Thunderbolts * – Review & Cocktail – GenMovi

Here we are again; Another Marvel film, another day to remember when I am excited for these things. It really looks like a life when the idea of ​​the continuous history of the increasing MCU has really stung my interest. But with a congested and disorderly universe, a tendency to rely on formula cinema and an inability to create characters who deserve to be taken into account, my interest in Madhouse Feige has slowly deteriorated. Maybe another Fantastic Four movie or bring Robert Downey Jr. The return could be cool, but what about the last years of Marvel films gives me a reason to believe that the franchise is heading for a correction of the course?

Which brings us to ThunderboltYet another reminder that there are still characters that are worth trying to launch the wall and see if they stick. But Thunderbolts has something that differs from most of Marvel’s most recent projects; It’s actually feel As if it tries to be a film, and because of that, I really think it was pretty good.

Thunderbolt is the closest that I felt an MCU project with heart and goal for some time. Of course, things like forcing the connection with a larger universe and a basic and basic presentation definitively prevail, but the film still managed to make me fuck the characters and connect with them to a deeper human level. Of course, this is partly due to certain solid performance and a story that is not afraid to immerse yourself in heavier themes. Of course, these ideas are not the most nuanced or the most original, but the simple fact of having them there gives the film relatibility and a foundry which sometimes makes you forget that it is a world of figures of action. It’s a little too early for me to deploy my banner “we are back”, but for the first time in a while, as the film comes home, there East hope.

Thus, Thunderbolts are a group of ragot of misdeeds which are deceived in an attempt to kill each other to attach the loose ends for their employer, Valentina Allegra de Fontaine. Yelena, John Walker, Ghost and Taskmaster quickly realize that they will have to stay together to survive, especially when they meet the Penaud bob, who could well be a made god walking among men. Throw the winter soldier and the red goalkeeper in the mixture, and you have a suicide team you don’t do it I want to see die at the end.

Maybe it’s unfair to compare this to Suicide teamBut I couldn’t help it, especially when you see all the similarities that Thunderbolts do better. The character’s dynamics are much more pleasant and credible, their goal is really logical, and they are not hang out Jared Leto. There is a real sense of camaraderie here, with everyone linked by uncontrolled trauma and souls who need healing, who manages to unite them against a physical and existential threat. The head is Yelena, played by Florence Pughwho absolutely crushes him. It is one thing to simply represent a character who experiences the void, but it is another to make him feel real and a little heartbreaking. Puh Do this exactly, proving to be one of the best players that the MCU currently has. In a way, Yelena reflects a little of me and apparently many other fans who have tired of the mundanity of the MCU. Like Yelena, the franchise is in a way just passed from the project in the project without a real feeling of attention where they meet. But even without that, Yolena manages to reflect more pressing problems such as solitude, self -esteem and depression. It is nothing revolutionary, but it looks like the newest breath of fresh air compared to what we are used to.

All the characters are connected to this idea at someone, but the most striking must be a new addition Lewis Pullman In his second appeal as a character named Bob. Bob is a much heavier representation of these themes, but I think that Pullman manages to make it always emotionally effective. It was a former drug addict who sought to prove to the world that he was important by undergoing an experimental procedure which now left him as an almost invincible reservoir of a man. But this obscure side of him, nit of his self-degrading and depressive nature, threatens to manipulate these powers for more nihilist purposes. As I said, it is not very nuanced, but the fact that the film manages to manage things like this with maturity and Grace certainly earns him points. In addition, the character’s conception is really cool, managing to pass from noble to frightening when he asks.

The rest of the distribution is a bit dispersed, suffering from different obstacles. Wyatt Russel John Walker and David Harbor’s The red goalkeeper each obtains their own comedy and internalized pain shooters to cross, while Hannah John-Kamed Ghost does not receive as many leaflets, although his role feels at least built from his first appearance. But then, there is the case obvious that the actors call it, and it fears because these are two actors that I like a little. Sebastian Stan’s Bucky Barnes plays the group’s de facto leader a bit, but I think that after being in so many films, Stan Potential disinterest is starting to bleed through the character’s stoicism. Then there is Julia Louis-Dreyfus Valentina who, as a tool for the story, is quite solid, but you can say that it is a performance for the check and nothing more. She is not terrible, although there are very few signs of her who makes this character herself and engages in the equipment, even to the most clumsy. And the film do Try to define issues and emergency very early by killing a character, but if you saw the trailers, you probably already know who I talk about.

In my opinion, the abandonment of history to a more contained story at ground level was definitely the right call. We saw Marvel in front of her biggest and most explosive, but it’s been a while since I had the impression that the film was putting the characters first. Fortunately, this is the case here, which gives solid reasons not only to root for these unsuitables, but also to connect with them. But despite this, the film still knows when to deliver on violence and chaos. There is a notable amount of practice at stake here, from stunts to the pieces. The film starts with a basic jump without an exchange of the highest building in the world, then immediately follows it with a corridor fight over quite solid. Some of the subsequent fights have a little of this weightlessness that Marvel is somehow known, but there is still a real creativity that increases them to feel more substantial. Whether it is the dynamic work of the camera during the first meeting of the team with the trucks to return Black knight Style in the desert to another oner, the team taking an unstoppable enemy, these moments are much more memorable this time. This is also true with the final battle, which I will not spoil, but I will simply say that it brings the themes of the film in a loop in a way that seems refreshing and necessary for the series.

But even if I spoke a lot of this film, I must preface that it is not exactly the game changer that the MCU looked for. He certainly does steps in the right direction, but some of my black animals with the films still persist. It’s probably just one thing about me, but I think the way the film runs anything not Filled with action is quite boring, while the edition is based a little too much on heavy shots like domineering musical clues and the incessant haste of scenes which can sometimes strangle the rhythm of a scene. It is a reminder that there is still a little over -arched of those who are behind the scenes who want everything to feel similar, which means that we often have to sacrifice interesting ideas. This is super visible when you look at the post-key scene, which is turned by a different director who receives much more free range with regard to the appearance of a film. I want these other directors to be just authorized to detach themselves and not have to worry about the stylistic baggage that comes with these films.

So take my review with a little hesitation. Thunderbolts is not a great revelation for the franchise that reinvents the franchise and inspires a new life there, but I think it is the best to get closer forever. With the characters and the story coming from a place of sincerity, I felt the most connected to this universe than for years thanks to the film trying at least to treat us as adults for a change. There is a real glimmer of hope that I can again be excited for these films, so now it’s just a battle between or when this hope is suffocated. Listen, the film is positive, but I am always allowed to be a nihilist, damn it. Unless Florence Pugh wants to be my friend. It could probably adjust everything.

Notation

Emptiness

The cold vacuum and the crushing of the solitude of the infinite abyss seems to be a great inspiration for a cocktail, right? But the big bad guy in history, the void, is so striking and heartbreaking that I just had to instill all his atmosphere in a cocktail. The drink gives off a frightening sensation thanks to the mint cream, while the inclusion of cherry juice grabs your mouth in a pie plug. Throw a little black sugar, and you have an intimidating drink that can only be beaten by a hug of Florence Pugh and co.

INGREDIENTS

• 2 oz white rum
• 1 oz tart cherry
• 1/2oz mint cream
• Lime juice 3/4 oz
• 1/4oz – 1/2 oz of black sugar
• High: soda / foamous water

INSTRUCTIONS

1. Add the ingredients to a shaker and shake with ice.
2. Pass in a large glass (add ice if you wish)
3. Garnish with soda / frothy water.