Thunderbolts* Movie Review: A Hilarious Antihero Extravaganza

Buckle up, Marvel fans, because Thunderbolts* (yes, that asterisk is winking at you like a mischievous toddler) has crash-landed in theaters, and it’s the cinematic equivalent of a dysfunctional family reunion at a demolition derby. Directed by Jake Schreier, this 36th entry in the Marvel Cinematic Universe (MCU) is a wild, irreverent romp that feels like Guardians of the Galaxy got drunk with The Suicide Squad and decided to rob a bank for giggles.

With a runtime of 2 hours and 6 minutes, a PG-13 rating for “strong violence, language, thematic elements, and some suggestive and drug references,” and an ensemble cast that’s basically the MCU’s B-team on steroids, Thunderbolts* is here to remind us that sometimes the best heroes are the ones who’d rather be napping.

In this 5000-word review (because you asked for a novel, and I’m an overachiever), I’ll break down why Thunderbolts* is the most chaotic, hilarious, and surprisingly heartfelt addition to the MCU yet. Expect spoilers, bad puns, and enough snark to make Yelena Belova proud. Let’s dive into this antihero extravaganza like we’re freefalling off a skyscraper with Florence Pugh.

Cast (credit – https://en.wikipedia.org/wiki/Thunderbolts*#Cast)

• Florence Pugh as Yelena Belova:
  A member of the Thunderbolts who was trained in the Red Room as a Black Widow assassin.^[3] Pugh said the character has been affected by the traumatic events of recent Marvel Cinematic Universe (MCU) projects, including the death of her adoptive sister Natasha Romanoff / Black Widow in the film Avengers: Endgame (2019).^[4]
• Sebastian Stan as Bucky Barnes:
  An enhanced super soldier with a cybernetic arm who is the de facto leader of the Thunderbolts.^[3][5] Presumed killed in action during World War II, he reemerged in the present day as a brainwashed assassin before his programming was removed,^[3] and has since been elected as a member of the United States Congress.^[6] Stan compared Barnes to Jack Nicholson‘s character Randle McMurphy in the film One Flew Over the Cuckoo’s Nest (1975), saying they were both coming into a chaotic and degenerate group whose members need to be united.^[7]
• Wyatt Russell as John Walker / U.S. Agent:
  An enhanced super soldier and member of the Thunderbolts. He is a former decorated Captain of the U.S. Army Rangers who was chosen by the U.S. government to become Steve Rogers‘s successor as Captain America before receiving an other than honorable discharge in the Disney+ miniseries The Falcon and the Winter Soldier (2021).^[3]
• Olga Kurylenko as Antonia Dreykov / Taskmaster:
  A member of the Thunderbolts with photographic reflexes that allow her to mimic opponents’ fighting styles. She was formerly controlled by her father, Dreykov, to complete missions for the Red Room before being freed by Romanoff in the film Black Widow (2021).^[3]
• Lewis Pullman as Bob / Sentry / Void:
  A superpowered individual who suffers from amnesia.^[8] As the Void, a version of Sentry completely shrouded in shadows, he is invincible, spreads darkness, and can turn people into shadows.^[9]
• Geraldine Viswanathan as Mel: Valentina Allegra de Fontaine’s assistant^[10][11]
• David Harbour as Alexei Shostakov / Red Guardian:
  A member of the Thunderbolts who is the Russian super soldier counterpart to Captain America and a father-figure to Belova.^[3] Harbour said the film further explores the complex relationship between Shostakov and Belova that was introduced in Black Widow. He noted that Belova cannot stand Shostakov, but she needs someone to help her feel complete and Shostakov is able to fill that role.^[12]
• Hannah John-Kamen as Ava Starr / Ghost:
  A member of the Thunderbolts who can phase through objects.^[3] John-Kamen said the film shows a different side of the character following her introduction in the film Ant-Man and the Wasp (2018), with Ghost no longer in a constant state of molecular disequilibrium and able to control her powers with calmness and decisiveness.^[13]
• Julia Louis-Dreyfus as Valentina Allegra de Fontaine:
  A contessa and the director of the Central Intelligence Agency (CIA),^[3][14] who brings together the members of the Thunderbolts.^[2] The film establishes de Fontaine as the one who bought Avengers Tower, now referred to as “Watchtower”, from Tony Stark in the film Spider-Man: Homecoming (2017).^[15] Louis-Dreyfus described de Fontaine as someone who is “after power, control, and just generally she wants to kick ass in the M

  

  arvel Universe”.^[16]

Additionally, Chris Bauer has been cast in an undisclosed role,^[17] while Wendell Edward Pierce portrays a political figure.^[18] Laurence Fishburne and Rachel Weisz are expected to reprise their respective MCU roles as Bill Foster and Melina Vostokoff.^[19] There are conflicting reports about whether Harrison Ford will reprise his role as Thaddeus Ross from the film Captain America: Brave New World (2025).^[20][21]

The Plot: A Gloriously Messy Misfit Mission

Imagine if your boss decided to form a team of the office’s most problematic employees—Carol who microwaves fish, Dave who “borrows” your stapler, and Janet who’s still fighting the photocopier—and sent them on a top-secret mission to save the company. That’s essentially the premise of Thunderbolts*. Valentina Allegra de Fontaine (Julia Louis-Dreyfus, serving manipulative queen energy) rounds up a ragtag crew of MCU antiheroes and villains, traps them in a death maze like they’re in a Saw sequel, and says, “Work together or die. Also, no coffee breaks.”

The team includes:

• Yelena Belova (Florence Pugh), the Black Widow assassin who’s equal parts sarcastic and soul-crushed, like she just read her own Yelp reviews.

• Bucky Barnes (Sebastian Stan), the Winter Soldier turned congressman (yes, really), who’s trying to herd these cats while brooding like a sad puppy in a metal arm.

• Red Guardian (David Harbour), Yelena’s Russian dad-figure who’s basically a vodka-soaked Santa Claus with a shield.

• John Walker (Wyatt Russell), the disgraced U.S. Agent who’s still salty about losing the Captain America gig.

• Ghost (Hannah John-Kamen), the phase-shifting loner who’s like, “I didn’t sign up for this team-building nonsense.”

• Taskmaster (Olga Kurylenko), the move-mimicking badass who’s finally free from her dad’s Red Room brainwashing.

• Bob/Sentry/Void (Lewis Pullman), a mysterious amnesiac with Superman-level powers and a shadowy alter ego that’s basically a walking war crime.

The plot kicks off when Val’s death trap forces these misfits to embark on a dangerous mission that’s less “save the world” and more “don’t kill each other before lunch.” They’re up against Sentry’s evil Void persona, who’s spreading darkness faster than a bad TikTok trend, and their own baggage, which could fill an airport’s lost-and-found. The story’s a mix of espionage, redemption arcs, and moral ambiguity, with a dash of Reservoir Dogs grit and Mission: Impossible stunts. It’s not your typical MCU hero-fest; it’s a dark, grounded tale about broken people finding purpose in chaos.

But let’s be real: the plot is just an excuse to watch these lunatics bicker, punch, and occasionally hug it out. The script, penned by Eric Pearson, Joanna Calo, and Lee Sung Jin, leans into the team’s dysfunction with sharp dialogue and enough twists to make M. Night Shyamalan jealous. Sure, the villain’s motivations are a bit “evil for evil’s sake,” but who cares when you’ve got Yelena yawning in the middle of a briefing?

The Cast: A Misfit Masterclass in Chemistry

The ensemble cast is Thunderbolts*’s secret weapon, like a perfectly timed fart in a quiet elevator—shocking, hilarious, and unforgettable. Let’s break down the MVPs:

Florence Pugh as Yelena Belova: The Heart and Soul

Florence Pugh doesn’t just steal the show; she hotwires it, drives it off a cliff, and walks away in slow motion. Her Yelena is a masterclass in balancing wit, vulnerability, and badassery. Whether she’s freefalling off a skyscraper (a stunt Pugh called “not for acrophobics”) or delivering a gut-punch line about her Red Room trauma, Pugh carries the film’s emotional weight like it’s a feather. Critics on X are raving, with one calling her “the future of the MCU’s superhero generation” for her “layer of vulnerability, strength, and imperfection.” There’s a scene where Yelena and Red Guardian have a “perfect dramatic exchange” that’ll have you reaching for tissues and vodka.

Sebastian Stan as Bucky Barnes: The Brooding Babysitter

Sebastian Stan’s Bucky is the de facto leader, but he’s less Captain America and more “exhausted camp counselor stuck with the problem kids.” Stan channels Jack Nicholson’s chaotic energy from One Flew Over the Cuckoo’s Nest, wrangling this degenerate crew while wrestling with his own past as a brainwashed assassin. His deadpan delivery and subtle chemistry with Pugh’s Yelena make their scenes crackle. Picture Bucky flipping a car in a fight, then muttering, “I need a vacation.” Stan’s performance is a reminder that Bucky’s been through hell and still hasn’t found the exit.

David Harbour as Red Guardian: The Lovable Oaf

David Harbour’s Red Guardian is the film’s comic relief, a Russian super-soldier who’s half Captain America, half your embarrassing uncle at Thanksgiving. His father-daughter dynamic with Yelena is both hilarious and heartbreaking, especially when he tries to cheer her up with a bear hug and a bad Soviet joke. Harbour’s knack for physical comedy—watch him get stuck in a vent—steals scenes, but he also nails the quieter moments, like when Red Guardian admits he’s not the hero he pretends to be.

Julia Louis-Dreyfus as Valentina Allegra de Fontaine: The Scheming Puppetmaster

Julia Louis-Dreyfus is having the time of her life as Val, the morally dubious mastermind who’d sell her own grandma for a promotion. Her quippy one-liners (“There are bad guys, and there are worse guys”) and smug grin make her the perfect orchestrator of this chaos. Val’s not just a villain; she’s a corporate shark in a pantsuit, and Louis-Dreyfus plays her with a mix of charm and menace that’s pure Veep energy.

The Rest of the Crew: Flawed and Fabulous

• Wyatt Russell’s John Walker is a walking inferiority complex, throwing shade and punches with equal gusto. His redemption arc is subtle but satisfying, like finding a $20 bill in your old jeans.

• Hannah John-Kamen’s Ghost is underused but shines in action scenes, phasing through walls like she’s dodging her ex’s texts.

• Olga Kurylenko’s Taskmaster gets more to do than in Black Widow, mimicking foes’ moves with creepy precision and adding a quiet intensity.

• Lewis Pullman’s Bob/Sentry/Void is the wildcard, a sympathetic amnesiac whose Void persona is a terrifying force of nature. Pullman’s complex performance is earning raves, with critics calling him “a character at war with himself.”

The team’s chemistry is electric, like a group chat where everyone’s roasting each other but secretly cares. The banter—especially between Yelena, Bucky, and Red Guardian—feels like an improv session gone rogue. Critics on X praise the “dysfunctional team dynamic” that’s “not unlike Guardians of the Galaxy,” and they’re not wrong.

The Action: Brutal, Beautiful, and Bonkers

If Thunderbolts*’s action scenes were a person, they’d be that friend who shows up to a potluck with a flamethrower and a keg. The choreography is fast, brutal, and gloriously chaotic, showcasing each character’s unique skills. Yelena’s acrobatic knife fights are a ballet of death. Bucky’s cybernetic arm makes every punch sound like a car crash. Taskmaster’s mimicry turns brawls into a deadly game of Simon Says. And Sentry? Let’s just say his powers make Thor look like a guy with a fancy hammer.

The standout sequence is a skyscraper chase where Yelena freefalls, Ghost phases through floors, and Red Guardian… well, he mostly yells and falls. The practical stunts and minimal CGI give the action a gritty, John Wick-esque feel, earnin

g praise for “high-caliber stunts” and “exciting, brutal fight sequences.” The film’s “strong violence” warning—the first for a PG-13 MCU movie—feels earned when you see Bucky flip a car or Sentry turn enemies into shadows.

The Tone: A24 Meets Marvel, With an Asterisk

Thunderbolts*’s marketing leaned hard into its “indie, A24-feeling assassin movie” vibe, complete with a Letterboxd trailer featuring techno beats and a retooled Marvel logo that screams “we’re not your daddy’s superhero flick.” Florence Pugh herself called it a “badass indie” with Marvel superheroes, and director Jake Schreier helped craft this hipster aesthetic. The result? A film that’s darker and weirder than your average MCU entry, with a vibe that’s half Captain America: Winter Soldier, half The Bear (thanks to Schreier’s Beef pedigree).

The humor is irreverent—think Yelena yawning during a mission brief or Red Guardian’s Soviet-themed one-liners. But the film doesn’t shy away from heavy themes like trauma, redemption, and the blurry line between hero and villain. Critics call it “Marvel’s darkest material to date,” dealing with “the emotional wreckage of broken individuals.” It’s not perfect; the pacing stumbles in the second act, and the villain’s arc feels flatter than a pancake at a steamroller convention. But the rough edges fit this team of misfits, making Thunderbolts* feel fresh in a franchise that’s been accused of churning out “slop.”

That asterisk in the title? It’s a cheeky nod to the film’s “cool Marvel” status, as one critic put it. It’s Marvel saying, “We’re trying something new, and we’re not apologizing.”

The Music and Visuals: Electro Beats and Gritty Glory

The soundtrack, featuring a “fat electro beat” by French DJ Gesaffelstein, sets the tone from the opening credits, pulsing like a nightclub on the edge of a riot. Son Lux’s score adds emotional depth, especially in Yelena’s quieter moments. Visually, the film trades the MCU’s glossy sheen for a grittier palette, with muted colors and shadowy lighting that scream “indie cred.” The Atlanta and Utah locations ground the action, while Kuala Lumpur’s skyline adds a sleek backdrop to the skyscraper chaos.

The MCU Context: A Risky Bet That Pays Off

Thunderbolts* comes at a critical time for the MCU. After Captain America: Brave New World flopped with mixed reviews and a 68% box office drop, Marvel needed a win. Thunderbolts* delivers, with test screenings earning raves as “one of the best MCU movies in years” and social reactions calling it “a massive comeback.” The early review embargo lift—two weeks before the May 2, 2025, release—signals Marvel’s confidence, a stark contrast to recent projects that kept critics quiet until the last minute.

As the final film in Phase 5, Thunderbolts* sets the stage for Avengers: Doomsday and Secret Wars. It’s not an Avengers movie, but it proves the MCU can thrive with lesser-known characters. The post-credits scene (stick around!) teases a major shakeup, and fans on X are already losing their minds over it.

The Verdict: A Thunderous Triumph

Thunderbolts* is a blast—a chaotic, hilarious, and surprisingly emotional ride that proves the MCU still has tricks up its sleeve. It’s not perfect; the villain’s weak, and the crowded cast leaves some arcs underdeveloped. But with a stellar ensemble led by Pugh’s Yelena, action that slaps harder than a Red Guardian bear hug, and a tone that’s equal parts gritty and goofy, it’s the shot of adrenaline Marvel needed. Critics on X call it “one of the best MCU movies in a long time,” and I’m inclined to agree. It’s the kind of film that makes you forgive the MCU for Ant-Man and the Wasp: Quantumania.

So, grab your popcorn, ignore the asterisk, and dive into Thunderbolts*. It’s the superhero movie equivalent of a bar fight with your best friends—messy, painful, and totally worth it. Just don’t expect an invite to the Avengers’ cookout.

Rating: 8.5/10
Best Line: Yelena, mid-fight: “Can we hurry this up? I have a date with a sandwich.”