In Thunderbolts, the Marvel Cinematic Universe collides not with aliens or multiverses, but with the spirit of A24 — or at least the filmmakers and talent that made that studio a symbol of indie cool. Directed by Beef‘s Jake Schreier and co-written by Joanna Calo and Marvel veteran Eric Pearson, the film gathers a creative team deeply rooted in A24’s atmospheric and auteur-driven style. With cinematography by Andrew Droz Palermo (A Ghost Story), editing by Harry Yoon (Minari), and music by Son Lux (Everything Everywhere All At Once), Thunderbolts tries to inject new life into Marvel’s well-worn formula.
While early trailers leaned into these indie connections, hoping to lure in audiences burned out on CGI excess, Thunderbolts ultimately proves less of an A24 crossover and more of a stripped-back, emotionally grounded Marvel story — and the best the studio has produced in years.
The film centers on a ragtag crew of misfits, discarded by their own covert program and hunted by CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus). At the core is Yelena Belova (Florence Pugh), the former Black Widow assassin, who opens the film with a confession of existential dread atop a skyscraper: “There’s something wrong with me,” she says, before dropping into action — both literally and metaphorically.
Thunderbolts balances action and introspection, weaving in themes of trauma, disillusionment, and longing for purpose. David Harbour is once again a scene-stealer as Red Guardian, Yelena’s eccentric and loving father, injecting humor and pathos. A standout sequence — a hallway fight scene evocative of Park Chan-wook’s Oldboy — shows off Schreier’s direction and Palermo’s atmospheric camerawork, merging grit with grace.
Though its indie associations may be overhyped, Thunderbolts delivers something Marvel has sorely missed: a story with heart, restraint, and just enough weirdness to stand out.
