Is Thunderbolts* Marvel's Most Mature Movie Yet? The Age Of Superheroes May Not Be Over, But Evolved

When Marvel’s Thunderbolts* finally released in theatres on May 1 (in India), there was a hushed scepticism amongst fans on whether the superhero movie that saw a group of antiheroes banding together, would be able to make much of a mark at the box office, or in their (our) hearts. Superhero movies have had seen a slump since 2022’s Benedict Cumberbatch starrer Doctor Strange in the Multiverse of Madness, and the cynicism, was perhaps justified.

Recent years have seen a sharp decline in audience interest surrounding superhero movies with many calling this a fatigue when it comes to content surrounding caped crusaders (or some without capes). This has especially hit Marvel hard, which, with the introduction of the multiverse inundated both big screens and the OTT with several titles, timelines and superheroes.

The ‘fatigue’ or perhaps what could be called a waning interest in the MCU was most evident with the 2023 release Ant-Man and the Wasp: Quantumania. Despite opening with over $100 million and setting a franchise record for the Ant-Man trilogy, the film quickly lost momentum. It suffered a staggering 69 per cent drop in its second weekend—marking the steepest decline in Marvel Studios' history. While Deadpool & Wolverine was much publicised and remains the seventh most earning superhero movie in box office history – let’s face it was nothing but two hours of potty humour.

The scepticism, was, thus warranted. But was Thunderbolts* able to combat it?

Yes.

Taking a sharp turn away from the all-too-known cosmic-battle scenes and one-liners, Thunderbolts* is in fact a deep-dive into the psyche of flawed characters, psychological scars and moral ambiguity. There is no right or wrong in this version of superhero drama, but the film, in many ways sees a shift from traditional heroism into something that is perhaps a little more human. In many ways this is perhaps MCU’s most mature movie yet.

What makes Thunderbolts* a class apart from the reckless humour of Deadpool & Wolverine, or the self-satire glorification in Thor: Love and Thunder is the way it humanises the superhero and in its portrayal of flawed aesthetics stays firmly off the multiverse madness.

At the heart of this transformation is the idea of redemption over glory. The Thunderbolts aren't the – ‘all good, glorified’ Avengers. Instead, they are a patchwork of dysmorphic spies, soldiers, and assassins, each with blood on their hands. Be it Sebastian Stan’s Bucky Barnes (The Winter Soldier) to Florence Pugh’s Yelena Belova (Black Widow), when the time comes, these characters are not fighting for glory, but rather for atonement.

In Thunderbolts* heroism is not about capes and saving, but rather a journey in search for meaning and perhaps repair.

Unlike a lofty script leaden heavy with extra-terrestrial attacks, or God-complex, Thunderbolts* focuses on homegrown terror and more times than once, moves at an alarming speed into the psyche of our faulty heroes, digging out their inner ‘void’ and trauma to create a complex labyrinthine story of an amalgamation of the past and present. Bucky’s history as the Winter Soldier, Yelena’s manipulation at the hands of the Red Room, and even US Agent’s (Wyatt Russell) misguided sense of duty—these characters are defined by trauma. Thunderbolts* could be the rare superhero film that explores what happens after the fighting ends, when the dust settles and one is left alone with just your memories.

In many ways, villainy may be quiet in this film, but the ghosts are louder than ever.

What would resonate with the neo-post-modern audience is perhaps how emotional weight paves the way for mental health in Thunderbolts*.

Thunderbolts* seems poised to explore the lasting effects of trauma – be it PTSD, depression, anxiety and even fractured identity. It's a more grounded take on power: one that focuses not on what these characters can do—but on what they've survived. Lewis Pullman's Sentry makes the most compelling case in this scenario as The Void is but his fractured identity lost in its own mind pushing the boundaries of reality as he engulfs New York City in a physical and metaphorical darkness.

However, this depth is also what redefines the team dynamic and ultimately triumph for the Thunderbolts aka New Avengers. Unlike the Avengers they are not bound by shared ideals of glory and friendship but are in fact a ragtag motley built on broken trust forced together, often against their will. What Jake Schreier has wonderfully done in the film has created a fascinating tension on showcasing how does a group so against each other work together even while reflecting their worst traits. In place of camaraderie he has given the audience suspicion, conflict and tolerance, if not acceptance.

This is perhaps bets seen in Wyatt Russell’s John Walker aka US Agent, whose story arc invites a conversation around the mask of patriotism. While, in his pursuit of service to his country, he became the very thing he was meant to oppose, Thunderbolts* allows him the scope of reflection and retribution creating an interesting character graph.

Also Read: Explained: Why Did MCU Need Thunderbolts Before Avengers Doomsday?

What makes Thunderbolts* a very mature and evolved watch is the way grey morality becomes the new superpower. There is no defined right or wrong, no clear cut heroes or villains, but rather just people surviving, making choices and dealing with the consequences. In a universe known for its high-stakes battles, this film may the first to lean into subtlety – slipping into inner machinations than outside glory. Emotionally raw, dialogue-driven moments where a shared glance, an apology, or a crack in the armour delivers more impact than a collapsing building, in a post-Endgame universe, Thunderbolts* could be the film that finally shows us what comes after the legend ends and the healing begins.

Get Latest News Live on Times Now along with Breaking News and Top Headlines from Hollywood, Entertainment News and around the world.