Thunderbolts*

Thunderbolts* is unlike anything we've seen before in a superhero blockbuster. Its bold focus on mental health is the beating heart of the film, shaping the story in a way that's refreshingly original. We've had plenty of superhero (and anti-hero) movies, but none have tackled mental health as deeply or as honestly as this. This is as fresh as it gets, and the film hits its message squarely on the mark. Could that message have been louder or more powerful? Absolutely. But is it enough for audiences to understand, feel, and reflect on? Without a doubt. It's a gem that invites viewers to empathize, to look inward, and to recognize the struggles of those around them. In many ways, Thunderbolts feels like a superhero in its own right, delivering a powerful PSA that's woven seamlessly into the narrative rather than feeling tacked on.

We're in love with the concept here; an anti-hero film built around mental health. It makes the story and the character arcs far deeper and more meaningful than they'd be if these were just your typical caped crusaders. Thunderbolts* is the MCU's rawest exploration of mental health to date. We've heard the words "trauma" and "healing" tossed around in superhero flicks before like WandaVision, but this is different. This film doesn't just mention the weight of mental health, it lives in it. Yelena's story, in particular, has been carefully nurtured since Phase 4, and the decision to continue her journey down this road is nothing short of brilliant. Yelena, like Black Widow before her, isn't a superhero with powers. She's human. She's flawed, resilient, and painfully relatable and that makes her journey hit even harder.

We actually like the character dynamics between the anti-heroes. We like that every of their personality shines. Their dynamics push the film's mental health themes even further. These might have been the underdogs of previous movies, characters we barely remembered but here, they get their moment. And wow, do they deliver. Each one gets time to prove they're so much more than sidekicks or forgotten faces and by the end, you can't help but root for them.

What's especially moving is how much these characters matter both to themselves and to each other. They've all been torn down, denigrated, beaten back, and made to feel like the world is against them. They're loners by nature, forced into the uncomfortable space of working as a team for the first time. Watching them navigate that, to lean on each other when things fall apart, is both heartwarming and powerful. It's a clear reminder of the importance of friendship, of admitting when you need help, and of realizing that none of us can do it all alone.

The action sequences in this are great. It's a blast watching everyone throw down and show off their skills. But here's the thing, while the action is awesome, it's not what makes this film great. This movie proves that a superhero film doesn't need to lean on endless explosions to leave an impact. The story itself is raw, human, and beautifully told and that is more than enough. That's why Thunderbolts* stands tall in the post-Endgame era. The action is tight, but the storytelling is what really puts it over the top.

And guess what? They didn't rely on cameos. We could safely say that Deadpool vs Wolverine, Spider-Man: No Way Home and Thunderbolts* are the top 3 films after Avengers Endgame but what Thunderbolts* sets apart from the other two is it's the only one that doesn't rely on cameos. It doesn't need nostalgic bait, it doesn't need 'help' from anyone, it's just them trying to save the day and trying to figure out how to solve the problems they are in. And we love them for it.

Florence Pugh, as always, is a knockout. She's never missed a beat, and once again, she's phenomenal here. Her accent might not be perfect, but who cares? She's a powerhouse, carrying the weight of a character struggling with identity and searching for meaning. She's the voice of so many who feel lost or stuck, and Pugh brings that to life with so much heart. She's a beacon of hope, a reminder that even when it feels impossible, there's light at the end of the tunnel. The rest of the cast? Stellar too. Lewis Pullman deserves a special shoutout. He proves here that he's a force to be reckoned with. Forget the early skepticism about his casting. He owns it completely, and Hollywood seriously needs to give this guy more credit.

And yes, Malaysia plays a huge role in this film and the Menara Merdeka 118 shot is breathtaking. Instead of the usual sunny, warm tones we often see, the film opts for a moodier palette blue, dark, and cloudy which beautifully matches the film's somber, reflective theme. It just fits.

The third act really dives deep into the mental health themes, in a way that feels raw and personal. The true villain here isn't a monster or alien, it's the demons we all battle inside. It emphasizes this theme in a way that feels plausible, personable and relatable. A villain that lives within all of us. A villain that everyone of us has battled against in some way and some parts in our lives. How much you connect with the film might depend on how you view your life and how much experience you've dealt with but one thing's for sure, it'll leave you thinking long after the credits roll.

Was anything wasted in this film? There is one. One character didn't get nearly the spotlight they deserved. Everyone else got their moment to shine except for one and that felt like a missed opportunity.

As for the comedy, it's hit and miss. Some of it lands really well. The belly-laugh kind of good while other moments fall flat or feel a bit forced. Some jokes could've used a little more setup, and a few felt repetitive, but overall, there's enough good humor sprinkled in.

We did feel like the third act could have fleshed out more. It could have used more breathing room. It moves fast, too fast at times and some moments feel rushed or a bit disjointed. If they'd let things simmer just a bit longer, it could have been even more impactful.

And yes, Thunderbolts* has 2 credits scene. The first one is simply light and funny which is bearable enough but the second one will hype everyone up for what's to come. Not that it's important to reveal it at the end credits but with audience losing hope for the future of MCU, this will get everyone back on their feet, cheering and hoping that Phase 6 will be the same with what Phase 3 had to offer...or at least almost.

Verdict: Thunderbolts* is the anti-hero film we didn't know we needed. It delivers a story rooted in something we all face: mental health. This is raw. It's personal. And it feels relatable and real. It explores themes of isolation, trauma, and the power of asking for help, making it one of the MCU's most personal stories yet. It ditches the nostalgia bait and focuses on characters wrestling with their own demons, making their journeys relatable and impactful. The action is tight, but it's the emotional weight that truly lands (Yes, we did cry a bit). Florence Pugh leads with power and vulnerability, backed by a stellar cast and the famous Malaysia's Menara Merdeka 118 isn't just cinematic, it symbolizes the towering weight these characters carry. Thank you, Marvel.

Marvel's new film debuted in theaters with low expectations and no box office rivals.

When I say low expectations, I'm talking about the general public and all the people who have abandoned the MCU ship in recent years, and not without reason. After all, the vast majority of projects haven't been entirely convincing, especially on the television front.

The box office failure and critical acclaim of the last Captain America film didn't help the hype either.

However, we have a film that shines brightly. It's been a long time since we've had a Marvel film that didn't need others and their connections to be popular.

There's a breath of fresh air, and the MCU has the opportunity to capitalize on it.

The premise is a simple film; the execution stands out quite a bit above average.

While it greatly develops the characters of Yelena and Bob, and not so much others like Ghost or Bucky, we have a strong plot and a transition during the first two acts that keep us on edge and entertained.

A particular fear I had was the inclusion of Red Guardian and his humor, which had already failed me in previous projects. However, here he contributes, and that's appreciated.

The third act is very risky. We were coming off the Captain America movie, where, thanks to the power of the script, he was able to face Red Hulk. Here, at first glance, it seems that the power of friendship is what resolves the plot, but this is more than that... for me, everyone's embrace of Bob is the catharsis of acceptance. That's why I loved the third act so much, and I didn't miss the blows or epic battles. Anyone who has suffered from deep depression knows that no matter how hard you fight and try day after day against that emptiness that drags you down, often only those around you know that you are more than the shadow you appear to be. Accepting your condition, accepting that trying to overcome it has never worked, but rather, on the contrary, eats away at you and separates you from society even more. When you're like this, you realize that embracing it and seeking help to reach that embrace is the only thing that can save you. That depression is a part of you, and instead of trying to beat it down, the best thing is to accept it and learn to live with it.

Maybe I'm overanalyzing this last part, but it really seems much deeper to me than thinking that the script could have resolved everything.

Even at the end, we have time for the writers to show us an effective way to limit a character's power, and not with the classic "I was on another planet when all this happened," as they did perfectly with Sentry, "If I unleash my power, I'll also unleash that monster." Simply brilliant.

At the end, there are two post-credits scenes, one of which has a direct connection to "Fantastic 4" and which opens the debate to many questions about what we'll see in July.

I sincerely appreciate what Marvel did with "Thunderbolts*," now I wait for what's next.

There are bad movies, and then there are movies so painfully dull that they feel like a form of passive torture. The kind of film where the plot moves at the speed of drying paint, where characters talk endlessly about nothing, and where any promise of action or excitement is crushed under the weight of meaningless dialogue. This is that movie-a sluggish, monotonous experience that tests the audience's patience at every turn.

From the very first scene, it's clear that nothing of importance is going to happen anytime soon. The camera lingers on empty hallways, slow pans across unremarkable landscapes, and close-ups of characters sighing dramatically before speaking in long, rambling monologues. The dialogue isn't sharp or insightful-it's just *words*, endless streams of them, filling the runtime without adding depth to the story or the characters. Conversations drag on for minutes, circling the same points without resolution, as if the screenwriter was paid by the word and refused to stop typing.

The characters are just as lifeless as the pacing. They stand around in dimly lit rooms, delivering lines with all the energy of someone reading a grocery list. There's no urgency in their voices, no real conflict in their interactions-just a never-ending cycle of half-baked philosophical musings and trivial observations. Even when the plot *should* pick up-when there's finally a hint of danger or a moment that could lead to action-the movie slams on the brakes, cutting away to another tedious conversation or a prolonged silence that adds nothing but runtime.

And then, just when you think something might *finally* happen-when a character picks up a weapon, when a mysterious figure appears in the distance-the movie cuts to another scene of people sitting at a table, talking. And talking. And *still talking*. There's no payoff, no release of tension, just more words piling up like a traffic jam of unnecessary exposition. Even the climax-if it can be called that-is a letdown, resolving in yet another conversation instead of the action the entire film has been teasing.

By the time the credits roll, the only emotion left is relief-relief that it's over, that no more time will be wasted watching characters do nothing and say everything without ever getting to the point. It's the kind of movie that makes you question why you didn't just turn it off halfway through, except that even walking away feels like it would require more energy than the film itself ever expended.

In the end, this isn't just a bad movie-it's an endurance test. A masterclass in how to drain all excitement, energy, and engagement from a story, leaving behind nothing but a hollow, tedious experience. It's the cinematic equivalent of watching grass grow, except grass doesn't talk. And in this case, silence would have been a mercy.

For a long time I've wanted marvel to allow the characters to truly feel the weight of their actions and come to grips with everything they do without some joke undercutting any and every emotional moment becuase they believe we can't handle seeing pain. This movie rectified that. Depression, suicidal ideation, apathy, loneliness and all of it was kept there without trying to make you turn away or think it funny.

They make you sit with the agony on yelenas face seeing how much her past affects her as well as everyone else. This gave me the emotional sincerity that's always been missing in the majority of mcu projects. The most human marvel has felt in a long time. Solid 8/10.

I wasn't going in to this film with much expectation which I think was a good thing because it really knocked it out of the park. The story didn't have to be anything complicated and luckily wasn't held down by any of the Multiversal storylines too. And its execution was really great. The whole film was well paced and its overall message was the highlight of the whole thing. The cast was topnotch, especially Florence Pugh (because when isn't she). I was relieved that the comedy in this film didn't overdo itself (I'm forever scarred by Thor: Love and Thunder) and that the writing never got corny or eye-roll inducing.

Overall a very good and enjoyable Marvel movie.