{"id":3757,"date":"2025-09-02T08:00:00","date_gmt":"2025-09-02T06:00:00","guid":{"rendered":"https:\/\/www.senses.se\/en\/review-thunderbolts-the-new-avengers\/"},"modified":"2026-03-21T18:16:47","modified_gmt":"2026-03-21T17:16:47","slug":"review-thunderbolts-the-new-avengers","status":"publish","type":"post","link":"https:\/\/www.senses.se\/en\/review-thunderbolts-the-new-avengers\/","title":{"rendered":"Review: Thunderbolts\/The New Avengers"},"content":{"rendered":"

In Thunderbolts<\/strong>, the mysterious and manipulative Valentina Allegra de Fontaine (Julia Louis-Dreyfus)<\/strong> assembles a diverse ensemble of former foes, anti-heroes, and morally ambiguous figures from the Marvel universe. This clandestine operation necessitates individuals willing to undertake tasks that the Avengers would typically eschew. The roster includes Yelena Belova (Florence Pugh)<\/strong>, a skilled assassin and former Black Widow<\/strong>, much like her sister. Her father, Red Guardian (David Harbour)<\/strong>, a character often seen as Russia’s counterpart to Captain America<\/strong>, also joins the ranks. Rounding out this unconventional team are Bucky Barnes\/Winter Soldier (Sebastian Stan)<\/strong>, Ghost (Hannah John-Kamen)<\/strong>, and U.S. Agent\/John Walker (Wyatt Russell)<\/strong>.<\/p>\n

While it’s not uncommon for DC<\/strong> and Marvel<\/strong> to develop parallel character concepts, the premise here bears a striking resemblance to The Suicide Squad<\/a><\/strong> \u2013 although the latter film is considerably more visceral. Notably, Thunderbolts<\/em> debuted in comic books in 1997, 38 years after<\/em> *Suicide Squad*’s initial appearance, making the direction of inspiration evident.<\/p>\n

Initial skepticism surrounded Thunderbolts<\/em>, with concerns that it might contribute to a perceived trend of mediocre, diluted, and uninspired Marvel productions. Fortunately, these reservations proved unfounded. Thunderbolts<\/em> delivers a genuinely enjoyable and engaging experience. While not without its flaws, it stands as a refreshing entry in an increasingly saturated genre. Central to the film’s appeal is Florence Pugh’s character, first introduced in the movie Black Widow<\/a><\/strong><\/em>. Despite initial reservations about the character, her portrayal in this film proved compelling. The emotional core of Thunderbolts<\/em> is undoubtedly Red Guardian, brought to life by the consistently engaging David Harbour. Together, these two characters inject a vital sense of humanity and warmth into the Marvel narrative, an element that has arguably been less prominent in recent installments.<\/p>\n

The supporting cast comprises familiar characters from various Marvel films and TV series, who benefit from expanded screen time in this installment. Wyatt Russell’s return as the often aggressive U.S. Agent is noteworthy, as is Sebastian Stan’s compelling re-examination of the Winter Soldier role.<\/p>\n

Regrettably, the film’s box office performance suggests a potential fatigue among audiences towards Marvel’s recent cinematic output. Even a mid-run title adjustment failed to significantly boost its commercial reception.<\/p>\n

While Thunderbolts<\/em> offers a more engaging and superior experience compared to many recent Marvel films, it is, as noted, not without its shortcomings. A significant drawback is the absence of a clearly defined antagonist, and the narrative could have benefited from a more audacious approach, akin to James Gunn<\/strong>‘s work in *The Suicide Squad*.<\/p>\n

Thunderbolts<\/em> is now available on an exceptional UHD edition<\/strong> supporting both HDR10<\/strong> and Dolby Vision<\/strong>. The color reproduction is vibrant, and black levels are remarkably deep and accurate. This is particularly evident during the climactic urban battle sequence, where intricate details are rendered with striking clarity. This release stands out as one of Marvel’s stronger recent UHD offerings.<\/p>\n

The sound in Dolby Atmos<\/strong> is equally compelling, featuring excellent spatiality and impressive height effects during action sequences. Dialogue remains clear and precisely localized, complemented by ambient effects that enrich the environmental immersion. The bass response is robust, with the final battle sequence again serving as the audio highlight, mirroring the visual impact.<\/p>\n

The release is further enhanced by a comprehensive selection of bonus materials, including a gag reel, documentaries, deleted scenes, and an audio commentary track. These supplementary features offer valuable behind-the-scenes insights into the film’s production, providing a satisfying, albeit not exhaustive, deeper dive for enthusiasts.<\/p>\n

In summary, Thunderbolts<\/em> represents a positive trajectory for Marvel, a studio that once enjoyed an almost unblemished record of critical and commercial success, but has recently faced challenges in maintaining that momentum. The film’s reception will be a key indicator of whether the studio can recapture its former creative and strategic formula. While a modest step, Thunderbolts<\/em> nonetheless points towards an encouraging direction.<\/p>\n

SF Studios<\/a><\/em><\/strong> provided review copies for this evaluation. Material providers exert no editorial influence on our reviews; our content is always independently produced with our readers and consumers as the primary focus.<\/em><\/p>\n

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