Let’s clarify one thing with the jump: I liked it Thunderbolt*. It falls apart towards the end, and the franchise needs need it to make an emotional sacrifice. But I wasn’t too bored, and at one point I realized I was crying. The most popular MCU movies tend to be boring less interesting, Thunderbolts* Often it’s completely interesting.
Jake Schreier finds a neat way to bending the chops in music videos, but it’s a script that allows characters to take a breather and unleash the emotional burden. But there are certain things with essential cinema quality. Jackie Chan, Alan Richson kills the Nazis, Sydney Sweeney walking on screen Sydney Sweeney, and Florence Pugh zoom across the screen like a blonde cannonball. Sadly, Thunderbolts* Only the latter is available. But that’s more than most MCU movies have.
Thunderbolt It may land, but the attempts to minify the character’s trauma is refreshing for more than the CGI Himbo swings around each other. The scripts by Eric Pearson and Joanna Caro are rare for the MCU in that they are really interested in the clicking of these characters rather than finding ways to lead to a wide franchise to their end. Anyway, most of the characters, Hannah John Kamen’s ghosts, become short shatters, and her moments are often cut off.
The real star of the show is the aforementioned blonde boomerang, Pugh. Irena is far away and is a post of the most popular characters Endgame Apart from Iman Verani’s Kamala Khan, the character I kill with Haley Steinfeld’s Kate Bishop to see in team up. Pugh and David Harbor’s Alexei, the Unhappy Red Guardian, is an emotional force.
Harbor and Pugh take over their work Black Widow Even if their relationship is cover, for fathers and daughters around the world, for all worlds, as a pair of damaged Russian assets. Both are saddened by the death of Natasha, the screenwriter of which was killed Endgame He was lazy. They had to kill the woman and Natasha was right there. Her contract was also up. But I’m not bitter.
But what is made Thunderbolts* The job is to keep Schreier out of the way of the script, while also realizing that the work of cameramer Andrew Doroz Palermo is more than merely recording the action. It’s very similar Black Widow and Foreverand part of Doctor Strange 2: The Madness Multiverse and Amazing, Thunderbolts* It feels like a movie, it feels like a radio show that was filmed. Partly because Port and Pyu have very wonderful and expressive eyes, as well as Schreier and Palermo do an effective job of highlighting the emotional enuines the characters feel, using muted aesthetics.
Once, I feel that muted color palettes are intentional and intentional rather than boring “I wanted to make the fantastical world of superheroes more boring.” Plus, there’s a grandeur in the action and stunt work, and I’m confident that with CGI work it’s not an eye-catching experience. Plus, you can actually see Punch and Kickland! Actions are allowed to flow freely. Certainly, it doesn’t actually have the imagination of a space station battle Amazing, A film that doesn’t allow the American public to do what I still fail.
Still, Pearson and Caro’s scripts rely on comedy characters rather than stylized quips. The comedy comes from Elena’s ashamed to be rescued by Alexei, not by a horny one-liner after a serious moment. A formula that was long before the MCU, but the franchise was furious.
But Schreier and Palermo really shine during the final reel. The visual imagination combined with old-fashioned matte painting is the most visual life we ​​have seen since Amazing. (I couldn’t see it Captain America: A brave new world Because despite what the marketing department is telling you, you don’t have to see all of this. Free yourself! ) It doesn’t set the world on fire, but I’m honestly trying to use the visuals to tell stories that God is not used to seeing in the MCU at least on the big screen. That’s more than anything, it’s the moment Thunderbolts* It feels like a movie, with the image of comic books and sometimes anime.
The scripts for Pearson and Caro are more textured than the average MCU film, giving and weighing more emotional baggage and film therapy just because these characters are doing something so bad. Skillfully, the script never asks a character to be allowed to commit a crime.
Former new Captain America, John Walker (Wyatt Russell), is struggling hard. Next to the Ghost, his moments are mined the shallowest. But I am grateful for both the scriptwriter and Schreier’s attempt to clearly resolve the debate on whether John Walker is a good guy. He isn’t. But he can.
There is a scene between Walker and Bob (Lewis Pullman) who talks. This is a character that is hard to leak, as his current attitude towards spoilers is the absurdity of the boundary Kafkaesquasion. The scene is short, but speaks and shows the economy of script and direction. Not only for Bob’s cut comments, but also for the way Schreier allows him to see Russell’s face, he realizes he knows he is the bad guy and doesn’t know how he got there.
My favorite bit in the film is the revelation that Bucky Burns (Sebastian Stan) is a Brooklyn freshman MP. Man, I would have wanted to see the election campaign. Imagine losing to the man who is a brainwashed Hydra (Nazi) agent who was in charge of attempted coups and countless American deaths. Still, I shouldn’t be surprised. Who is I elected president.
Stan’s Bucky is a character I’ve never really cared about. Of all the Captain America characters I wanted to follow, I have always been Agent Carterman. However, Thunderbolts* finds a new life for the character, even if he is not familiar with it. The story on his side with Mel, Valentina’s assistant Geraldine Viswanathan, is not truly rewarded in a satisfying way, as Mel feels one note.
Viswanathan does her best, but one of the mistakes in Pearson and Calo’s scripting writing is that some characters are there but feel they are not necessary. So it’s not that In that respect, it is unique to MCU movies.
Scherier allows Louis-Dreyfus to make a great heel turn as Valentina. She is currently facing a hearing for the bluff each as head of the CIA. The former head of a shadowy organization facing accusations of corruption of a shadowy governmental organization is a wonderful touch. The admiration for Pearson and Caro is because it is one of the few MCU films that feel they are in conversation with the world in which the film was made.
Don’t get me wrong, it is ultimately without courage, and aims to please the most sacred sacred quadrant, all four quadrants. The part that works is what feels like a lot of therapy to the audience. The scene between Yelena and Alexei is a real bass steeler. still, Thunderbolts* Sometimes hryvages, but that’s a problem with the franchise as a whole.
The issue with the other franchise is how all endings except the bed end. It will erase all the air Thunderbolts*. I’m sure the fans will go to Gonzo that it’s been released, but that’s the most interesting aspect of the film for me. But more than that, it feels anti-climax. I don’t care if the MCU is joking or not – the jokes go flat. The end credits lean on jokes, but the artwork is fantastic, but it feels like filmmakers are overestimating the importance of news magazines in modern culture.
Whether the MCU has entered its flop era, there has been some debate online. I disagree. In fact, I have found that most of the current crops are interesting. Except for Amazingthe only real failure that the audience appeared. Latest failures have been at the expense of trying to do something different. Thunderbolts* It’s pretty good for Marvel films, but you can use more Elena Barrels on the screen or Brie Larson.
The image is courtesy of Walt Disney Studios Motion Pictures
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