Since Avengers: Endgame (2019), Marvel Studios has struggled to engage its viewers with projects, often missing the mark with its newly incorporated Disney+ shows, complicated multiverse timelines and occasionally cringe-worthy dialogue. Though there have been highlights, like Wandavision (2021) and James Gunn’s incredible conclusion to the Guardians of the Galaxy trilogy (2014-2023), Thunderbolts* was an immediate stand-out.
As a long-time Marvel fan, who has unfortunately become accustomed to disappointment over the last few years, I held hesitantly high expectations for Thunderbolts*. These expectations, however, were not merely met, but surpassed. What I found most compelling about the movie was the morally complex, not so ‘superhero’ leads and its poignant portrayal of mental health issues.
Themes of mental health are rare occasions for superhero films. In Thunderbolts*, the essential antagonist is a physical manifestation of a character’s dark thoughts. Lewis Pullman portrays the deeply troubled Bob Renyolds; battling against childhood trauma, addiction and symptoms synonymous with bipolar disorder until he is taken over by the literal Void in a chilling transformation.
The concept of the Void serves as an extended metaphor for depression throughout the film, particularly for the leading character, Yelena Belova (Florence Pugh). Pugh’s career has been on an upward trajectory for the past several years, landing roles in blockbuster movies such as Little Women (2019) and Dune: Part Two (2024). Since her Marvel debut in Black Widow (2021), she has only grown into the character, becoming the clear stand-out of Thunderbolts* with her raw performance.
Pugh embodies a character suffering with survivor’s guilt and depression after losing her sister. In the opening scene, a voiceover describes the feeling of purposelessness consuming her as she steps off of a building. The carelessness with which Yelena treats her life is a dark allusion to suicidal intention, a willingness to give into the Void, until she finds a purpose within the Thunderbolts.
Marvel goes back to a formula that they know works in Thunderbolts: found family. The team of lonesome anti-heroes was reminiscent of the Guardians of the Galaxy – a group which unintentionally finds one another, and despite initial hostility to working in a team, come together to defeat evil with the ‘power of friendship.’ While this trope risks becoming a cliche, the heavy, relatable elements of mental health in Thunderbolts gives it a powerfully emotional, and humanising, edge. They need each other to heal from their guilt-ridden pasts.
Overall, Thunderbolts* is a breath of fresh air for the Marvel Cinematic Universe. It combines elements of humour, typical superhero-movie action and emotional depth to create an enjoyable and well-paced two hours. The group chemistry between the main actors drives the film, making characters who have previously been antagonists of Marvel projects unequivocally likeable. Leaving the cinema, I had a renewed sense of hope moving forward into the next wave of Avengers movies.
4/5
Image Credits – TheMovieDB
