Emotional intestinal blow from cinematographic universe Marvel

Stop me when you heard it before – the colorful crew rejects forced to unite and save the day, despite everyone who confronts them, thinking they were doomed. In the classics of the “dirty dozen” war, it is a pack of prisoners who instructed to kill the Nazis in World War II. In trilogy “Galaxy custody”This is a bunch of strongest heroes with intricate individuals and bizarre vocabulary who rescue the universe. In the “suicide” squad, it is a “dirty ten”, but with Suppriells, the director of the guy who made the films “Galaxy”. But with “Thunderbolts*”, it is a ruler of rejected mercenaries and social pairs with superpowers who need to save themselves before they may hope that they would be useful to anyone else.

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It too One of the best movies in the Marvel Cinematographic Universenamely because it is no Feel something from the current MCU cinema.

The Thunderbolts*, named for the Perfect Losing Season Pee-Wee Soccer Team (Sponsored by Stan’s Tires) that Yelena Belova (Florence Pugh) played on as a child, include the atoremental Adopive Sister of Black Widow, Winter Soldier Turned Congressman Bucky Barnes (Sebastian Stan), The Dishonorably Discharged John Walker (Wyatt Russell), Ava Starr/Ghost (Hanna John-Kame), which finally has a molecular non-editor Russian Super Soldier Alexei Shostakov/Red Guardian (David Harbor), who completely leaned about his unpleasant era of dad.

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And here is Bob (Lewis Poulman) seemingly ordinary guy with serious mental health problems that cross the ways with crew after Julia Louis-Dreifus “Valentina Alegra de Fantten clamps them into a deadly trap. With obligations and orders – because this is the only way to relive any of us, which is the existence of a human fairy tale.

Whether it is quite fair criticism, it is a subjective, but there is a suggestion that when famous actors sign on a movie about superheroes, they “punch it”. But as the superhero movies continue to develop and the actors’ requirements on the screen. Marketing can be largely focused on the sides of Barnes, but don’t be mistaken, the true Thunderbolts leader* is Elena, and I drink Florence honestly – the best. With her clear face and congenital ability to pull the audience and feel What she feels, she apparently provides the strongest performance in the MCU since the time of “Avengers: Endera”. (Warning: I said “movie”, when we turn on television, this honor goes Elizabeth Olsen as a scarlet witch on “Wandavision”, not @ me.)

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There are numerous combat sequences, and bright sets (the trick coordinator Heidi Moneymaker really brought her the game on this) to perform the required quota of action, but Pugh is an emotional anchor that raises it outside the ordinary circles and tights. McU is desperately looking (and fights to find) its new pillars to replace the avengers, and “Thunderbolts*” proves that Elena damned the beam. Like in the case of all Marvel movies, the message can sometimes be a little heavy, but no matter how often Elena unloads self -esteem or allows Desaster’s syndrome to take the steering wheel, it always feels real, because no one else works at the same level as Pugh.

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Despite the fact that the film about superhero “Thunderbolts*” is visually cold, gloomy and destroyed – which is thematically suitable for the central themes of the film about loneliness, grief, regret, PTSR and learn to afford to take care. It is also a key display of the major scoundrels of the film, the embodiment of government corruption, which is embodied, known as Valentine de Fantten, and Bob/Sentry/Void. Valentine uses its government position and power to force Thunderbolts* to do their bidding, not unlike how state systems around the world produce and use their most vulnerable communities. Louis-Dreyfus essentially plays the Walugi Selina Meyer version of “veep” and it is perfect for her. It is poisoned by a sharp smile on the way to the ticket on the rope of the Aryan eugnica.

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But the real wonderful – Lewis Pullman as a guard/void that can be “bipolar disorder: Superin”. It commands when hesitant between three different versions of the same character, and what its genes Call the memory of other favorite characters Only adds another layer of it fascinating the performance. Thanos may have been a greater threat in the sense of the galactic war, but the void really scary me because it is anxious that many of us are fighting every day – the idea that we also just exist, we will poison everything, and everyone who approaches us with our misfortunes … Even if we do not want it. The void is a terrible villain because it does not work with explosions and aggression; It just breaks into oblivion outside, being inside, you went to the labyrinth prison of your own subconscious. It practically triggers the existential crisis simply looking at it.

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Poulman fights allegations “only from the non -union”, but “Thunderbolts*” must close the Naisers. He has a product.

In order to be understood, though serious in tone and theme like “Thunderbolts*”, the movie also ripe with the usual McU Sbanter fans. Fortunately, humor starts as a narrative tool to balance the darkness. The combination of Marvel Mainstay Eric Pearson with Joana Kalo with “Bojack Horseman”, “Hacks” and “Bear”, as the mind behind the script was clearly a winning combination, and one McU should very much consider trying to move forward.

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When the world is scary, many people turn to fantastic escapism to eliminate the reality of their situation. I? All I want to do is watch movies about people who feel scary and learn how to survive before everyone is scary. “Thunderbolts* provides exactly this, and provides a spoonful of laughing loud moments of Sugar from David Harbara to help the medicine go down. This is a self-conscious, action-comedy that never sacrifices history to make her opinion, and never talk to the audience, even if it should be a little more obvious.

“Thunderbolts*” is the type of movie that needs MCU right now, but after a unprofitable series less than star performances, I fear that viewers will not turn out for the players of the second line that only send a message only to return to sad, safe, well-died. But I hope I’m wrong. I hope “Thunderbolts*” overcomes at the box office and help to put Marvel movies to the new era that allows the actors to act, the rates to be assembled Putting the characters into material conditions instead of CGI HellscapesThe characters that make us bend our empathy muscles, and I drink Florence.

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/Rating of the movie: 7 out of 10

“Thunderbolts*” opens in cinemas on May 2, 2025.