It’s hard to cover a Marvel movie these days without discussing the MCU’s recent struggles. There was a time when Marvel Studios could do no wrong. Each release was a surefire hit that resonated with audiences. But the MCU lost some of its lustre after 2019’s Avengers: Endgame. For every Deadpool and Wolverine-level mega-hit, there’s a handful of box office underperformers that underwhelmed even longtime fans. 

So let’s just get this out of the way: Thunderbolts* is a rousing return to form that delivers the goods — and then some. Director Jake Schreier recaptures that old Marvel magic, crafting a hard-hitting action flick with memorable characters and harrowing emotional stakes.

Marvel’s marketing had their work cut out for them keeping Thunderbolts* many twists under wraps. The film features plenty of surprises early on in the story, so it’s most enjoyable if you go in blind — but I’ll do my best to avoid major spoilers.

In Thunderbolts* Julia Louis-Dreyfus steps into the Nick Fury role as CIA Director Valentina Allegra de Fontaine. Like Nick Fury, Valentina plays by her own set of rules. She isn’t afraid to work outside the law to protect her country (or benefit her career).

When the film begins, she’s summoned to a congressional hearing investigating her unethical tactics. With her ass on the line, Valentina hires a team of amoral mercenaries to destroy all evidence of her crooked dealings. Enter former Russian super spy Yelena Belova (Florence Pugh); disgraced former Captain America John Walker (Wyatt Russell); master assassin the Taskmaster (Olga Kurylenko); and the elusive Ghost (Hannah John-Kamen), a former S.H.I.E.L.D. secret weapon who can walk through walls. 

Once the mercenaries finish destroying all the evidence, they outlive their usefulness, and Valentina lures them into a fiery deathtrap. Realizing the betrayal, the misfit crew team up to escape and expose their former boss. They’re joined on their mission by a past-his-prime Russian super soldier, Red Guardian (David Harbour), and former Avenger turned Congressman, Bucky Barnes (Sebastian Stan), aka The Winter Soldier.

Thunderbolts* hits the ground running with a close-quarters hallway brawl that feels ripped from a Gangs of London episode. Most of the Thunderbolts don’t have flashy powers so they vanquish enemies with their world-class hand-to-hand combat training and an arsenal of knives and guns that could make Rambo weep. 

The frantic action sequences stand out thanks to some crafty fight choreography and practical stunt work rather than an overreliance on digital effects. This is still a Marvel movie, so there are plenty of superhumans tossing people around like ragdolls, but the action is grittier and more grounded than what these films tend to offer. Overall the action setpieces are a breath of fresh air, serving up some of the MCU’s most impressive shootouts and fist-fights since Captain America: Civil War.

Thunderbolts* follows the Avengers/Guardians of the Galaxy template: a stubborn group of loners must overcome their differences to prevent a cataclysmic threat. It’s a time-tested premise that can go wrong in so many ways (see Suicide Squad and Borderlands), but Schreier along with screenwriters Eric Pearson and Joanna Calo understand exactly how to finesse this pulpy material.

The film takes its time developing characters, fleshing out who they are and what they stand for before putting them through hell. While almost every member of this ensemble cast gets their moment to shine, Pugh’s Yelena is the standout. She’s the heart and soul of the film.

Yelena first debuted in 2021’s Black Widow and became an instant fan favourite. Pugh grabbed the Black Widow baton from Scarlett Johansson and took off with it like a bat out of hell. She’s a believable action star with excellent comedic chops — essential skills for anyone headlining an MCU film. But what sets this performance apart is Pugh’s dramatic range. She’s one of the finest dramatic actors working today. She brings a degree of depth and nuance to the role that shows a level of commitment beyond what people expect from a popcorn flick.

Thunderbolts* is one of the most self-aware entries in the MCU. The story has a lot of fun with the idea that the Thunderbolts are C-list heroes. And Schreier mines plenty of humour and drama from the characters’ inferiority complexes.

This film may follow a bunch of larger-than-life superheroes and all-powerful villains, but at its core, it’s a story about lonely and broken people. Bucky and Yelena could stare down an alien army without flinching, but they struggle to sit alone with their thoughts. 

No one will confuse Thunderbolts* with a Fellini film, but it’s one of the MCU’s most emotionally complex movies. The film delves into themes of identity and self-worth, examining the schism between how we see ourselves versus how others perceive us. The film also explores the concept of redemption, questioning whether we’re doomed to be defined by our worst choices. It’s also a story about the way hurt people go on to inflict pain and trauma on others. And it questions the morality of punishing wrongdoers rather than offering them a chance at rehabilitation.

Thunderbolts* is the first new Marvel IP in years that feels like vintage MCU. It has compelling characters, punchy dialogue, and some of the MCU’s most intense action sequences, all wrapped up inside a story that feels ripped from the pages of a comic book. And it does so while delivering an inspiring message about healing and redemption. But above all it delivers all the fun and excitement we’ve come to expect from tip-tier Marvel movies, and serves up a post-credits stinger that left me thirsting to find out what’s next.

Thunderbolts* lands in theatres starting today, May 2.