Thunderbolts* Evaluation Florence Pugh saves the grace of Marvel’s hit-and-Miss-chaos | Superhero films

THundredbolts* can be chaotic. Not only the film with its awkward narrative beats and strokes. But also his title characters, the broken and lonely souls that lie the colorful costumes and carry their feelings on the sleeves as if it were their brand.

These reluctant heroes, led by Florence Pughs Yelena Belova, the worried sister of Scarlett Johansson’s deceased black widow, are defined how much they need therapy. They struggle more with themselves than with the evil, in a way that is stronger than the most unstable under Marvel’s stable worldwide rescuers. They are lovingly vulnerable, sometimes devastating and yet funny and exciting enough to save Marvel.

The franchise dominated by Globus, which defeats his time until the next wave of Avengers films, urgently needed rescue, which was with the latest misconceptions such as The Marvels and Captain America: Brave New World. And Thunderbolts, who have the best of the brand since Wandavision (still the flood sign), does the work.

You would be forgiven if you wonder who the flashes* are even the hell. The title, which was playfully stylized with an asterisk, playfully winks around them with the general uncertainty around them. In the comics, Thunderbolts began as a series in which the bad guys dress up in the absence of Avengers as heroes. Here you are a suicide-like team that consists of bad guys and antiheros and supports supporting characters of some of Marvel’s most unforgettable films and TV shows.

David Harbor returns as Yelena’s father Alexei Shostakov alias Red Guardian, who has defeated it as a limousine driver since the events in Schwarzer Widow, while he is willing to get up for the heroic. John Walkers Wyatt Russell, the shameful Captain American replacement, who was released after he had murdered an unarmed insurgent in Falcon and in the winter soldier. There is also Ant-Man and the villain of the wasp (Hannah John-Kamen) and, the most popular among them, Bucky Barnes (Sebastian Stan), the former winter soldier. He is too familiar with the revenue trip, which are too familiar with the Thunderbolts, all of which are hit by sins from their past. But this time redemption is twice. It also belongs to Marvel.

I would not point out that this franchise has a pretty good track record for B teams like this. The entire MCU (Marvel Cinematic Universe) finally rose with remains such as Iron Man, Captain America and Thor on the floor-as more popular heroes such as Spider-Man and the X-Men to other studios. And when these potential avenues became the dominant force in the entertainment, the Guardians of the Galaxy, who came from the left field with a machine gun and a tree expressed by Vin Diesel, to become fan favorites. It is as if Marvel, if she relieves familiarity and the legitimate requirements of fans, approach something, I say it in original.

Ok, maybe original is too much, then and now. Thunderbolts is more like a fresh shoot in the familiar Avengers formula, which, as Pugh derived in an interview with the Empire Magazine, borrow some trendy touches from indie -a24 films. The latter studio is behind Midsommar, the cruel thriller, in which Pugh performed hard with trauma, and everything suddenly everything that throws a large shadow about the plot and the climatic action in Thunderbolts.

The campaign, which is so often penetrated by the personality and even personality, immediately feels different from their opening frames, which actually captivate the aesthetics – a rarity in the Marvel universe. “Something is wrong with me,” are the first words that we hear from Pughs Yelena when she talks about the edge of Merta 18, one of the highest buildings in the world. She gets deep and sensible as if she would conveniently accept death (and this is not the first time that she does it) before it jumps off the Sims.

She does not take her life, but throws herself in the fight and gets involved in impressive acrobatic choreography, which is often shot from a distance or even over the head, as if you are disembodied and give us the space to observe your thrill and at the same time reflect where it is emotionally. She talks about her feelings as she throws Roundhouses. Her dry internal monologue was with Flip Gallows Humor, which fits the mood, as if it were replaced by the emotions from the emotions that she identified in strange, if not necessarily healthy ways.

Your mission is to destroy evidence and to cover the routes for Julia Louis-Dreyfus’ shameful CIA director Valentina Allegra de Fontaine, which the congress has on the hot seat for her questionable tactics. On another such mission, Yelena together with the other hidden operators Ghost and John Walker themselves are the goals. They are sent to take each other out. After a sophisticated little fight, you decide to work together instead, despite your anti -social behavior.

They also pass bob, which Lewis Pullman plays as an indefinite mass of fears and longing. He is a strictly secret human guinea pig that is genetically processed with catastrophic superhuman skills that, as you would expect, get bad. Here Thunderbolts borrowed a little from Josh Trank’s chronicle, which was also about giving someone in the crisis.

The later showdown between the Thunderbolts and Bob’s super villain side of the emptiness, which consumes people in dark shadows, is ambitious, albeit unclear and largely takes place in surreal inner spaces, which Yelena referred to amusingly “interconnected shame rooms”. The characters fight against their feelings and fight for healing, while the film tries to wrestle everything everywhere in style. This highlight ensures an admirable attempt to do the right to make the film right through the mental health issues of the film, which Thunderbolts usually does not deserve.

It is difficult to take this stuff seriously in a franchise to earn a good will, as it accepts our attention to upcoming Avengers films. Thunderbolts often irritate because the film supposedly lives on the surface as often as simple characters that are worn loudly or like another costume adjustment.

But if it ultimately works, everything is due to Pugh, which can sincerely struggle from a script (and a franchise) that captures a whole emotional arch in their moments of silence. She is a superhero performer and easily navigates through the difficult balance between cheeky Marvel brand humor and real pathos.

Thunderbolts can certainly be chaotic. Pugh is the type of star that can thrive in such a chaos.