Thunderbolts* – REVIEW & COCKTAIL – The Martini Shot

Here we are again; another Marvel movie, another day of remembering when I used to get excited for these things. It genuinely feels like a lifetime ago when the idea of the MCU’s ongoing story growing ever grander actually piqued my interest. But with a cluttered and messy universe, a tendency to rely on formulaic filmmaking, and an inability to create characters worth caring about, my interest in the Feige madhouse has slowly deteriorated little by little. Maybe another Fantastic Four movie or bringing Robert Downey Jr. back could be cool, but what about the last few years of Marvel movies gives me any reason to believe the franchise is heading for a course correction?

Which brings us to Thunderbolts, yet another reminder that there are still some characters worth trying to throw at the wall and see if they stick. But Thunderbolts has something that makes it stand apart from most of Marvel’s most recent projects; it actually feels like it’s trying to be a movie, and because of that, I actually think this was pretty good.

Thunderbolts is the closest I’ve felt to an MCU project having heart and purpose for some time. Sure, things like forcing connection to a bigger universe and a stale, basic presentation definitely hold it back, yet the film still managed to make me give a damn about the characters and connect with them on a deeper, human level. This of course is due in part to some solid performances and a narrative that’s unafraid to delve into some heavier themes. Sure, these ideas aren’t the most nuanced or original, but just having them there gives the film a relatability and groundedness that makes you occasionally forget this is a world of action figures smacking into one another. It’s a bit too soon for me to unfurl my “We’re back” banner, but for the first time in a while, like the film drives home, there is hope.

So the Thunderbolts are a ragtag group of misfits that are tricked into attempting to kill one another to tie up loose ends for their employer, Valentina Allegra de Fontaine. Yelena, John Walker, Ghost and Taskmaster soon realize they’ll need to stick together to survive, especially when they come across the sheepish Bob, who may just be a manufactured god walking amongst men. Throw the Winter Soldier and Red Guardian into the mix, and you’ve got a suicide squad you actually don’t wanna see die by the end.

Maybe it’s unfair to compare this to Suicide Squad, but I couldn’t help myself, especially when you see all the similarities that Thunderbolts just does better. The character dynamics are a lot more enjoyable and believable, their purpose actually makes feasible sense, and they’re not hanging around Jared Leto. There’s an actual sense of comradery here, with everyone being linked by unchecked trauma and souls in need of healing, which manages to unite them against both a physical and existential threat. Leading the charge is Yelena, played by Florence Pugh, who absolutely crushes it. It’s one thing to just portray a character experiencing emptiness, but it’s another to actually make it feel real and a little gut-wrenching. Pugh does just that, proving to be one of the finest actors the MCU has under their belt at the moment. In a way, Yelena is kind of reflective of me and seemingly many other fans who have grown tired of the mundanity of the MCU. Like Yelena, the franchise has kind of just drifted from project to project without a real sense of caring where they end up. But even without that, Yolena manages to be reflective of more pressing issues like loneliness, self-worth and depression. It’s nothing groundbreaking, but it feels like the freshest breath of air compared to what we’re used to.

All of the characters are connected to that idea in someone, but the most striking has to be new addition Lewis Pullman in his second go-around as a character named Bob. Bob is a much more heavy handed representation of these themes, but I think Pullman manages to make him still be emotionally effective. He’s a former addict who sought to prove to the world he mattered by undergoing an experimental procedure that has now left him as a near invincible tank of a man. But that dark side to him, birthed from his self-loathing and depressive nature, threatens to wield those powers for more nihilistic ends. Like I said, it isn’t very nuanced, but the fact that the film manages to handle stuff like this with maturity and grace definitely earns it some points. Plus, the design of the character is just really cool, managing to go from noble to frightening when it calls for it.

The rest of the cast is a bit of a scattershot, suffering from different hindrances. Wyatt Russel’s John Walker and David Harbour’s Red Guardian each get their own little dashes of comedy and internalized pain to work through, while Hannah John-Kamen’s Ghost doesn’t receive nearly as much fleshing out, though her role does at least feel built upon from her first appearance. But then there’s the obvious case of actors kinda phoning it in, and it sucks because it’s two actors I kinda like. Sebastian Stan’s Bucky Barnes kinda plays the de facto leader of the group, but I think after being in so many movies, Stan’s potential disinterest is starting to bleed through the character’s stoicism. Then there’s Julia Louis-Dreyfus’s Valentina who, as a tool for the narrative, is pretty solid, but you can tell this is a performance for the check and nothing more. She’s not terrible, though there’s very little signs of her making this character her own and actually committing to the material, even at its most goofy. And the film does try to set some stakes and urgency very early on by killing a character, but if you’ve seen the trailers, you probably already know who I’m talking about. 

In my opinion, reeling back the story to a more contained, ground-level narrative was definitely the right call. We’ve seen Marvel at its biggest and most bombastic, but it’s been a while since I’ve felt like the movie was actually putting the characters first. Thankfully, that’s the case here, which gives solid reasons to not only root for these misfits, but to connect with them as well. But despite that, the film still knows when to deliver on the violence and mayhem. There is a noticeable amount of practicality at play here, from the stunts to the set pieces. The film kicks off with a no-faking base jump off the world’s tallest building and then immediately follows it up with a pretty solid, one-take, overhead hallway fight. Some of the later fights do have a bit of that weightlessness Marvel has kinda come to be known for, but there’s still genuine creativity upping them to feel more substantial. Whether it be the dynamic camera work in the team’s first encounter with one another to trucks getting flipped Dark Knight style in the desert to another oner with the team taking on an unstoppable foe, these moments are far more memorable this time around. This is also true with the final battle, which I won’t spoil, but I’ll just say it brings the film’s themes full circle in a way that feels refreshing and needed for the series.

But while I’ve gushed plenty about this film, I should preface that this isn’t exactly the game changer the MCU has been looking for. It certainly takes steps in the right direction, but some of my pet peeves with the films still linger. This is probably just a me thing, but I think the way the film shoots anything not filled with action is quite boring, while the editing relies a bit too much on heavy handed cliches like overbearing musical cues and the incessant chopping of scenes that can sometimes strangle the pacing of a scene. It’s a reminder that there’s still a bit of over-bearance from those behind the scenes that want everything to feel similar, which means we often have to sacrifice interesting ideas. This is super apparent when you look at the post-credit scene, which is shot by a different director who is given far more free range when it comes to the look and feel of a film. I wish these other directors would just be allowed to cut loose and not have to worry about the stylistic baggage that comes with these films.

So, take my review with a little bit of hesitance. Thunderbolts isn’t some grand revelation for the franchise that reinvents the franchise and breathes new life into it, but I think it’s the best one to come close in forever. With the characters and story coming from a place of sincerity, I felt the most connected to this universe than I have in years thanks to the film at least trying to treat us like adults for a change. There is an actual glimmer of hope that I may once again be excited for these films, so now it’s just a battle between if or when that hope gets snuffed out. Look, the film is positive, but I’m still allowed to be a nihilist, damn it. Unless Florence Pugh wants to be my friend. That would probably sort everything out too.

RATING

THE VOID

The cold emptiness and crushing loneliness of the infinite abyss sounds like a great inspiration for a cocktail, right? But the big bad of the story, The Void, is so striking and harrowing that I just had to instill his whole vibe into a cocktail. The drink gives off a chilling sensation thanks to the creme de menthe, while the inclusion of cherry juice grips your mouth in a tart hold. Throw in a a little black sugar, and you’ve got an intimidating drink that can only be beat by a hug from Florence Pugh and co.

INGREDIENTS

• 2oz white rum
• 1oz tart cherry juice
• 1/2oz creme de menthe
• 3/4oz lime juice
• 1/4oz – 1/2oz black sugar
• Top: soda water/sparkling water

INSTRUCTIONS

1. Add ingredients to a shaker and shake with ice.
2. Strain into a tall glass (add ice if desired)
3. Top with soda water/sparkling water.