Movie Review: "Fantastic Four: First Steps" - Fourth Time's The Charm

 

July 2025 is probably one of the most important months in the history of comic book movies for the big two. Superman's first appearance in 1938 was the dawn of the superhero and what would become the DC Universe. The Fantastic Four's debut in 1962 was the beginning of the Marvel Universe we know today. While Superman's latest film has achieved success on par with the original, the Fantastic Four have desperately needed a win on that frontier. From a so bad it's good 90's film that was never officially released to a moderately successful duology in the 2000's and the disastrous reimagining of the 2015 film, Hollywood hasn't been kind to Marvel's first family. Now with Marvel Studios finally in charge of the property that put them on the map, "Fantastic Four: First Steps" gives fans the film they've always wanted in what could be considered a love letter to Stan Lee and Jack Kirby's original run.

While there were plenty of real life and story reasons to set this outside the Sacred Timeline, giving the Fantastic Four their own universe (named Earth-828) to play in was the right call. The filmmakers did an excellent job in capturing the retro aesthetic of the 60's while incorporating elements of what future technology would have thought to be like in that time period. If the film's style reminds me of other superhero films, it's The Incredibles films and surprisingly "The Batman." The Incredibles films had a similar retro style and the family themselves were inspired by the Fantastic Four, so seeing it done in live action with the archetype of the superhero family was a real treat. And much like how "The Batman" created a Gotham that felt so distinct from any real-life city, Earth-828 showcased a world similar to our own but had its own flair. It was a breath of fresh air from the rest of the MCU films and the superhero genre altogether.

I don't think this film could have casted a more perfect ensemble for the Fantastic Four. The actors nail what have made these characters endure for over six decades, from their mannerisms, interactions, and (with the help of the effects team) their abilities. Pedro Pascal captures Reed's intelligence and struggle to properly express his emotions. Ebon Moss-Bachrach is able to shine the humanity of Ben Grimm through the monstrous exterior of the Thing. Joseph Quinn's Johnny Storm will probably surprise viewers, because while he's still the youngest and most impulsive of the group, he shows he's not to be underestimated in other areas. And Vanessa Kirby steals the show as Sue. While she's already depicted as a strong woman, her badass-ness is elevated from her need to protect her newborn child.

In a change from the traditional story, the film takes the "Earth X" route by making the Silver Surfer Shalla-Bal (Norrin Rad's love interest). While some crowds would call this change "woke", it's actually to add a parallel to Sue's story as Shalla swore herself to Galactus mainly to protect her own child. It's what makes her arrival on Earth not just a warning of the extinction Galactus will bring, but it could also be seen as her trying to give them a chance to save their world as she did. I really have to applaud Julia Garner's performance as even before she begins to turn from Galactus, you can see the subtle touches in how she's not fully on board (pun slightly intended) with her lot in life. It results in what I think is a better redemption story than what was presented in the 2007 film and will make you want to see more of her.

Then there's the big planet eater himself, Galactus, portrayed by Ralph Ineson. Depicting a comic accurate Galactus on the big screen can be a challenge, but the way Marvel approached it was brilliant. It's said that's he's been alive for an incalculable amount of time, and we can see that in his ship, armor, and face. There's a dirtiness and sickness in his aura that makes his presences even more foreboding than one would already expect from this type of character. He's like an addict with how his hunger will never be fully satisfied. When he finally makes his move, we get what I believe to be Marvel's first real kaiju moment as he creates a path of destruction through New York. It makes for an exciting climax and in turn an emotional aftermath.

This July delivered a win for DC and now for Marvel. "First Steps" finally does right by the Fantastic Four on film and reaffirms Marvel is getting itself back on track as the road continues to the next two Avengers films. The new FF will return for that and I look forward to seeing them becoming part of a larger universe than they know.

Movie Review: Superman - Old Fashioned Hero For Troubled Times

 

My first review on this blog was for "Man of Steel", which kicked off the DC Extended Universe. Now here we are again with a Superman reboot acting as the first film of a new live action DC Universe. If we can surmise how a shared universe will do based on how its first film is received, I believe the new Superman film will take the DCU to greater heights compared to what came before.

For better or worse, what Richard Donner and Christopher Reeve brought to the first cinematic version of Superman became the archetype for the character on film. So much so that filmmakers after the Reeve films had a hard time cracking how to bring Superman to the modern age of superhero movies. Bryan Singer stayed too close to the Donner aesthetic for comfort with "Superman Returns" while Zack Snyder's version strayed too far from it, both failing to achieve mass appeal to movie goers. But now James Gunn has succeeded in showcasing classic Superman sensibilities while connecting to today's audience. And as much as WB tried to make John Williams' classic score work for Cavill's Superman (who already had his own theme from Hans Zimmer), it fits so much better here and will have you humming along once it hits.
While I appreciate Snyder's grounded "first contact" take, Gunn made the right call diving into a universe unafraid of embracing its comic book roots with Superman and other heroes firmly established, allowing us to jump right into the story. It's a very timely one at that as one can draw parallels to current events from military conflicts to political figures; it really drives in the hope Superman is meant to inspire in others in story and in real life. But there's plenty of fantasy and action to escape into as well, with plenty of ideas keen eyed comic fans will be able to pinpoint their inspiration.

David Corenswet delivers one of the most down-to-Earth Supermen of recent memory; Tyler Hoechlin also fits that bill, though his Superman was at a different stage of life by comparison. Corenswet captures what I believe James Gunn set out with this new version of the character, that despite all his power, Superman is at his core just a guy trying to do the right thing. They also make it clear Clark really is quite nerdy, and I think it's quite evident in the costume. It makes for great chemistry with Rachel Brosnahan's Lois Lane as their ideologies clash. He's an idealist while she's a realist as they help each other see the wider picture of a situation.

Portrayed as an egotist with no regard for any life but his own, Nicholas Hoult makes the perfect antagonist to Corenswet's Superman as he takes on the role of Lex Luthor. Along with seeing direct inspiration from Grant Morrison's depictions of Lex in works like "All Star Superman" and their New 52 Action Comics run, there's undeniable allusions to Donald Trump and Elon Musk.

Saving the day along with Superman is the (name still pending) Justice Gang, made up of Green Lantern Guy Gardner (Nathan Fillion), Mr. Terrific (Edi Gathegi), and Hawkgirl (Isabela Merced). Gardner is brash and loves the limelight while Terrific is serious and calculating. Hawkgirl makes a good middle ground but she doesn't get as much time to shine compared to her teammates (which I feel is a wider problem with some of the supporting cast, including the Daily Planet staff).

And of course, there's everyone's favorite scene stealer, Krypto the Superdog! Covered in fur and wrapped in a red cape, Krypto is the definition of a "chaotic good boy". He may have powers but he's still a hyper dog that will probably make his inclusion worth the price of admission for dog owners and animal lovers everywhere.

All that said, I do have a couple minor gripes:
* Ultraman's identity is easy to figure out, though you may be wondering the specifics until the reveal. He does have an interesting relationship with Lex that makes me think of Stryker and Barakapool done right.

* The change in Superman's Kryptonian parents' intentions for their son kind of rubs me the wrong way, though I understand the intent for his character arc. Although, Gunn may have done an unintentional retread of "He may have been your father, but he wasn't your daddy".

Every few years, I think there's a superhero movie that comes around which reinvigorates the genre. James Gunn's "Superman" has arrived to shake off the fatigue audiences have been feeling the last few years and at a time a hero is sorely needed to make us believe in good. I don't usually make hyperbole comments like some critics do, but this is the must-see film of the year.

I Have Questions About Rick's Childhood (and Beth's)

 

*WARNING: SEASON EIGHT SPOILERS AHEAD*

It's been another crazy season of "Rick and Morty" so far. But between the moments of craziness are the moments of character insight. We already know Rick's origin story in regard to portral travel and the events that lead up to when we first met him in the pilot. But who was Rick before that? What was Rick like growing up that put him on the path to becoming the smartest man in the universe?

In episode 8.5, "Cryo Mort a Rickver", Rick and Morty infiltrate a space ark filled with people in cryo-sleep that's traveling to a new planet after wrecking theirs. Rick wants to rob the vault on board, but Morty's interference causes an explosion that initiates an emergency wake-up for those aboard. Rick and Morty rush to find damaged pods that caused their occupants to die so they can blend in. Rick unknowingly takes a pod that was occupied by a child and then has to pretend to be the rapidly aged version to the wealthy parents of said child, the Jamersons. While Rick's main goal is still to rob the vault, he begins to appreciate the loving nature of his "parents", showing guilt as he keeps up the charade and even protecting them when Morty inadvertently causes an uprising from the ark's working class.
It was pretty clear to me that Rick was getting something from this couple that he may not have gotten from his own parents. We really don't know much about Rick's adolescence. His father is referenced in season 2's "Auto Erotic Assimilation" and we see a brief flashback to Rick as a kid in season 5's "Rickternal Friendshine of the Spotless Mort" where he's shown to already have an affinity with robotics. While I don't really have anything about his mother to go off of, I get the sense that Rick and his father weren't as close as he would have liked. He probably wanted his father to be proud of him but they didn't share the same interest in science. Spending time with the Jamersons not only gave Rick the chance to be a kid again but also to feel some parental love.

But Rick's childhood isn't the only one that raises questions this season. In episode 8.6, "The Curicksous Case of Bethjamin Button", Beth and Space Beth use an aging pod to become children again. Now back in season 3's "The ABC's of Beth", Rick reveals Beth was a scary kid. Let's just say that listing off all the deadly childlike weapons was only scratching the surface of that claim. The two little Beths create chaos, constructing "Saw" like booby traps with a "Home Alone" aesthetic and even attacking neighbor Gene and leaving him for dead in his burning house.
I should point out that when it comes to the main Rick of the show, his version of Beth was killed along with his wife, Diane. While there are exceptions to the rule, it appears that most Ricks in the multiverse abandon their families once they develop interdimensional travel. Couple that with learning in season 7's "Unmortricken" that Rick Prime killed every Diane in existence, were there a multitude of Beths, including the main ones of the show, with a runaway father and a dead mother? I'm very curious what happened to Beth afterwards. It's fairly likely she entered foster care and went through therapy to not only deal with her loss but also temper her more violent tendencies by the time she meets Jerry in high school.

Admittedly, there are some inconsistencies across the episodes mentioned. I feel this can be attributed to the falling out between series creators Dan Harmon and Justin Roiland. Problems between the two began during season 3's production, leading to that season's late release and how long it took for season 4 to come after that. But the big thing to note is that after season 3, Roiland's only contribution to the show was his voicework up until being fired from the show in 2023. Without Roiland's input, it appears Harmon's ideas in respect to Rick and Beth found their way into the show's canon.

I know "Rick and Morty" is a show where we just need to go along for the ride and not think too much about things (something they've been clear about before). But after eleven years and eight seasons, I think it's safe to assume people are invested in the characters for more than just their comedic sci-fi adventures, especially when it's guilty of having emotional moments. I don't know how likely it is we'll delve deeper into Rick and Beth's childhoods even with the show renewed up to season 12 at this point, but it's certainly an area worth a look.

TV Review: Ironheart - Flatlined

 

In 2022, Dominique Thorne debuted as Riri Williams in "Black Panther: Wakanda Forever" with the intention of leading into her own "Ironheart" series for Disney+. Between the Hollywood strikes of 2023 and the reevaluation of the Multiverse Saga plans, the series only now has arrived. And despite some enjoyable elements, the production delays didn't do it any favors.

After being expelled by MIT, Riri returns home to Chicago and resumes her goal of creating her own iron suit. To procure funding for her project, she joins a heist group led by Parker Robbins, affectionately called "The Hood" by his crew for his clothing namesake that grants him powers. But when curiosity and fear start to make Riri second guess her choices, she becomes more determined to finish her suit to protect herself and those she cares about.

I wasn't immediately hooked, but it was by episode 3 that I was starting to get into it. A big theme of the series is "magic vs. technology", specifically Hood's mystic abilities against Riri's high tech suit. Both are brought to life very well by special effects; the latter brings a particular breath of fresh air as we see a "practical" suit that harkens back to Tony's early days compared to the nano capabilities seen in his final battles with Thanos.

Unfortunately, the final episode kind of wrecks the whole thing for me. While it does have a good climax and brings in Sacha Baron Cohen (who gives a more subdued performance than what people would expect from him) as a character that fans have been clamoring for since Phase Four, it doesn't really bring finality and more so a tease for season two. But at this point, I don't see that happening. 

While Marvel Studios has recently decided to go "quality over quantity" approach compared to previous years, projects like "Ironheart" and "Agatha All Along" were already pretty far along in production. At least with "Agatha", the story was self-contained and had a real finale but leaves an opening to return to those characters. "Ironheart" ends similarly to "Secret Invasion" where there's huge ramifications but no guarantee of following up on them (unless "Ironheart" leads into potential Young Avengers plans like "Agatha" hints at).

Characters and performances are the real heart of the series though.

Dominque Thorne's return as Riri brings a lot of complexity to the character. It's already been evident the girl is smart. This series alone shows her building iron suits at home and inadvertently creating an AI based on her late best friend. She even gets her own "Iron Man 3" moment in episode 5 to show off her ingenuity without the suit. She's very goal oriented, which can be attributed to a past trauma. But as smart as Riri is, it also makes her closed-off and arrogant, leading her to make some questionable choices that would go on to impact her and those around her. She's kind of like Peter Parker in that way, but not as insecure. This may make her character off-putting to some viewers, especially by the end in spite of her development.

Anthony Ramos portrays Parker Robbins/The Hood, the main antagonist of the series. Ramos' portrayal here is kind of the flipside from when he portrayed Noah Diaz in "Transformers: Rise of the Beasts", where his actions are for the benefit of those he's taken under his charge. But Robbins takes darker methods to achieving these goals rooted in his deeper motivation and hood's influence. Robbins' journey parallels Riri's in a few ways. Besides the "magic vs. technology" theme, both lost their father figures in different ways and while we see Riri begin to let the people in her life help her, Robbins finds himself alone by the final episode.

Alden Ehrenreich portrays Zeke, the son of Obadiah Stane from the very first Iron Man movie. While Zeke would rather distance himself from his father's legacy, the events of the series push him into it, and based on Alden's performance, he's a chip off the old block. Something interesting that comes up though is apparently the cover story that his father died in a plane crash is still in play. You'd think the truth would have come out about it whether it be after Tony went public as Iron Man or when Natasha leaked all of SHIELD's secrets in "Winter Soldier."

Despite what works about "Ironheart", I'd overall find it hard to recommend to anyone outside of those who enjoyed Riri in "Wakanda Forever" or the MCU completionist.

TV Review: Dragon Ball Daima - Toriyama's Grand Tour

 

Dragon Ball Daima is an anime miniseries that marked the 40th anniversary of the Dragon Ball franchise as well as the last project with involvement from creator Akira Toriyama before his death in early 2024, releasing posthumously. While the build-up to Daima had a lot of fans not sure what to expect, I believe this turned out to be Toriyama's perfect swan song.

Set a short time after the defeat of Kid Buu but years before Beerus' awakening (technically), a power struggle begins in the Demon Realm (a separate plane of existence than Hell to be clear) after the death of King Dabura at the hands of Buu. Fearing the power of the mortals, the heir apparent Gomah makes a preemptive move by traveling to Earth and using the Dragon Balls to turn the Dragon Gang back into children, as well as kidnapping the now infant Dende. The now mini versions of Goku and friends mount a rescue mission and give chase to the Demon Realm, seeking its version of the Dragon Balls to restore things to normal.

To address the immediate elephant in the room, yes, this does sound very familiar to Dragon Ball GT, but with a few key differences. First, it's not just Goku turned back into a kid, so now we get to see characters like Vegeta and Piccolo acclimate to their smaller statures. Second, they're traveling a world of magic rather than the depths of space. Combine these and you actually get the perfect anniversary series. Like GT, Daima harkens back to the original Dragon Ball series with Goku traveling with friends old and new seeking the Dragon Balls with more emphasis initially on martial arts than energy fights. Making the setting the Demon Realm also brings the franchise back to its fantasy roots, skewing away from the sci-fi tone of not just GT but a majority of Z as well.
Something of note of the Demon Realm is that those originating from there have pointed ears, and this includes the Namekians and Kais. I'm a little on the fence about this new information, but it does help tie Piccolo back to his Demon King origins. A lot about the Demon Realm makes me wonder if Akira Toriyama was a fan of "The Owl House", especially when you compare the fictional settings and its inhabitants from both shows. Given it's been said that Toriyama was inspired by "Terminator" when writing the Android Saga, a similar situation honestly wouldn't surprise me.

I should point out to those wanting to watch Daima that it starts off painfully slow. I think it was about episode eight for me that things really started to pick up steam. While I do commend Daima for having a tighter story compared to GT or Super given its limited run, it probably could have been trimmed down a bit. I would also contribute the limited run to the animation and fight scenes being consistently well done by comparison as well.
In terms of the dub, part of what helped me get through some of the slower parts was Stephanie Nadolny's return as the voice of young Goku, slipping back into the role like riding a bike. By comparison, the voice actors for the kid versions of other characters take a little time to settle into their roles but they get there the more they perform. But to be fair, I think that's normal for any voice actor in a long running role.

If Daima will be well-known for anything, it's Akira Toriyama pulling a Shenron by granting fans' wishes with the inclusion of Super Saiyan 3 Vegeta and Super Saiyan 4 Goku.

Vegeta reaching Super Saiyan 3 is something fans have wanted to see since Goku introduced the form in the Buu Saga. While Vegeta's had the transformation present in video games, Daima marks its first appearance in an official capacity. And I have to say that Vegeta made the form badass again after how much it got downgraded in Super.

Similar to how he rebooted Broly, Akira Toriyama gives Goku a new version of Super Saiyan 4 that's familiar but distinct from its GT origins. While it kind of comes across as an asspull and lacks some of the prominence the first transformation in GT had in my opinion, Daima maintains Super Saiyan 4 as the pinnacle of primal Saiyan power, culminating in probably the biggest Kamehameha in the franchise's history.

And once the characters are restored to adults, this allows Christopher Sabat and Sean Schemmel to cut loose in their respective roles and transformations.

Despite initial reports and continued insistence after the series, Dragon Ball Daima doesn't fit within the same timeline as "Dragon Ball Super". Goku and Vegeta's new forms in Daima alone prevent things from lining up. Much like GT can't happen after Super, Super can't happen after Daima. It is just a little surprising though considering Toriyama's involvement in both, though Daima had much more of it apparently. And while I had no luck in relocating the article, I remember seeing that Daima was considered by Toriyama to be his true follow-up to Z.

So after Dragon Ball and Dragon Ball Z, you can look at it as a "choose your own adventure" map with Daima, Super, and GT as potential continuations, each having their own merits and drawbacks. While part of me still prefers GT for its natural story progression from Z and bringing finality to the Dragon Ball story, I think Daima is objectively the best out of all three. I didn't expect to like Daima as much as I would, but the overall story and animation was on par with the "Super Hero" movie in making me feel like a kid watching DBZ again.

For what would sadly be his last project in the franchise, Akira Toriyama knocked it out of the park with Dragon Ball Daima. And I would like to take this time to thank him for helping shape my childhood and beyond.

TV Review: Doctor Who Series 15 - Timey Wimey Woo

 

It's round two for the Davies/Gatwa/Disney era of Doctor Who, taking viewers aboard the TARDIS for more exciting new adventures. A lot of what made the last series great is present here, but there's plenty to help Series 15 stand out for better and worse (but not a lot on the latter). I will keep spoilers to a minimum until later on because there are major developments in the finale.

While Millie Gibson is still present as Ruby Sunday, the main companion role this series is filled by Varadu Sethu as Belinda Chandra. A nurse who gets abducted by robots to an alien planet in the premiere episode, Belinda is eventually being saved by the Doctor. There's a lot to like about Belinda, like her first instinct to help people when she sees them in distress; she reminds me a lot of Martha Jones, both of them being in the medical field adding to that fire. Belinda's a smart cookie too, immediately recognizing the risks of travelling with the Doctor and wishing to return home after her first adventure. However, something is preventing the TARDIS from taking her back to the moment she left with much of the season revolving around that mystery why that may be. Going off that, Belinda makes a good point that the Doctor is basically a time detective. This does make a Belinda a reluctant companion at first, which is a nice shake-up to the formula. As the Doctor works his magic to get her home, Belinda grows to trust him and have fun as they travel time and space. In fact, she would go on to be his closest companion since Clara Oswald.

Showrunner Russell T. Davies once again crafts a well-done series of episodes. Social commentary is ever present, touching on subjects such as AI, misinformation spreading, as well as stereotypes and discrimination. If I had one complaint though, it's that there are time Davies seemed to be copying himself from his first tenure as showrunner. I just noticed some ideas felt familiar from episodes like "The Girl in the Fireplace" and "Voyage of the Damned" for example. The final episodes of this series even hit a lot of beats of the last of series three. It's hard for me not to notice since I'm so familiar with the show. And when a show runs as long as Doctor Who has, you're bound to see recycled elements. It's all in the execution, which succeeds enough where it doesn't bog down my enjoyment.

 

Let's go through the episodes that really stood out to me:

* In "Lux", Alan Cumming voices a cartoon character of the same name, following in the footsteps of the Toymaker and Maestro as another of the Pantheon of Discord. If you remember the episodes featuring those two, you know the kind of craziness that can ensue. The episode also breaks the fourth wall in a way I don't think one would expect Doctor Who to do.
* "The Well" is a direct sequel to the episode "Midnight" from 2008. In my opinion, it's scarier than its predecessor while also making me appreciate that episode even more.

* "The Interstellar Song Contest" has a lot going on for it. It has one of the most horrific moments I've seen on Doctor Who, one of the craziest, and we get to see how Ncuti Gatwa's Fifteenth Doctor is when he's really angry. It brings about the darkest moment for this Doctor and one of the darkest for the character in general. The episode also reveals the secret of Mrs. Flood as it leads into...
* ...the two part finale of "Wish World" and "The Reality War", a reality warping story as we watch the Doctor and his allies set to make things right. While the first part basically shows us a right-winger's wet dream, the second gives a special effects heavy battle akin to a Marvel movie with the personal stakes for the Doctor having never been higher.

It's now time to delve into SPOILERS because, believe it or not, we have a regeneration occur at the end of "The Reality War".

In the altered reality first presented in "Wish World", the Doctor (as John Smith) and Belinda are shown to be married and have a daughter named Poppy. As they and the rest of the Doctor's allies recover their memories, they realize the risk of Poppy being erased if the proper reality is restored. Despite their best efforts to keep that from happening, Poppy does in fact disappear. Because there did end up being minor timeline changes after resetting things, the Doctor enters the TARDIS and initiates a regeneration, sending some of that energy into the time vortex to slightly alter the timeline some more so that Poppy exists once again. He is successful, although now Poppy was fathered by another man. After bidding farewell to Belinda and Poppy, the Doctor leaves in the TARDIS to allow his regeneration to proceed...

You saw that right. Billie Piper, who once portrayed companion Rose Tyler, is the next Doctor. So why has the Doctor once again chosen a familiar face to wear? I do have a theory. As discussed before, the Fifteenth Doctor has been more emotionally open compared to some of his predecessors. As he left Belinda and Poppy, he told them that he loves them both. He even says it to the Thirteenth Doctor (Jodie Whittaker returning for a cameo), who appeared in the TARDIS due to the recent time shenanigans prior to enacting his plan; this catches her off guard as it's something the Doctor doesn't usually say. And if there's one thing that breaks the hearts of Whovians to this day, it's the fact that the Tenth Doctor never uttered those three words to Rose. Granted, that could be a reach. But going back to the Thirteenth Doctor interaction, maybe this could also be seen as a form of self-love.

The future of Doctor Who is kind of in the air at the moment, with no confirmation of a Christmas special this year of a sixteenth series. I do hope we see some continuation. For what it is though, the fifteenth series of Doctor Who is a high note to go out on, even with a cliffhanger.

Movie Review: Thunderbolts* - Spiritual Guardians

 

As "Avengers: Endgame" is considered to be the current gold standard of the MCU, only a few films in the franchise released after it have been considered to be at the same level: "Spider-Man: No Way Home", "Guardians of the Galaxy Vol. 3", and "Deadpool and Wolverine." Much like "Endgame", those films also marked the end for the current era of those particular characters. But we have a surprise new entry for this club with "Thunderbolts*", a film that signifies a new beginning rather than a culmination of what came before.

In essence, "Thunderbolts*" is a team origin story in the same vein as the original Avengers and Guardians movies. What helps set it apart is its more grounded nature, with the main team members being a trained assassin in Yelena (Florence Pugh), three super soldiers in Bucky (Sebastian Stan), John Walker (Wyatt Russell), and Alexei (David Harbour), and Ghost (Hannah John-Kamen) with her intangibility. There's not much variety in the powerset, but it's part of the charm. It's a scrappy team that's down to Earth, which makes it easy to root for them. Not to mention it leads to fun action scenes that are easy to follow.

The Thunderbolts* are comparable to the Guardians of the Galaxy, being a group of criminals overcoming their shameful pasts to become something more. That said, it did lead to a little disappointment for me that the movie didn't have a unique soundtrack like the Guardians trilogy did after all four trailers had some stellar song choices. But then it hit me; another comparison to be made is with Suicide Squad, and I feel "Thunderbolts*" matches the tone of what David Ayer originally intended with his film (see the 2015 Comic Con trailer for reference).

Like any ensemble film, the heart comes from its cast. The interactions between characters highlights their individual strengths and shortcomings as they go from trying to kill each other to building comradery. As the film's central character, Florence Pugh gives her best performance as Yelena yet. The weight of loss and her past actions bear down on her, contrasting with the youthful energy she exhibited when we first met her. David Harbour is still highly entertaining as the Red Guardian, continuing his quest to reclaim his glory days while acting as a father to Yelena; and his brief interaction with Bucky is also great, carrying over their chemistry from the "What If...?" episode that showcased the two having a team-up. I also enjoyed seeing Ava having more control over her powers and gaining more confidence in the process. As for Walker, his douchiness carries over from "Falcon and Winter Soldier" which makes it nice when he acts humbler as the story goes.

We've seen Julia Louis-Dreyfus sprinkled here and there in the MCU as Valentina Allegra de Fontaine, though it's been hard to really lock down what she's about. With this film, the answer is she's the anti-Nick Fury. She assembles the Thunderbolts*, though inadvertently, acting for her own self-interest and orchestrating to come out on top no matter the scenario. She's basically Amanda Waller with a more pleasant demeanor.

Lewis Pullman is the heart of the film as Bob. He's a character whose childhood trauma has shaped him, which allows Pullman to showcase his range as an actor. He goes from friendly yet socially awkward as Bob to getting a confidence boost as Sentry that leads to a literal god complex, exploding into a force of darkness as the Void. Void's design is simple yet unsettling, personifying the self-doubt within Bob that should resonate with some viewers.

If I had one gripe, it's that Taskmaster was done dirty. I think a majority of people knew what would happen with her, but damn, you could have cut her and lost nothing.

Overall, "Thunderbolts*" is a top tier Marvel film that deserves to be one of its biggest successes, so see it in theaters as soon as you can.