It's a real shame "Thunderbolts*" did not do more than happened in the box office. The first movie "Marvel Studios" in some time with something to say should have been a bigger hit, but with so much work against the 2025 superhero genre and lack of any great heroes in his team, the film never had a chance.

The reality is that, on the eve of its long -term fights, Marvel Studio needs more event films. In 2024, "Deadpool & Wolverine" destroyed the cashiersuggesting that the company can only be able to turn its Chinese happiness. Unfortunately, 2025 got off a bad start for the Marvel studio with The safe, forgotten rehab that was "Captain America: The Brave New World". After that disappointment, all eyes were in the next film, and the last installment in Phase 5 of Marvel's Chinese Universe: "Thunderbolt*".

In many ways, "Thunderstorms*" is anti-"Deadpool & Wolverine". It is an emotional blow to a film's intestines that has finally matured by MCC by demonstrating its individual chapters, it can actually explore significant topics beyond promoting whatever the next installment in the franchise. The film is a long allegory of depression or, more precisely, human elasticity in terms of mental health and unmistakable trauma challenges, weaving uncharacteristically moving narrative that ends with the celebration of the human relationship as one of the most powerful weapons in the battle against our darkest moments. However, it seems that a key aspect of that area proved to be sufficiently disputed that the writer and director of the film could not agree on how to convey.

"Thunderstorms*" may have disappointed some movies, watching It's less than a real lightning movie And more than an amazing introduction to the new Avengers team - hence "*" included in the title of the posters film. But for fans waiting for Marvel to prove their films it can be more than the attractions of Martin Scorsese theme park, so accurately described them as "Thunderbolt*" is a special film.

It was not only that the film had something to say about loneliness and depression. His performances were great, in particular, portraying Louis Pulman's Bob/Senttri/gap. The character (s) serves as an antagonist of the film, but Bob begins only a confused man with mental health problems before turning into a suffrage from Iaululia Louis-Dreyfus, Valentina Allegra De Fontaine. A killing switch designed to limit the power of Sentiri, eventually, when it turns it into a void, a character that is essentially a manifestation of Bob's depression and trauma. To save the world from encouraging the darkness of the gap, Florence Pug, Jelena Belova and her antichero group, should literally engage in the dark recesses of Bob's mind to save him from his past traumas. After all, the crew managed to bring it back with what is essentially a big group embrace, assuring him that he is not alone and brings him out of his shadow world.

It is this group embrace that proved so disputed. Talking to Hollywood reporterEric Pearson (who co-wrote the "Thunderbolt*" with Annaoana Kallo) revealed that he and director Jake Schreer could not agree whether to refer to this last embrace as a "group hug" or not. "It's an absolutely group embrace," the writer noted. "I think I wrote a line that was a comment:" Did we just save the world with a group embrace? "In retrospect, the referral makes him terrible, and he is fine for that." Pearson continued to say that his note of scripts was probably "broke" to him, He was laughing, but then if you applied it to the right movie, it would be like "EV". That will give you IK. "

Although much of the "Thunder*" is surprisingly gloomy in showing the fighting for the mental health of his characters, he is ultimately a movie of hope (and Probably a better movie about Hope than Jameseshes Gunn's "Superman"). However, without that last embrace, the aspect of hope would not be so effective.

AKEEK SHREER, which will direct Marvel's "X-Men" reboottalked to Comingsoon.net The end and admitted that the embrace is the best way to round the story the film was trying to say. As he said:

"Hope was like," Good, well, we don't want to be just a conversation or talk, how, can we visualize, can we dramatize that interior? "And that was what led to all these gaps premises and that journey they pass through.

He continued to talk about how difficult he and the rest of the film's creative team worked to set up Bob as a character so they could "earn that moment" when the thunder was accepted at the end. The director also added that this is not "intended to be literally just a hug", nor; Instead, it's a moment when heroes collectively pull Bob from his dark self. However, you want to describe it, then I think it's fair to say that Shreer, Eric Pearson and Annaoana Kallo all definitely earned the moment. Instead of feeling Maudlin, it resonates as a real idea of how individuals can be supported by loved ones during their darkest times.