
Florence Pugh
Yelena Belova

After finding themselves ensnared in a death trap, seven disillusioned castoffs must embark on a dangerous mission that will force them to confront the darkest corners of their pasts.
I really didn't expect *Thunderbolts** to be the thing that pulled me back toward the Marvel Cinematic Universe, but Florence Pugh stepping off a skyscraper got my attention fast. For a while now, this franchise has felt like an overamplified room: multiversal nonsense, endless sky-beams, and stakes so absurdly huge they stop meaning anything. Jake Schreier, coming off the twitchy, deeply human ache of Beef, doesn't try to outdo the last ten superhero movies.
He strips the noise away and fixes his gaze on a bunch of damaged people instead. The real fight here isn't external. It's happening inside them.
That gives the movie the shape of a superpowered group therapy session, which I mean as a compliment. There's an indie-drama texture running through it, and that makes sense with Schreier behind the camera. He cares less about how these misfit assassins throw punches—though they do, and hard—than about why none of them can sleep once the lights are out.

That opening scene tells you exactly what kind of movie this wants to be. Yelena Belova, played by Pugh with a jagged, worn-down sadness, stands atop Malaysia's Merdeka 118 tower. The script, co-written by The Bear's Joanna Calo, doesn't treat it like a slick superhero insertion point.
It plays like a private collapse. Yelena is grieving, isolated, and bent under the simple burden of still being here. When she steps off the ledge—a stunt Pugh famously pushed to do herself, without a double—it doesn't feel triumphant.
"A darker, character-focused Marvel entry that delivers genuine emotional depth despite some third-act stumbles."
The raw focus on depression, trauma, and isolation, paired with an emphasis on relationships within the anti-hero team, makes this feel more sincere and human than most superhero blockbusters, with Florence Pugh often singled out as the emotional anchor. At the same time, a late shift into a more surreal, fantasy-style climax, uneven pacing, and hit-or-miss jokes keep it from fully living up to its strongest early promise.
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The New Avengers might be broken in the MCU, but off-screen the Thunderbolts were busy battling scorpions, legal drama, and a box office beatdown. Let’s rummage through the wreckage, shall we?
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