In the period before the “Thunderbolts*” show, on May 2, Marvel got some Light mockery February art from one of the trailers. During the EDM victory from EDM, both members of the Acting Candidate Florence Bog and Sebastian Stan with a noisy text evoked many positions from the Indie A24 studio. “From stars Midsommarand A different manAnd & You hurt my feelings“The text” with “Book and Director” meat; Film photographer Green knight; Production designer from Genetic; editor MenariAnd “composers Everything everywhere once“There were short flashes from the feet of the naked man, from the deserted laboratory equipment, from a giant chicken practicing an arrow mark.Thunderbolt*, And the spot was concluded to. A24 The screenshots have been republished and added “the euphoria” that was called, “Wait, is this damned play for us?”
MARVEL was “Thunderbolts*” by “Thunderbolts*” (the star’s mark is never exactly explained) as a course of the cycle, and a return to the model after a series of disappointments and commercial disappointments. But the trailer, instead of summoning the peak of the foreign studio, has been precisely disturbed by the most sensitive movie, a mixture of loose credit, psychologically charged dreams, and volatile self -hatred. Since the launch of “Iron Man”, in 2008, Marvel Cinematic Universe has been immersed HollywoodIt absorbs most of the writers, prominent managers and many young talents. The endless studio series apparently succeeded in the laws of the movement, which was successful to the imaginations of the superheroes of people and their mockery at the same time. But the privilege was suffering from this, and part of the cause (besides proof of companies and giving priority to the brand’s continued business) is that SHTICK has become old. Marvel has always activated this type of superhero – at least, partially, invading – but has proven that the situation is more difficult because they continued to get rid of the content of superheroes, and since films, in stampede to create future installments, have worsened. What distinguishes “Thunderbolts*” is to deny the supercompsts that seems honest instead of performing it. The film swings between the models-dramatic treatment, Cookie hopes for the family, the comic play for two hours-as if the search for a new creative frequency. It is more fun than anything produced by the studio years ago.
“Thunderbolts*” begins a note from the existential distress: Gott Is TotAnd inspiration escaped from the ground. The Avengers Anti -Article Story Line ended, in 2019, with the death or departure of Marvel – Captain America, Iron Man, Black Widow and Thor, among others. For the characters that remain, there is a feeling that the well in the world has been dry; Old institutions collapsed, and no one comes to save us.
Increased mood of absurdity, Selena Maeer, the “VEP” character, is the director of the CIA. Here, I got an Italian earning and a new name, Valentina Alegra de Fontaine, but Julia Luis Drivus plays her role as a familiar study in silver shameful Girlbossry. Valentina’s endeavor pushed her to formulate super men who can defend the world (and her concerns) to conduct unnecessary, and not completely successful experiences on human issues. Now the walls are closed: they are dragged in front of a committee by the “WIRELL PERCE” investigator “Windell Pierce”
These agents are a crew of rejection similar to the MI5 clients dispensed on the Apple TV+ “Rogues Lovable” who somehow managed to fail at the top and success below. It includes a Russian -Morus spy named Yolina Bilova (Bug) and John Walker (White Russell), a super soldier who disturbed the captain of America quickly and color like Anthony Scarmocchi in his work in the White House. Luminity is the father of Yeena Exhibition (David Harbor theft scene); Every man named Bob (Louis Polman), who suffers from depression like Yelena. The political avenue, who is combating the slow institutional progress, played by Stan, whose existence was, in the wake of his filming of the young man Donald Trumpin “trainee“An electrical reminder that the super hero of a person can be a demagog of another person.
But the main orientation of the story is related to mental health. (Spoilers follow, for those of you who are interested in the element of surprise in the Marvel Movie plot.) It also turned out that Bob is not just an ordinary man; It is one of the science projects Valentina. He can hold a fireplace in machine guns and water with his mind, but to become a wonderful person who did not heal him from his grief or childhood shock. As the story progresses, different characters are transferred, when calling the Bob body, to painful moments of her past: followed to dark wood where you see a smaller version of herself betraying a friend; Walker to a battle he chose with his wife, who has left him since then. Towards the peak of the film, Bob becomes trapped inside the palace of his gloomy memory, while its shadow, a glitter black silhouette with Pinprick’s eyes, drifted through Manhattan, and passers-by in personal torture rooms-a “big maze from the interconnected shame”, says Yelena.
It is the height of sad power trips: because Bob is very strong, its fate and the world are double. If surrender to the emptiness, everyone must also. However, somewhat concrete, “Thunderbolts*” avoids the standard battle of the third representation-which is called “good” ego to restore the system-for the benefit of the rescue mission. Our heroes must protect Bob, each other, and a sub -part of New York from the splitting mind of Bob. They are almost no violence and often appear from the lawyer of the falling debris. Ultimately, the people who were transferred to the shame rooms are returned. In the era of “Avengers”, the residents of the unknown city were always sliding into the chase or below both sides of the uprooted offices, obtaining a bombing, stations, or crushing them like ants. But “Thunderbolts*”, with its small focus and identical equality, gives civilians their dues. This film may feel cleansing, as if he had wakes up some appetite to fight or destroy the scenes and then failed to nullify it. Instead, the number of low body appears to be proportional to the horror of death.
In emotional realism, “Thunderbolts*” is less influenced by other Marvel films more than a group of hallucinations that appeared in the late nineties and early thousands: “Being John Malmovich” (1999), “Adaptation” (2002), “The Purological sunlight of the comma -free mind” (2004), and “Continue” (2010). These actions varied in the development of their psychological vision, but they all used a conspiracy and pictures to rid the inner phenomena of life. Like them, “Thunderbolts*” finds a visual language that can be beautiful in its symbolic pressure. At some point, Pullman’s character hovered without mobility in the black sky over New York City – a large lyrical snapshot that transmits the calmness of dread. Later, Ylena is implementing a set of impossible, dynamic aerobic fluctuations and is in its efforts to reach Bob. The sequence is exciting, and it protects the heroic measures that people take every day to be with each other in dark places. (It is useful to be a glowing performer; we Sees The depression illuminates it. The scene indicates a breakthrough, in the psychological sense, and an open fracture of the forbidden future that its mind has decreased on the city. It is also somewhat similar to Marvel is free from its luggage.
Super heroes, who belong to an epic tradition of gods, kings and warriors, are not suitable for the moment of extreme self -awareness. The self-awareness-sowing of Panopticon digital and consumer culture that constantly directs our attention to ourselves and our options-that there is something shameful about the epic range. Care, perfection: Is it not compassionate you want what you cannot get? Marvel’s solution was to specialize in superheroes-syndrome-covered creatures who wander and kick people-who also believe that superheroes are stupid. MCU is designed to provide fans service, but she also tried to give the prevailing viewers – who may, at one time, are tempting of super films and skeptical – a sparkling power field skillfully from the reasonable denial to roam behind.
They did it mainly via metacommentary jokes and sheedish. Often, films have a strange Vie (and therefore contempt). They may seem very excited to reassure you that you are not watching a super film – who are silly – so that they are absent from the deepest shame that might drive someone to watch a super film to start with. This is humiliation of not being good or strong enough.
But this humiliation is exactly the topic “Thunderbolts*”. The film is partially succeeded by turning the Marvel scenario: The main characters are not embarrassing because they are superheroes; They are embarrassed because they are not. (In one of the most connected Yolina scenes, she told her father, “All I do is sit and look at my phone and think about all the terrible things I did.”) Instead of a potential power journey affected by a great degree of self -awareness, “Thunderbolts*” is a strong emotional story about weakness.
Marvel films are scattered with the characters that we are supposed to get to know with those who triumph over their opponents by revealing themselves. Steve Rogers-Kabin Kabin America was a great warrior in a related body even to his injection of the government with a substance that made him look like Chris Evans and fight like Satellite a team. Peter Parker-Man Man, Queen Olay’s child, was stumbling in the great powers and spent the rest for him The first movie proves that it deserves them. Each of these origins is rooted in the democratic myth that excellence lives in all of us. In a climate scene from the first TV program for Marvel, “,”Wandavision“The Avenger Scarlet Witch, who forgot her actual identity and believes that she is a housewife on the classic comic play, restores her charm and put her as one of the most applicable characters in MCU as she does, and she abandons a discount,“ I do not need to tell me who I am. “
Compare this with a representative sequence of “Thunderbolts*”. The team stands at the bottom of the elevator spear. None of them fly. They are all “only punch and shooting”, as not noticed by Drly, her voice is thick with Enui East. The character that can pass through the useless walls, because beyond the walls is only dirt. The character that can really high jump cannot jump high enough. Important heroes’ capabilities are a metaphor for their damaged appreciation. Collectively, they sold their friends, fought for the wrong armies, who surrendered to the control of the mind, and harmed the innocent. The emphasis on “who they are” will not help them get out of the hole; They must recognize their weakness and interdependence, and raise each other. These are the heroes of our at risk times, which will not allow us to imagine that we can save the world in an explosion of selfish selfishness. Perhaps this is what it seems that the human championship, the human heroism: knowing that you are not great as you wish, but trying to anyway. ♦
