Kulture Korner: Thunderbolts* review

By: Jungha Kwon, Staff Writer

Directed by: Jake Schreier

Written by: Eric Pearson, Joanna Calo

Starring: Florence Pugh, Sebastian Stan, Wyatt Russell

THE KELLOGGIAN'S RATING: 4/5 Cereals

Source: Rotten Tomatoes

Typical blockbuster films are often commercially acclaimed and critically underestimated. Marvel’s Thunderbolts* is one such film that has been unfairly overlooked. While a blockbuster may naturally offer less room for artistic expression compared to auteur cinema, there’s an undeniable brilliance to a film that pushes the boundaries of what can be achieved within those constraints.

While the film explores many themes, I view it as a study on trauma. It utilizes its unique superhero backdrop to deliver an effective cinematic interpretation of psychological scars. Crucially, the film shifts focus away from the typical heroic burdens such as the pressure of a mission or the guilt of failing to save the world and centers instead on deeply human, personal trauma. This marks a significant departure from previous Marvel films. Consider Iron Man. Tony Stark’s trauma served as a catalyst for his growth, eventually fading into the background to make room for his cause. In his case, trauma was merely a device to emphasize his heroic evolution rather than an exploration of his inner psyche.

Meanwhile, Thunderbolts* zooms in on the internal world of its characters. The ensemble, particularly the leads, reveal their inner selves through dialogue and flashbacks. Yelena Belova (played by Florence Pugh), the protagonist, exposes her vulnerability through a direct monologue in her very first appearance. The film devotes a substantial amount of screen time to her background, and as the story unfolds, the inner wounds of the surrounding characters are gradually laid bare.

The film's direction effectively reinforces these themes. The motif of shadows shines not only in direct imagery but also through subtle visual cues. For instance, an action sequence featuring Yelena is captured through a bird’s eye view with long takes, emphasizing the stark contrast of light and shadow. Beyond its aesthetic appeal, this serves as a metaphor for Yelena’s isolation as she fights her lonely battles. This visual technique is most prominent during the introduction of Bob (played by Lewis Pullman), also known as "Sentry." The relationship between Sentry and the Void, Sentry’s dark alter-ego, is portrayed through the ultimate contrast of light and dark. Interestingly, the shadow here does not represent simple malice or violence. Rather, it represents the parts of ourselves, or the trauma, we’re trying to hide. Furthermore, the frequent use of extreme long shots emphasizes the characters' loneliness, while the masterful use of the contrast of light and dark adds aesthetic weight to their psychological states.

The plot structure also emphasizes this thematic focus by contrasting how the protagonists and the antagonist, Valentina (played by Julia Louis-Dreyfus), handle their respective traumas. Throughout the film, the protagonists move from denial to eventually facing and "literally" embracing their trauma through solidarity and empathy. In contrast, Valentina, who also harbors her own scars, refuses to face them, choosing instead to channel her pain into an insatiable lust for power and control. This duality underscores the importance of connection.

Moreover, the "power level" of the characters is depicted as being tied to their ability to confront their trauma. Thus, trauma becomes more than just a background detail to make a character stronger; it functions as the central philosophy of the film. The way the movie resolves these issues is remarkably delicate. Instead of a forced, preachy narrative on overcoming or growth, it suggests that simply facing one's trauma is an act of progress in itself. In the end, the characters' traumas do not magically disappear but they simply learn to look them in the eye. The film offers a sense of realistic comfort by reminding us that it takes immense courage just to acknowledge and understand our own wounds.

Of course, the film isn’t without its flaws. It faces the inherent limitations of being a mainstream commercial movie. It occasionally stops short of a truly deep dive into its themes to fulfill its duties as a superhero flick. Some supporting characters have their traumas mentioned only briefly, or not at all. Furthermore, the film carries a high barrier of entry, as much of the emotional weight relies on the audience having seen previous Marvel movies and series. The lack of context regarding the characters' pasts can feel unforgiving for newcomers.

Another weakness lies in the occasionally thin plot. While the trauma arc is well crafted, the overarching narrative is somewhat linear and predictable. It feels as though the filmmakers were so focused on the thematic message that they briefly neglected the structural expectations of the genre. While the film remains entertaining, it lacks the narrative punch one might expect from a studio as established as Marvel. The villain’s backstory and characterization are also relatively weak, which may leave seasoned fans feeling underwhelmed if they aren't invested in the psychological subtext.

Still, it’s hard not to appreciate Thunderbolts* for its daring to try something new within the tired superhero genre. We live in an era where the word "trauma" is often used lightly, yet I believe everyone carries their own form of pain. Some tell us to just forget it or others tell us to grit our teeth and get over it. This film, however, suggests that simply accepting the pain and hurting together is a valid path forward. A hero isn't just someone who physically rescues others. A hero is also someone who looks into another person's heart, shares their pain, and stands by them. In that way, there’s a path to heroism available to us all. More Kulture Korner Articles by Jungha Kwon: "The Materialists" Review "Mission Impossible" Review Piece by Piece" Review"