 35 films which came before it. Much criticism from darker sides of social media has been levelled at the perceived lack of build up to Doomsday. Studio executives, desperate to restore the critic-proof golden era of the Infinity Saga, could have intervened… But they didn’t. Instead Thunderbolts* feels like a refreshingly stimulating experience in tossing out studio politics in favour of a creator-driven vision for an MCU which embraces complex human emotion. It’s equal parts funny and heart-wrenching and superbly surprising in its capability to drive the audience to care for these “B-teamers”.

Calling the Thunderbolts* a “B-team” isn’t fair. Whilst certain members may be considered as much upon entering the cinema. By the end of its 126 minute runtime all have graduated to the big leagues… those who survive at least. Each is given a chance at levelling-up which is rarely afforded to former villains and supporting players. Eric Pearson’s (Black Widow) story, scripted by Pearson and Joanna Calo (Beef), completely avoids becoming bogged down in past misdeeds. Instead embracing each character’s past and using it as a jumping off point for hefty and well-earned character development all round. Continuously challenging their mental states and constructing a narrative around their recovery from past trauma which coincides with their acceptance to work together. It’s complex psychology but effortlessly made accessible to a Marvel audience without ever feeling cumbersome or tiring.

Working in its favour is an outstanding cast led by Florence Pugh’s Yelena. Whilst Thunderbolts* is an ensemble piece it begins and ends with Yelena. It’s through her experiences in the first act that the world of the film is opened up to the audience allowing us to grasp where all the pieces fit. Pugh is already a fan favourite. It’s easy to see from social media reaction and the crowds showing up to support at fan events in promotion of the film. But more than her star power, Pugh brings an authenticity and calibre to Thunderbolts* (and the wider MCU) which goes beyond anything we’ve seen before. Critics of the franchise will be quick to call Pugh its saviour. In reality this is a case of an actor perfectly cast, capable and enthusiastic to play in this sandbox. Yelena’s arc is perhaps the most well realised in the Thunderbolts* script but its also perfectly written to Pugh’s skills and so she is able to shine on screen making us laugh and cry in equal measure.

It does feel like Marvel has been able to capture lightning in a bottle for Thunderbolts*. Balancing Pugh’s dramatic abilities is David Harbour, returning as Red Guardian. Harbour brings a heartfelt comedy which subtly cuts through tense moments without ever being detrimental. Alexei is well-intentioned but erratic in his approach to fatherhood which plays well with the film’s overall tone. Then there’s Wyatt Russell returning as John Walker, the failed replacement Captain America last seen in The Falcon and the Winter Soldier. Walker carries a lot of shame with him, both professionally and personally. Russell is able to bring a stoically traditional sense of duty which makes Walker immediately recognisable as the archetypal tough guy. Being able to soften his edges, allowing him to share his emotions, really opens the character up for a brighter future. Likewise Hannah John-Kamen as Ghost, is given plenty of material enabling Ava to feel like a well rounded character with enough purpose and capability to join the team. Each of these less exposed characters feels perfectly matched to the team. There’s a surreptitiously perfect slotting together of the puzzle pieces which, once completed, is electric to watch on screen.

That leaves Sebastian Stan, returning for his ninth live-action appearance as Bucky Barnes. Easily the most developed character coming in, he still has a lot to learn about family. Whilst he is perhaps afforded a little less focus on past trauma. Thunderbolts* gives Bucky the chance to find his place amongst peers where much of his time has previously been spent simply serving the plot. Easily another fan favourite, Stan lights up any scene in which he appears and it’s great to see him having a little more fun this time around.

On the opposite side of the coin are Valentina Allegra de Fontaine (Julia Louis-Dreyfus) and Bob (Lewis Pullman). Neither is a villain in the traditional sense which adds to Thunderbolts* wonderful ambiguity. Revelling in that grey area, Dreyfus is splendidly melodramatic in bringing Val’s paranoia to the screen. A small scene from her past contributes an invaluable amount to her motivation affording the character more development than all of her past appearances. Though she’s never moustache twirling, Val certainly gives off that kind of camp energy which we need from this kind of character. She’s never going to pose a physical threat but her mind is her greatest weapon. Meanwhile Bob’s mere inclusion in the film’s cast will be enough to cause comic book fans to salivate. Bob has a long storied history as Sentry, a hero of Marvel Comics with a darker side, glimpsed in the Thunderbolts* trailers. I don’t want to say too much so as to avoid spoilers. But Pullman is a great addition to the MCU. His performance is an amalgam of the rest of the cast put together. He has the ability to portray great pain like Pugh with the comedic edge of Harbour and the stature of Russell. There will absolutely be a lot of talk about him once the film is out in the world.

There’s something spectacularly grounded about Thunderbolts* which also works in its favour. Action set pieces are rooted in stunt performances rather than visual effects. It creates an atmosphere that feels more tangible than standard comic book movie fare. Seeing Florence Pugh step off the side of the second tallest building in the world during the opening sequence sets a high bar that is continuously met. There are moments which put its $150-200M budget to work, particularly once Sentry’s powers fully emerge. So whilst the film isn’t built to capture us purely with its spectacle it’s still able to do so when it counts. But Thunderbolts* truly excels when it thinks more creatively. Its third act “final battle” being one of the most unique, out of the box, experiences in MCU history which will linger in the minds of fans long after leaving the cinema.

Verdict

Thunderbolts* is a huge home run for Marvel Studios. Anchored by an exceptional performance from Florence Pugh, its motley crew cast is able to bring new depth to the MCU. Balancing mental health with world-ending stakes, director Paul Schreier has created an exhilarating mix of action, comedy and drama which must be seen on the big screen.

⭐⭐⭐⭐

* I’m not going to spoil the reason behind the asterisk here!