“MAYBE WE CAN BE THE ONES
THAT ARE COMING”
With 2025 already in full swing, the Marvel Cinematic Universe has begun rolling out its trio of feature film entries for the year, starting with Captain America: Brave New World. Directed by Julius Onah, the film stars Anthony Mackie, Harrison Ford, Danny Ramirez, and Tim Blake Nelson, and follows Sam Wilson (as the new Captain America) as he uncovers a political conspiracy involving U.S. President Thaddeus Ross, who finds himself under fire both from international leaders and a more insidious threat from within. Released on February 11th, 2025, Brave New World drew a mixed response from critics and audiences alike. While some praised the performances by Mackie and Ford, the film was criticized for its sluggish pacing, formulaic plot beats, underwhelming action, and lack of overall excitement, though its connections to broader MCU lore and strong visual effects earned it some praise. As of this review, the movie has earned over $415 million at the global box office. Now, Marvel Studios and director Jake Schrier unveils the second theatrical entry in their 2025 lineup with Thunderbolts*. The question remains: can this tale of unlikely heroes and reformed assassins rise above its predecessor’s lukewarm reception, or does it collapse under the weight of its own ambitions and the ever-expanding MCU?
THE STORY
Yelena Belova (Florence Pugh) finds herself adrift, burdened by the ghosts of her Red Room past and the hollowness of her current life. Now working covert missions for CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus), Yelena carries out espionage tasks that feel more like routine than redemption. Meanwhile, Valentina, embroiled in an impeachment scandal in Washington, D.C., scrambles to keep her private organization, known as O.X.E., under wraps, aided (and often hindered) by her overworked assistant Mel (Geraldine Viswanathan). Seeking to tie up loose ends, Valentina dispatches Yelena to infiltrate a black ops site, only for her to discover other assassins have been sent there under the same pretense: Johnny Walker / U.S. Agent (Wyatt Russell), Ava Starr / Ghost (Hannah John-Kamen), and Antonia Dreykov / Taskmaster (Olga Kurylenko). Realizing they’ve been manipulated, the group is forced into an uneasy alliance, recognizing they’ve been deemed expendable. Among them is Bob (Lewis Pullman), a mysterious young man with no memory of who he is or why he’s there. Despite his amnesia, the ragtag crew takes Bob with them as they break out of the facility, setting off on an unpredictable mission. Their numbers grow further with the arrival of Alexei Shostakov / Red Guardian (David Harbour), Yelena’s brash and brutish father, while also entering the fray is Bucky Barnes (Sebastian Stan), the once-tormented Winter Soldier turned senator, who’s determined to expose Valentina’s crimes. As Valentina prepares to launch her next big initiative, the “Sentry Project,” a program aimed at reshaping the future of superhero development, the team must navigate betrayal, trauma, and uneasy loyalties in a world that increasingly sees them as disposable.
THE GOOD / THE BAD
Like many others, I found Captain America: Brave New World to be a rather dull and uninspired entry in the MCU. I understand what director Julius Onah was aiming for, a return to more grounded, politically charged storytelling, but the execution ultimately fell flat. What could have been a sharp, character-driven narrative instead came off as a muddled misstep, making it one of Marvel’s more disappointing outings in recent memory. On paper, the elements were there: legacy characters, callbacks to earlier MCU installments, and a serious tone reminiscent of Captain America: The Winter Soldier. Yet the film never quite finds its footing, leaning too heavily on recycled ideas and half-formed storylines that lack cohesion or emotional weight.
While I appreciated the nods to both The Incredible Hulk and The Eternals, the core narrative in Brave New World felt limp and largely forgettable. Perhaps the film’s strongest asset was Harrison Ford’s presence as Thaddeus Ross, stepping into the role following the late William Hurt. Ford brings gravitas and intensity to the part, but even his scenes feel underutilized, leaving potential untapped. Ultimately, Brave New World tries to do too much without doing anything particularly well. It bites off more than it can chew and ends up offering a bland, lackluster take on the new Captain America legacy, failing to live up to the standard set by its predecessors.
This brings me back to Thunderbolts*, a 2025 superhero ensemble that marks the second MCU theatrical release of the year and the 36th overall entry in the Marvel Cinematic Universe. I honestly can’t recall exactly when I first heard about the project, but the title alone piqued my curiosity. With a name like Thunderbolts*, it seemed like a clear reference to Thaddeus “Thunderbolt” Ross, suggesting he might play a central role, perhaps even leading the team. That assumption felt all the more likely following Brave New World, especially with Harrison Ford having stepped into the role. However, that assumption didn’t materialize. Then came the announcements of returning characters—Yelena, Red Guardian, John Walker, Ghost, and Taskmaster, all portrayed once again by their original actors. That lineup alone was enough to grab my attention.
As promotional material for the film began to roll out, including posters and trailers, I saw all the familiar Marvel hallmarks: big-budget action, punchy humor, and a well-cut preview filled with kinetic energy. It followed the tried-and-true formula, but like many fans, I couldn’t help but wonder if the magic had worn thin. Recent MCU entries, including Brave New World, had underwhelmed both critically and creatively, and I feared Thunderbolts* might follow suit.
Still, I was genuinely excited when the film finally premiered on May 2nd, 2025. I caught it opening weekend, though I waited a bit to write this review, partly to finish my thoughts on Brave New World, and partly to let this one settle in. Now that I’ve had time to reflect, I can confidently say that Thunderbolts* delivers. In fact, it’s one of the stronger Marvel entries in recent memory. The film blends the studio’s signature blockbuster action and comedic rhythm with a sturdier emotional core, strengthened by a sharp lead cast and surprisingly weighty themes. While there are occasional visual stumbles and some uneven patches, the overall result is an engaging, character-driven ride, and a definite step in the right direction for the MCU.
Thunderbolts* is directed by Jake Schrier, whose previous work includes the indie sci-fi drama Robot & Frank and the teen dramedy Paper Towns. While his background leans more toward television than major studio blockbusters, I recall reviewing Paper Towns when it was released…flawed, yes, but a charming and earnest film with solid emotional undertones. Given that résumé, bringing Schrier in to helm the next major Marvel Cinematic Universe installment was an unorthodox choice, to say the least. However, in a surprising and welcome twist, Schrier proves to be an inspired pick. He manages to deliver a film that’s both entertaining and emotionally resonant, a rare feat in the MCU’s more recent output.
Schrier’s fresh perspective is arguably one of Thunderbolts*’ greatest strengths. By shifting focus away from the franchise’s usual A-listers and instead spotlighting lesser-known, secondary characters, he allows a different kind of superhero story to emerge, one centered on outcasts and morally grey figures trying to find purpose. Aside from Bucky Barnes, the team is made up of characters who’ve mostly lived on the fringes of previous films, so giving them the stage here feels refreshing and deserved. In many ways, Thunderbolts plays like Marvel Studios’ answer to DC’s Suicide Squad films, but with stronger character dynamics and a more cohesive narrative. While comparisons are inevitable, Schrier’s take is arguably more successful, striking a clearer tone and allowing the ensemble to genuinely shine.
Naturally, the film retains many of Marvel Studios’ signature hallmarks, namely the blend of action and humor. How well that formula lands may vary depending on your taste, but for me, the comedy worked more often than not. Several scenes prompted genuine laughs, especially through character interactions and situational humor. The team’s back-and-forth banter is one of the movie’s most entertaining features, providing a steady rhythm of sarcasm, snark, and emotional honesty that Schrier handles with care. These exchanges feel like the film’s “bread and butter,” adding both levity and personality. The action sequences, while somewhat limited in number, are well-executed and engaging, though a bit more wouldn’t have hurt. Still, Schrier earns credit for staging both humor and set pieces effectively, ensuring the film maintains momentum while never losing sight of its characters.
What sets Thunderbolts* apart from being just another run-of-the-mill superhero outing is its willingness to explore deeper, more mature thematic territory, particularly in the realm of mental health. The film touches on this subject with surprising sincerity, embracing a darker, more introspective tone than what audiences typically expect from a Marvel release. Many of the main characters in Thunderbolts carry emotional scars, haunted by their pasts and shaped by personal trauma. As the narrative unfolds, several of them are forced to confront these buried wounds head-on, adding weight and authenticity to their arcs. It’s a bold and refreshing direction, one that resonates beyond the usual heroics and visual spectacle. The truth is, you don’t need to wear a cape to understand the struggle of internal pain; many people carry emotional burdens and try to suppress them instead of facing them. Schrier captures this human truth with sensitivity and nuance, crafting a story that not only entertains but also acknowledges the quiet battles so many endure, making Thunderbolts* one of the more thematically resonant entries in the MCU to date.
In line with that grounded approach is the film’s third act, which genuinely took me by surprise, in the best way possible. Rather than following the typical comic book formula of staging a climactic showdown in a bustling metropolitan city, director Jake Schrier opts for a more unconventional route. While the finale still includes some of the expected blockbuster beats, Schrier leans into a more psychological angle for the resolution, favoring emotional tension and character-driven stakes over a standard hero-vs-villain brawl. It’s a welcome detour from the norm, offering a narrative “curveball” that feels both refreshing and thematically resonant. Certain story elements could’ve been tightened, and some character arcs deserved a stronger spotlight during this stretch (more on that below), but overall, the choice to subvert expectations paid off, and I didn’t see it coming.
This bold shift fits well within Thunderbolts*’ broader identity. Schrier delivers a superhero film that not only taps into the spirit of classic Marvel storytelling, but also demonstrates a firmer grasp on character depth and narrative focus, something that’s been noticeably lacking in many of the franchise’s more recent outings.
From a presentation standpoint, Thunderbolts* meets the industry standards expected of modern blockbuster tentpoles, and that’s not necessarily a bad thing. The film doesn’t aim to dazzle with sprawling, fantastical landscapes or distant alien worlds. Instead, it grounds itself in a blend of real-world settings with light touches of superhero flair. This approach feels intentional, placing more narrative focus on character dynamics and story progression rather than on elaborate world-building. From the high-tech, covert O.X.E. bunker to the urban grit of New York City, the film offers a solid variety of visually engaging set pieces. The production design is bolstered by strong efforts from the costume, hair, and makeup departments, all of whom contribute meaningfully to the physical aesthetic of the characters. The attention to detail in wardrobes and styling feels purposeful and fitting. Credit is due to Grace Yun (production design), Gene Serdena (set decoration), Sanja Milkovic Hays (costume design), and the full art direction and hair/makeup teams for crafting a world that maintains Marvel’s signature balance, one foot in grounded reality, the other in comic-book spectacle.
Visually, the film also benefits from the sharp cinematography of Andrew Droz Palermo, whose lens captures the gritty, street-level nature of the story while still delivering moments of cinematic grandeur. His framing choices elevate several key sequences, blending intimacy with scale in ways that serve both the action and the emotional beats. Complementing the visuals is the film’s score, composed by experimental music group Son Lux. Their orchestral work ranges from bombastic and intense to somber and introspective, striking the right tone throughout the film’s many shifting moods. The score enhances both the superhero drama and the personal moments, lending the story an additional layer of emotional resonance. Rounding out the audio experience is a strong lineup of licensed tracks that are woven into the narrative with care, each song choice feeling purposeful and well-placed, adding further style and rhythm to the film’s atmosphere.
Unfortunately, Thunderbolts isn’t without its shortcomings, elements that, while not enough to derail the entire film, do prevent it from reaching the heights of superhero greatness it clearly aspires to. Chief among these is the film’s occasionally scattered narrative focus. While there’s a defined end goal driving the plot forward, the movie sometimes veers off course with detours into unnecessary comedic beats or supporting character tangents. These moments, while not entirely unwelcome, disrupt the pacing and could’ve benefited from more finesse. A tighter, more streamlined narrative would have helped maintain momentum and better served the film’s emotional and thematic weight.
Another area where the film falters is in its tonal balance between grounded storytelling and conventional comic book spectacle. Thunderbolts* frequently highlights the fact that most of its central team members lack traditional superpowers, often playing this up for laughs with lines about “punching and shooting” their way through problems. Yet ironically, the team’s primary antagonist does possess superhuman abilities, creating a bit of tonal dissonance that undercuts the film’s intended “street-level” aesthetic. One particular scene where the group encounters this powerful threat comes off as especially hokey and undermines the tension. A more grounded narrative approach, leaning further into espionage, grit, and personal stakes, could have created a stronger, more consistent experience. Additionally, the film could’ve used a touch more action; while what’s presented works, a few more dynamic set pieces would’ve helped amplify the visual energy and tension.
On top of that, a few of the story mechanics and character choices feel undercooked or awkwardly executed, most notably surrounding Valentina and her “Project Sentry” initiative. The idea of manufacturing a new superhero who eventually goes rogue echoes the very premise that led to Ultron’s creation in Avengers: Age of Ultron. Has the MCU really not learned from its past mistakes? It feels like a lapse in logic and, frankly, a missed opportunity for more thoughtful writing. Valentina herself, while played with some flair by Julia Louis-Dreyfus, ultimately falls flat as an antagonist. Her motivations are thin, her presence borders on caricature, and she comes off as more cheesy than menacing. Lastly, the film’s third act, while refreshingly unconventional in some respects, misses key opportunities to give supporting characters their due, moments that could’ve added depth and closure to their individual arcs.
The cast of Thunderbolts* delivers across the board, with most of the key players, especially those on the superhero team, bringing strong chemistry, sharp timing, and solid character work to the table. The group dynamic is a standout, with each actor contributing humor, emotional depth, and compelling presence to their respective roles. Leading the charge is the return of Yelena Belova, the formidable Black Widow assassin who turned freelance mercenary, once again portrayed by Florence Pugh. First introduced in Black Widow, and later appearing in the Hawkeye series, Yelena has quickly become a fan-favorite, and Pugh’s performance here further cements that status. With acclaimed roles in Little Women, Oppenheimer, and Dune: Part Two, Pugh continues to showcase her versatility and screen command.
As the film’s emotional anchor and central protagonist, Yelena carries much of the story’s weight, and Pugh rises to the occasion with poise. She strikes a compelling balance between vulnerability and lethal confidence, capturing Yelena’s ongoing struggle with her past while maintaining the sardonic wit that has made the character so beloved. Whether she’s leading a mission or exchanging quips with her teammates, Pugh commands attention. Her chemistry with the ensemble is natural, and her ability to shift between action, drama, and humor is one of the film’s greatest assets. It’s a true pleasure to see Yelena step into the spotlight and continue to evolve, with Pugh anchoring the role with both strength and nuance.
Stealing many of the film’s funniest, and most heartfelt, moments is David Harbour’s return as Alexei Shostakov, a.k.a. Red Guardian, the Russian super soldier counterpart to Captain America and Yelena’s flawed yet caring father figure. First introduced in Black Widow, Alexei’s character left a memorable impression, and Harbour picks up right where he left off. Known for his standout work in Stranger Things and Gran Turismo, Harbour brings a seasoned blend of comedy, heart, and bruised ego to the role. His dynamic with Pugh remains one of the emotional highlights of the film, offering a deeper exploration of their fractured but affectionate relationship. While Yelena often shows visible frustration with him, Alexei’s parental affection and occasional wisdom give their scenes a warm and grounded core.
There’s no question that Harbour handles the film’s comedic beats with expert timing—his line delivery is impeccable, and his larger-than-life persona fits perfectly within the ensemble. Bringing back a character that could’ve easily been a one-off was a smart move, and Harbour makes the most of it. His return as Alexei adds levity, emotional texture, and a much-needed dose of heart to Thunderbolts*, making his presence one of the film’s most satisfying choices.
Thunderbolts* also marks the return of Bucky Barnes, a.k.a. the Winter Soldier—an enhanced super soldier and longtime ally of Steve Rogers’ Captain America, now reimagined as a U.S. Congressman. Sebastian Stan (The Apprentice, The Last Full Measure) reprises the role once again, bringing with him the quiet gravitas and hardened experience that has come to define Bucky’s character. Among the ensemble, Bucky stands out as the most seasoned and strategically capable, making him a natural candidate for the group’s “de facto” leader, a role that feels shared, to some extent, with Yelena. It’s refreshing to see a well-established character like Bucky interact with this more unconventional, ragtag lineup of heroes and antiheroes. Having portrayed the role across multiple MCU films and series, Stan slips back into character with the kind of ease that only comes from years of familiarity.
That said, Thunderbolts doesn’t offer much in the way of new development for Bucky, and that’s not necessarily a flaw. His arc has already undergone substantial growth since his debut in Captain America: The First Avenger, and his current role feels more like a steady continuation rather than a reinvention. While the narrative doesn’t dig too deeply into his character this time around, Stan’s presence anchors the film, and seeing Bucky step into a more leadership-oriented role is both fitting and satisfying.
Returning to the fold is John Walker, a.k.a. U.S. Agent, an enhanced super soldier who was once chosen as Steve Rogers’ official successor to the Captain America mantle before receiving an honorable discharge, as seen in the Disney+ series The Falcon and the Winter Soldier. Portrayed once again by Wyatt Russell (22 Jump Street, Monarch: Legacy of Monsters), Walker steps into Thunderbolts with a more favorable light cast upon him. While his character was initially met with backlash and disdain during his television debut, the film repositions him with a surprising blend of comedic timing and unexpected camaraderie, especially in his interactions with Yelena and the rest of the team. Russell embraces this evolution well, balancing a tougher, more aggressive edge with subtle notes of regret that simmer beneath the surface. Though the script acknowledges Walker’s trauma, it doesn’t explore it as deeply as it could have, particularly in the film’s final act. That said, his inclusion in the ensemble is a strong one, and Russell arguably delivers an even better performance here than in his original series appearance.
One of the returning characters is Ava Starr, a.k.a. Ghost, the phasing assassin once again portrayed by Hannah John-Kamen (Ready Player One, Killjoys). While her presence is consistent throughout the film, Ava’s role feels limited in scope, primarily serving as a reactive character for dialogue exchanges and helping move the action along when needed. Unfortunately, Thunderbolts* offers little in the way of character development for Ava since her last appearance in Ant-Man and the Wasp. That said, it’s satisfying to see her no longer suffering from molecular instability, with full control over her powers displayed in sleek, precise moments. Though underutilized, Ghost’s return to the MCU is welcome, and John-Kamen’s performance continues to bring energy and poise to the ensemble.
Perhaps the least spotlighted member of the core team is Antonia Dreykov, a.k.a. Taskmaster, the formidable assassin with photographic reflexes who returns under the stoic mask once more, played by Olga Kurylenko (Quantum of Solace, Magic City). Without diving into spoiler territory, her role in this story unfolds in a way many may have anticipated and, unfortunately, the result lands with a rather anticlimactic thud. There’s little more to say without revealing key plot details, but suffice it to note that her arc doesn’t deliver the punch it could have.
Among the film’s supporting players, Thunderbolts* introduces two notable additions: Valentina Allegra de Fontaine, now serving as CIA director and secretly heading the shady O.X.E. organization, and Bob, a mysterious young man suffering from amnesia yet harboring immense untapped power. These roles are portrayed by Julia Louis-Dreyfus (Seinfeld, Veep) and Lewis Pullman (Bad Times at the El Royale, Top Gun: Maverick), respectively. Louis-Dreyfus is undoubtedly a talented performer, and her return as Valentina is welcome, but something about the character’s presence in Thunderbolts feels slightly off. It’s difficult to pinpoint exactly, but much of her dialogue seems written with a different kind of delivery or persona in mind. The sharp, biting sarcasm we expect from her doesn’t quite land the way it should, giving the impression that the lines were meant for another type of performance. While she brings an element of theatricality and clear enjoyment to the role, leaning into Valentina’s more over-the-top, scheming side, her character’s motivations feel underdeveloped, lacking the sharp edge and narrative weight the film seems to be aiming for.
Bob, on the other hand, emerges as one of the film’s most intriguing characters. Pullman delivers a quietly compelling performance, grounding Bob with vulnerability and understated strength. As the narrative unfolds, Bob serves as something of a catalyst, his mysterious origins and emotional fragility gradually shaping the story’s direction and tone. He becomes a key figure in emphasizing the film’s mental health themes, embodying the inner turmoil and identity struggles that define many of Thunderbolts*’ most poignant moments. Pullman captures that emotional complexity with care, helping the character resonate far beyond just his powers or narrative purpose.
The supporting cast helps flesh out the broader web of intrigue. Actress Geraldine Viswanathan (Janet King, Blockers) plays Mel, Valentina’s put-upon assistant, actor Chris Bauer (The Wire, True Blood) takes on the role of Holt, a grizzled O.X.E. security operative, and actor Wendell Pierce (Treme, The Wire) as Congressman Gary. Though each character has varying degrees of screen time, all three actors manage to leave a mark in their respective roles. Still, there’s a lingering sense that more could’ve been done, particularly with Mel, who receives substantial screen presence but is given little meaningful payoff. Their contributions work well enough within the film’s framework, even if they fall short of their full potential.
Lastly, Thunderbolts* features two post-credit scenes….one at the mid-point and another at the very end. Without giving away specifics, the first is a lighthearted beat that elicits a chuckle, while the second sets the stage for a major storyline ahead. A word of advice: pay attention to the song list placement at the very end, which does offer a sly clue about what the final post-credits moment has in store.
FINAL THOUGHTS
Forced into uneasy alliances and driven to uncover a covert operation, a ragtag team of secondary heroes and mercenaries must learn to trust one another in order to save the day in Thunderbolts. Director Jake Schrier’s latest addition to the Marvel Cinematic Universe embraces the chaotic energy of antiheroes and misfits, delivering a street-level narrative that’s engaging, unexpectedly emotional, and consistently funny. While the film stumbles in places, bogged down at times by uneven pacing and a few muddled creative decisions, it ultimately succeeds thanks to Schrier’s confident direction, a strong thematic throughline, sharp comedic writing, and a well-rounded ensemble cast. Personally, I enjoyed Thunderbolts* quite a bit. Sure, I have my share of nitpicks, certain story elements could’ve been tightened, and a few characters deserved more attention, but the overall package works remarkably well. It’s a notable improvement over Brave New World, offering a more cohesive and entertaining experience that still captures the spirit of Marvel while branching into slightly riskier, character-focused territory. While some may claim this film marks a return to the MCU’s “cinematic roots,” I’d frame it more as a promising step forward, one that recognizes the franchise’s strengths and begins to recalibrate its storytelling compass. Thus, my recommendation for Thunderbolts* earns a confident “highly recommended.” Hardcore Marvel fans will appreciate the character continuity and deeper emotional beats, while casual moviegoers are likely to enjoy the humor, chemistry, and stylish action. Plus, with the film’s secret ending teasing a larger future for the Thunderbolts within the MCU, whether in another standalone installment or a major crossover event, it’s clear Marvel has bigger plans in store for this unlikely team. In the end, Thunderbolts* proves that there’s still plenty of gas in the tank for the MCU, delivering an action-packed, crowd-pleasing chapter filled with heart, humor, and high-stakes heroism.
4.2 Out of 5 (Highly Recommended)
The Official Website Link for Thunderbolts*: HERE
Released On: May 2nd, 2025
Reviewed On: May 18th, 2025
Thunderbolts* is 126 minutes long and is rated PG-13 for strong violence, language, thematic elements, and some suggestive and drug references.
Related
Movie Review
Motivation
Anime Batch
Ekspedisi Papua
Jasa Import China
Berita Olahraga
