Put this on the wheaties box: The following article contains Large spoilers for "Thunder".

If you've seen a Marvel movie, you've all seen them - or so does conventional wisdom around this franchise, at least. To be fair, the criticism of the studio that adheres to a particular "formula" is not completely at the base. Although this point was largely deleted or tolerated when the Marvel film Universe worked on all cylinders, it became impossible to ignore after the quality of each installment descended and lowered with almost every fleeting film on the eve of "Avengers: Endgame". This year's disappointing edition of Captain America: The Brave New World " They just made the spotlight even brighter than it was already. And as soon as it was finally time to get rid of "Thunderbolts*", more than the same thing would simply not reduce it.

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Fortunately, director Akeejk Schreer is well acquainted with this potential problem and comes out before. There may be the premise of a team team for Anti -Hero It seemed Like business as usual for MCU, to the very idea of Construction of another new Avengers list, as Theeventiac in the title. But despite having to adhere to some of the usual constraints inherent in this universe, "Thunderbolt*" manages to fight out of the lines far more than many recent productions have ever been able to make them. Not because the Jameses Gunn has brought his trilogy with the Guardians of the Galaxy Vol.

Nowhere is this more obvious than in the last act of "thunder*" - probably the high point of the entire blockbuster. Much of the conspiracy seems to be placing Jelena Belova (Florence Pug) and the rest of our (anti) heroes who oppose Bob's unstoppable power (Louis Pulman), which before that becomes stunning senters. Transforming into a dark and deadly cavity. But just when we seem to be destined for another third act battle full of drops, hitting and destroying VFX, we are taken for an unexpected twist. The result is one of the best climax of any superhero movie for years.

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If the idea for a group of raghtag heroes who can't stand with each other, gather to fight a fighting battle in the middle of News, sounds terribly known, well, I will go out to the limb and say that the similarities between the "Thunderbolt*" and "Avengers" in 2012 were difficult. However, it is quite a lot where they end, as this ugliest and more grounded film completely falsifies its way. What else would he call it to deal with a standard third plate sequence where our saturated team must beat powerful surveillance, putting the entire island of Manhattan in danger ... just pull the rug right away from us and instead go smaller, more intimate and much less focused on spectacle in the most important part?

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As /Film's BJ Colangelo alluded to her review "Thunderbolts*"This is a sequence of making or breaking that puts the film on another level in full compared to its contemporaries-the Marvel himself. From the moment our team gathered together and attacks the former Avengers TowerNow called The Watchtower, owned by malicious Valentina Allegra De Fontaine of Iaululia Louis-Dreyfus), it feels something obvious where things will go next. Discovering Bob's transformation into Snazzy-Looking Sentry is the first warning sign that things have passed terribly wrong, followed by how manually sends all our (mostly) non-sharper protagonists. But after the built -in Valentina killing switch as a gap and he sets his sights to turn every innocent life into a New York in shadows, it seems that nothing less than the avengers themselves could not stab this big bad in submission.

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Of course, this is the opposite approach that "Thunder*" takes. Instead of the same action for a superhero, we were infinitely subjected to the script (credited to Eric Pearson and Annaoana Kallo) Kiggs when we expect Zag. When Jelena sacrifices herself by going directly into the fire, what follows completely overturns the script of the comic book finale.

If the studio allowed artists to get away with half of the things that the creative team behind "Thunderbolts*" does it well, we wouldn't even talk about MCC to fight to find my own again or the prevalence of fatigue on the movie "Superhero" at all. This film is a great example of the type of bold, imaginative and truly inspired narrative choices that many of us claim to want from four-quarter, pleasant film films these days. But it's not until the last half hour or so, director Akejk Schreer reveals AS to the sleeve that makes everything click in place.

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"Thunderbolts*" may not be characterized Extravagance fans of epic sizes undoubtedly require upcoming titles like "Fantastic Four: First Steps" Or "Avengers: Doomsday", but it was never in the cards in the first place. Instead, the Timim film team took advantage of the whole advantage of its humble aspirations. Knowing how good she is to fight, Jelena makes a choice that, at first, looks like she succumbing to her darkest impulses and simply giving up the face of troubles. But when she allows the shadows of the cavity to take her to her subconscious, we slowly realize that this was the whole point together. It is no longer the movie about the power level or other meaningless, comic book nonsense, but more thematically significant material as the lengths we prepare to go to withdraw-and those we care about-to return from the edge.

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It is difficult to go smaller in volume or more intimate than the sequence performed in the literal space of our main characters, but that is what "lightning" does so well in its third act. Jelena gets closed in relation to children's memories that haunt her to this day - Bob directly faces the trauma and abuse of his upbringing that broke him as painfully as an adult, and the entire Thunderbolt team soon puts all this speech in action - not by hitting each other. Taken as a whole, this can be Marvel's most original and refreshing last "battle".

"Thunderbolts*" now plays in theaters.