Nicholas Barber writes that the latest franchise in the superhero franchise is "a clumsy, fragile, down-to-earth fun", Nicholas Barber writes that Florence Pugh has "a charismatic" Nicholens Pugh.

Since Avengers: The Final Game was released in 2019, subtitles feel much worse than what the studio likes. Not that Marvel hasn't had any success in the 2020s, but it no longer releases a series of uninterrupted lockdowns and won't allow viewers to invest in the story of the entire story. That special game is over.

The Marvel movie that has worked best since the end of the game is the furthest movie with the mode set by the so-called "Infinity Saga", the first 22 issues in the series that spins around a fight with Uber-Villain Thanos. Last year's R-class Deadpool & Wolverine had little role to use the Marvel Cinematic Universe (MCU). Postmodern Spider-Man: The Return of Home Not Home Pays a tribute to a Spider-Man movie that was not Marvel Studios; the latest Marvel movie Thunderbolts* also has its own unique identity. This is not to say that this is not part of the MCU. In fact, one of its clever touches is that it specifically addresses the melancholy feeling of people in a world where Iron Man, Thor and Captain America no longer exist. But director Jake Shreier and screenwriters Eric Pearson and Joanna Calo have proposed the unruly of the superhero genre, which makes it the most refreshing MCU product in years.

The point is, rather than trying to be as shiny and spacious as Infinity Saga Films, Thunderbolts* is clumsy, shaky, down-to-earth fun. This is not an epic story of the indestructible giants who saved the universe, let alone the multiverse. It's a comedy capers about clumsy secret agents who are used to hire them as a responsibility. This is not a new situation: After Bourne's identity, there are countless action movies in which spies are rejected from evading their ex-processors. But Thunderbolts* stands out because it has a bunch of spies like this: a bunch of frustrated, dysfunctional loners who have to work together and can’t stop complaining about it. From a wonderful point of view, what’s particularly unusual about the film is that its premise is feasible even if the characters don’t have super dynamics. And, in fact, they are not that powerful compared to the aforementioned Captain America and Thor. Part of their appeal is that they can be killed by bullets and trapped in the room with locked doors, which makes it easier for them to connect with Nordic gods.

There is a lesson there that manufacturers who disappoint them should learn such disappointment and miracles. What matters is not the power of the character. This is their personality. In Thunderbolts*, the characters are Yelena (Florence Pugh), the adopted sister of Scarlett Johansson's Black Widow, who is now in great pain for all the unconscious violence in her life. Her adoptive father, David Harbour, is a washed-up lazy, nostalgic for her days as a national hero. Bionic-armed Winter Soldier (Sebastian Stan) was a partner of Captain America during World War II and was still uncomfortable in the 21st century. John Walker (Wyatt Russell) is a frustrating super soldier who should have been the new Captain America but is not competent. Confused, conflicting Bob (Lewis Pullman), another flawed attempt to create a Captain America substitute. And Ghost (Hannah John-Kamen) is a scientific experiment, but unlike other characters, his definition is not very good. In all ways, they are connected to one of Marvel's most memorable villains, Valentina Allegra de Fontaine (Julia Louis-Dreyfus), a businessman with a fragile, humble confidence that you might expect from Seinfeld and Veep's reliable star.

It seems that Defentan has been lagging behind several Black Ops related to superheroes. Now that her political rival is closing, she decides to destroy all the evidence of her shady cause, including those who execute them. So Yelena and the others turned from trying to kill each other to trying to keep each other alive. They became a team, but they weren't sure if they called themselves thunderbolts, so the asterisk in the title means it's just a placeholder until they think of something better.

One small obstacle is that most of the characters’ back stories are in other movies, in the TV series The Falcon and the Winter Soldier, not in the Thunder* itself. Another obstacle is that the gang takes up the gang's pursuit for most of the movie's play time, so the trailer hasn't had many fixed works yet. On the other hand, superhero movies rarely concentrate so closely, rarely progress so seamlessly between scenes, without pauses of breath, and without the different purposes of suddenly jumping to Earth. Captain America: The brave new world that emerged in February is similar to Thunderbolts as it spins around Washington, D.C. and starts with the Falcons and Winter Soldiers. But that movie is a messy spill, and this movie is so neat that you can enjoy the offer and enjoy the journey, whether you are a Marvel nerd or not.

The potential problems in Thunder* are as concentrated as the narrative. These characters all have to deal with the shame and trauma of a troubled past - from the opening scene to the necessary final battle, it's a bit rushed, but very stylish surreal to recall two curved films written by Charlie Kaufman, John Malkovich and John Malkovich and Eternal Sunshine of Dobless obless obless obless obless obless obless obless obless obless obless obless obless obless obless obless obless obless obless obless obless obless obless obless obless obless obless obless obless obey of of of pocoar of pocent to. Let people see it. In between, the characters' inner gui is explored in some moving and surprisingly cruel sequences and some savvy, briefly edited and cleverly performed comic scenes.

At both ends of the spectrum, Pugh offers a show that would win her award if not in a superhero movie. She played her own blow at expert timing, especially when she quarreled with Red Guardian and joked. But she can also exude raw emotions – while maintaining a decent Russian accent and trolley in her acrobatic struggle scenes. When it comes to this, that's why Thunderbolts* is much better than most post-game movies in Marvel. It's not only because it's a rough, big-hearted spy thriller about cute ignorant antiheroes. This is because its actors are as charming as Pugh at the center of it.