WARNING: This article contains Large spoilers for "Thunderstorms*".
I know, we've been here before, haven't it? Whenever a new movie for Marvel's movie universe is released, we have to go through a whole song and dance on how This One finally delivers something we've never seen in the franchise before. And then the next comes out and we tell all the same things about it all, as if we have a collective memory of goldfish. It is an infinite cycle of hyperbola and hysteria, driven by fans and (obviously) critics, and that is a trend that has already felt played in front of 10 Marvel films.
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"Thunderbolts*" is released during a terribly unique moment in property history, however, when the magic is finally broken and we have all approached the idea that Marvel must actually have Earn Our praise these days. But against all chances, this team team supplement team is not just one of the best and most complex films in this series for a long time (As many early reactions painted the movie). It also goes to some deeper and darker places than many of us may have expected. That's why for my money, "Thunderbolts*" has perhaps the darkest single moment in any MCU movie. Yes, I know there are a few thinking lines of thinking that seem to dispute this. For one thing, this is exactly the kind of statement to a family-friendly PG-13 blockbuster that (rightly) deserves an answer regarding that meme for a sponge roller on a sponge. For another, have we no longer seen half of the universe literally in the existence of "Avengers: Infinite War"?
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It is fair to wonder what "Thunder*" can do worthy of such a title. Well, a special scene in the last act is carefully played as another standard moment of superhero ... next to the second things do not go terribly wrong. It is shocking, demoralizing and of course the blow of the intestines-and the darkest moment of MCU still.
Thunderbolts turns the heroic moment into a devastating defeat
For film everything to overcome our biggest obstacles to become the ones we wanted to be, "Thunderbolt*", of course, knows how to twist the knife when needed. Although Jelena Belova at Florence Pug fulfills the traditional leading role of this ensemble film, it is actually Alexei Shostakov/Red guardian (David Harbor) who assumes one of the most terrible arcs of the story. Typically, shown as a father with dead at this moment in the franchise, the "Black Widow" character begins the "Thunderbolt*" in a similar pathetic place when his adopted daughter Jelena first visited a visit for about a year. Finally motivated to become part of her life again, Alexei spends most of the periphery plot ... That is, as long as he suddenly faced his biggest ransom moment.
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Late in "Thunderstorms*", after Bob/Sentiri of Louis Pulman turned into a wicked gapThe long -forgotten red guardian finds himself in the thickness of the action and faces the most important choices: run and hide to save his own skin, or put his life on the line to save those in danger. He chooses the path of original heroism and, as well as the original avengers, confirms his status as a real blue lightning while saving lives in the military city in Newouper. When he Spots a Little Girl About To Be Crushed by Falling DeBris and Heroically Takes the Hit Himself in Order to Shield Her From Harm, It's a Perfect Button To His Emotional Arc ABOVE ABRUPTY AND MERCILESLY TURNS HER (AND EVERYONE ELSE IN THE VICINITY) INTO A Shadow With the Flick of a Wrist, Promptly Undoing All the Good Heroes Accomplished and Leaving us Audience members with a pit in the stom.
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The darkest moment in thunderstorms hit harder because it is so small
Despite more than a decade of Marvel and his rivals who tried to bring back the magic of the "Avengers" in 2012, the real secret sauce was hiding in an ordinary view - and "Thunderbalci*" of all films, the one he understood. "Avengers: Ultron's Age" and a single stroke of "Infinity War" https://www.slashfilm.com/ Endgame tried to make the standard sequel something that would go bigger and louder than what we had previously received, though only to a different degree of success (creatively speaking, at least). Director Jake Schreer's team's team flasher is trying something very different by focusing on a group of anti -heroic nobles, to be fair, but the results speak for themselves. Anecdotal, the scene where the little girl is shaded by existence, caused real gases from the audience I attended, and it is very obvious why she felt so effective.
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Only when we might have expected "thunderstorms*" to completely expand the volume of the story, instead, choosing to scratch them in very specific cases of civilians to be put into mortal danger ... And those moments hit much harder as a result. Well, it's pretty obvious why seeing Hordes on the VFX crowd that are put in a vague sense of danger can quickly feel grueling mind, compared to seeing the character we know and want to not help this specific person. But the pure simplicity of approaching this moment in "Thunderbolts*" is exactly what makes it more refreshing. Orders and dramatically clear why the red guardian feels the need to deal with his deficiencies in the past by saving others, just as it is obvious why Bob shakes the way he makes him as a gap. And when the emotional travels of both characters are approaching this innocent life, well, it's no wonder why she feels so fatal at the moment ... Or why she is so much a lift when she returns with the rest of the victims.
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Hopefully, this will be a lesson for wherever MCU goes next. All signs point to "Fantastic Four: First Steps" taking a similarly customized approachBut all bets are excluded after crossover extravagance "Avengers: Doomsday" is finally arriving. Here's hoping that Kevin Jaghie remembers what the Thunderbolt did such a breath of fresh air.
"Thunderbolts*" now plays in theaters.
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