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Marvel comics and their screen adaptations have always been a singularly economical company, with any superhero or villain, as obscure, always available for reuse. Thunderbolts *The latest addition to the cycle, presents a new team of anti-heroes including characters from Black widowA Ant Film, one of the Disney + spin-offs and who knows where others.
Part of the point is the entirely arbitrary notion of these particular characters who meet (the asterisk of the title also seems quite arbitrary). They are a mixture of ninjas as inconsolable and weary of the world that unite against a diabolical boss of the CIA, royally played by Julia Louis-Dreyfus with a patrician sneer and a sequence of Susan Sontag in her hair.
The programming continuously that the quarrels include the large red goalkeeper of Black widow (David Harbor, enthusiastically cheating on one of the best Hollywood Russian accents); Ghost (Hannah John-Kamen), who passes a little through the walls and sparkles a little; A bitter-machine macho failed Captain America (Wyatt Russell); Sebastian Stan like Bucky, the winter soldier with a ferred arm; And a mystery man named Bob (Lewis Pullman, does not resemble a young Bill Pullman so much because, affecting, a baby Harvey Keitel). And the ultimate enemy is, in fact, the very embodiment of existential despair (this is the first Marvel film in which characters exchange observations on Kierkegaard).
Above all, there is Florence Pugh as an adoptive sister of Black Widow, Yelena Belova, a jaded assassin who begins the film by establishing a note of “sad” melancholy in fashion, and passes the rest of its therapeutic ravages. Admirably willing to look in sweat and agitated throughout, Pugh is undoubtedly the first actor to make a real character of flesh and blood from a wonderful premise.
Black widow The screenwriter Eric Pearson is joined by Joanna Calo, whose credits include Hacks,, Bojack rider And The bearIt is therefore not surprising that Thunderbolts * is at the most intelligent end of the Marvel cinematographic universe. Director Jake Schreier highlights a rare note of realism of time that recognizes real physics – especially in a sequence in which, for once, masonry falling on New York seems in fact killing people.
We always vaguely hope to glean a political subtext of Marvel films, and Thunderbolts * is promising, especially because it reminds us that in FEBRUARY Captain America: Brave New WorldThe American president has become an uncontrollable monster. What slightly blurs the image is that Stan – forever associated with his young Donald Trump now The apprentice – Here looks like JD Vance. And all these films, even with their government and their wicked establishments, can be read as embodying both right-wing populism as pop-culture anti-authoritarianism: it is the determination of society behind them. An obvious message, however, while the Thunderbolts are fighting to avoid Manhattan from being engulfed by a vast CGI cloud with transcendental gloom, is a call to resist cynicism and despair.
However, all comforting pedestions are overturned in the final turn, a scandalous self-reflexive tour which, among other things, makes fun of the very expectation of the fans on which Marvel feeds. In this sense, Thunderbolts * comes less than an inch to be the Barbie MCU.
★★★★ ☆
In the cinemas of May 1
