REVIEW: ‘Thunderbolts*’ Is a Bold, Bruised and Brilliant Turn For Marvel

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In a world where superhero cinema has started to resemble a conveyor belt of visual effects and punchlines, Thunderbolts* lands like a bolt from the blue. This is a film that not only redefines what a Marvel blockbuster can be, but more importantly: reminds us that at the core of every great story should be people. And that’s exactly why it works.

This isn’t a team of heroes. It’s a group of broken, wounded individuals who’ve lost more than they’ve gained, trying to become something greater, even though they’ve long stopped believing they could. But the real headline here? Thunderbolts is an actor-driven powerhouse. And not just because of Florence Pugh, though she’s the one we need to start with.

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Florence Pugh delivers an absolute masterclass. Her Yelena is sarcastic, sharp-tongued, emotionally scarred and painfully human. She commands the screen with effortless power, navigating between dry humor and raw vulnerability in a way few actors ever could.

It’s not just the best performance in the film but it’s one of the most layered and emotionally honest portrayals in the entire MCU. Yelena isn’t giving motivational speeches; she’s bleeding out real pain and earned strength. Her dynamics with Bucky, Ghost, even Walker, feel alive and complex. Pugh brings a grounded, soulful gravity that Marvel has sorely missed.

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Among all the loud, haunted, or emotionally armored personalities, Lewis Pullman stands out by doing the exact opposite. Dialing everything down. His character, surprisingly soft-spoken, uncertain, and emotionally open, becomes a quiet anchor in the chaos.

Pullman’s performance is all about restraint. It’s in the way he doesn’t say things, the way he reacts instead of pushing. In one of the film’s most powerful scenes he says nothing, but completely steals the frame. That’s talent. That’s trust in the material. That’s the kind of acting Marvel needs more of.

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One of the film’s biggest surprises is the evolution of Ava/Ghost. Previously underused in Ant-Man and the Wasp, she’s now given room to breathe, and Hannah John-Kamen seizes the opportunity with both hands. Her performance is subtle, wounded, and heartbreakingly precise.

Ghost isn’t loud, she doesn’t need to be. She communicates so much through silence, through restraint, through pain that’s always just beneath the surface. And when she finally begins to let people in, those moments hit hard. John-Kamen gives Ghost a soul, and her scenes with Yelena are some of the quietest, most intimate, and most powerful in the entire film.

David Harbour returns as Red Guardian but now is gone in the cartoonish comic relief. This version is older, more weathered, more broken and better for it. He still has moments of awkward humor, but Harbour brings emotional weight and an aching sense of regret.

He plays a man who knows his best days are behind him, but still desperately wants to matter. In the quiet moments, when he stops joking, when he’s just there, Harbour hits harder than any punch. His performance is both restrained and deeply moving.

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The filmmakers behind Thunderbolts* clearly understood what story they were telling. Action is present, sure and it’s explosive but it always comes after character. It’s not about spectacle for the sake of it. Every scene serves a purpose. Every moment deepens a relationship.

Visually, the film is moody and cinematic. The pacing is unhurried, giving the story room to breathe. The score is understated but perfectly timed. And the emotional payoff? Earned, layered, and surprisingly bittersweet.

Thunderbolts* reminds us what the MCU is still capable of if it dares to be bold. Florence Pugh and Hannah John-Kamen are in top form, delivering two of the finest performances in the franchise. Lewis Pullman surprises with subtle brilliance, and David Harbour delivers his most heartfelt Marvel turn yet.

This isn’t just the best Marvel film in years. It’s one of the most human, grounded, and emotionally satisfying superhero stories we’ve seen.

Rating: 5/5