Iron Man and the Avengers aren’t coming to save the world. That’s OK because with “Thunderbolts*,” Marvel gets a rousing heroic refresh courtesy of some B- and C-list supporting characters and A-level talent.
Oscar nominees Florence Pugh and Sebastian Stan lead a group of misfit antiheroes and “defective losers” who have to wade through existential crises to save the day in “Thunderbolts*” (★★★ out of four; rated PG-13; in theaters May 2), Directed by Jake Schreier (“Paper Towns”), it’s one of the better recent outings for a cinematic universe that’s been dealing with creative wobbles. The satisfying adventure features side players from past projects like “Black Widow” and “Ant-Man and the Wasp” coming into their own, plus skillfully juggles bleak darkness and inspired humor in a surprisingly moving exploration of mental health.
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Russian assassin Yelena Belova (Pugh) is depressed, listless and needing purpose, because taking jobs blowing up buildings just isn’t cutting it anymore. She wants something more in life. But not necessarily a death trap: Yelena, troubled ex-Captain America John Walker (Wyatt Russell), stealthy operative Ghost (Hannah John-Kamen) and skilled killer Taskmaster (Olga Kurylenko) are all lured to a remote location to eliminate each other.
The puppet master is Valentina Allegra de Fontaine (Julia Louis-Dreyfus), the CIA director who has appeared in various cameos and post-credits sequences in Marvel movies. (Think Nick Fury/Tony Stark but more twisted.) She’s hauled into congressional hearings by her critics – including Bucky Barnes (Stan), former Winter Soldier and current congressman from Brooklyn – for human experimentation and other morally dubious machinations. Her goal is to produce superheroes she alone can control, and feeling the heat, Val gets rid of all evidence of her wrongdoing, including assassinating her shadow operatives.
Yelena and her new pals escape their doom alongside Bob (Lewis Pullman), a guy who wakes up at the black site with amnesia and ends up having some serious Superman-type abilities. Yelena’s dad, former Soviet super-soldier Red Guardian (David Harbour), joins the team, as does Bucky, and they face off with Valentia as well as an enemy called The Void that tests them physically and psychologically.
“Thunderbolts*” harks back to the early, simpler days of the MCU, combining likable personalities with a straightforward, uncomplicated story. That works better than something like, say, “Captain America: Brave New World” that tries to be three movies in one. Still, the new movie is detail-oriented when it comes to the bigger picture. (For example, there’s a very good payoff to why there’s an asterisk in the title.)
It also pulls back on the massive visual effects extravaganzas the Marvel movies have turned into, instead using Hollywood magic when it narratively makes the most sense and embracing a more traditional action-movie feel with characters who “punch and shoot” a lot. And they’re disparate personalities that you care for because time is spent showing their vulnerabilities – each earns their moment to confront past tragedies and regrets.
Pugh, often great in her non-superhero efforts, is stellar here, bringing electricity and emotion to the struggling Yelena. Harbor’s enjoyably over-the-top Red Guardian continues to be a paunchy scene-stealer, Pullman scores a nice MCU debut as a complex mystery man, and Louis-Dreyfus reigns as a deliciously snarky antagonist. Not every villain needs to be Thanos – sometimes the best/worst ones, like Val, lean more toward real life.
As a superhero “Bad News Bears,” “Thunderbolts*” reminds us of how vital and relatable the MCU still is when it wants to be, and how hugs and friendship at the end of the day are essential to everyone, even a motley crew of unlikely heroes.
This article originally appeared on USA TODAY: ‘Thunderbolts’ review: Florence Pugh, cast make Marvel movie magic
