Thunderbolts* was highly anticipated and also feared by Marvel’s fans and also by Disney, lately struggling with many problems as regards the MCU, with containers and low considered and the feeling of having lost taking with the public. It will not be this film, directed by Jake Schreier and in the room from April 30, to reverse the trend, even if some improvement compared to the average of phase four and phase five is clear, but not sufficient, for now at least.

Thunderbolts* – The plot

Thunderbolts* starts immediately after Captain America’s events: Brave New World, with a confused, chaotic international scenario, in which the United States feel vulnerabiloi in the face of the new, great threats of this world and any other, given that the Avengers are no longer there and therefore we must find a new way to defend the American people.

Perhaps the solution lies in giving a second chance to a group of former criminals, hired assassins, Serie B superheroes, looking for redemption. We are talking about Yelena (Florence Pugh), Us Agent (Wyatt Russell), Ava Starr (Hannah John-Kamen), Taskmaster (Olga Kuylenko), Red Guardian (Robert Harbour) and even him, Winter Soldier (Sebastian Stan), which would be the least brought one among all, given his new career as a senator of the United States. However, they will be forced to combine the forces both to survive the ruthless Capo della Cia, Valentina Allegra de Fontaine (Julia Louis-Meterfuss), who wants to get rid of them to cover their wrongdoings, both to what Bob Reynolds (Lewis Pullman) could do. He is a mysterious and a little disturbed Tizio, who ended up at the center of a secret research program, called Sentry, whose results, however, will be absolutely unpredictable.

Thunderbolts* is a choral film, but only in part, because in the center compared to the others, Florence PGH has increasing space, her new black widow, here in full existential crisis, after having lost Natasha, cling to work, but that job is no longer enough for her. Nor is it enough for others, for better or worse of the survivors to themselves, to an era in which superheroes were still loved, popular. In fact, it is curious to note how Thunderbolts* I propose a sort of metaphor in the concept of revival, which could be applied to Marvel Cinematica Universe himself, who after the glories of the last decade, from Endgame onwards, was no longer able to maintain the same rhythm of successes and consents.

Waiting for the fantastic four – the beginning, it remains to be understood how much and if this film will like, who takes secondary characters, and tries to get out of us something that can look like for flavor, smell and appearance, to what James Gunn give us with The Suicide Squad. A film is completely enjoyable, acceptable according to the canons of modern cinecomic, but ended there. It is therefore not a film of rebirth, in the restart, it is an attempt to create a sort of cinematographic coach, in the hope that someone will buy it.

However, a film with good potential remained inert

Thunderbolts* uses an irony that has above all in David Harbour, the most inspired of the company, the fundamental pillar. However, the script of Lee Sung Jin, Joanna Calo and Eric Pearson, however, is missing the depth, there is no ability to give the right identity to each character. The various qualities and problems come out or late, Ppure do not come out. Then there is Sentry, who on the one hand has a credible interpreter on the one hand, capable of combining insecurity, deep emotional trauma and existential anger that is the great, real problem of our time, perfectly, does not have enough cartridges from the script to go beyond something foreseeable.

In Thunderbolts* there are however positive aspects, such as a good number of tributes and quotes in the 90s. Iconic action, wink at the Simpsons, John Woo’s cinema, and then here is Brightburn and the X-Men of Fox. However, there is the persistent feeling of dealing with a sort of live action of invincible, however monahn of anarchy and unbridled anarchy. It will be because these superheroes do not believe in this superheroes, it will be because everything appears put there in a hurry to try to have an acceptable result.

The protagonists tend to resemble each other, and if the sufficiency is earned, it cannot be said for memorability. The combat scenes are a set of deja vu after the other, too many explains, the interactions are purely instinctive and without relevance. The evolution of the various characters, with the exception of Sentry, completely lacks a ability to talk about something more about social anxiety, after a while he is truly exhausting. Thunderbolts* The nails shows them only towards the ending, when playing a psychedelic journey from sturbo, but only for a few moments and it is not clear why, given that the idea could be developed in an absolutely crazy and creative way and make a decisive leap.

The final impression is that of a fallback cinecomic, as was Captain America: Brave New World and most of the other films and TV series that Marvel has released on the small and big screen in recent years. The truth is that great protagonists are missing, great characters with an interesting luggage. Will the fantastic 4th and the new Avengers suffice? Perhaps the genre has tired, the audience has grown and wants anything else. You simply have to accept it.

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