For over a decade, superhero movies have dominated Hollywood, attracting huge audiences and redefining the blockbuster filmmaking process. But in recent times, even the most ardent fan appears to be experiencing burnout. The formerly exciting combination of wisecracking dialogue, CGI excess, and universe-encompassing stories now comes across as a tired formula. And the figures indicate it: box office totals remain robust, but the cultural buzz that encompassed every new release has unquestionably cooled.
The exhaustion isn’t just reserved for audiences, however. Respected directors such as Martin Scorsese have openly disparaged superhero movies as being lacking in artistic complexity and diversity compared with conventional cinema. While Marvel Studios has long dismissed these criticisms—supported by nine-figure box office returns—its more recent productions seem not to have landed quite the same punch. Now, the studio appears to be paying attention.
Their comeback? Thunderbolts—an aggressive try at remixing the Marvel formula by introducing indie-film sensibilities to the superhero franchise. With Florence Pugh as Yelena Belova, the movie has been marketed not as a typical Marvel extravaganza, but as a down-to-earth, character-driven story.
Pugh called it a “badass indie, A24-feeling assassin movie,” and Marvel rode that wave with a trailer cheekily named Absolute Cinema—a reference to the meme (and criticism) created by Scorsese’s infamous remarks.
The creative brains behind Thunderbolts lend credibility to this artistic shift. Directed by Jake Schreier (Beef) and photographed by Andrew Droz Palermo (The Green Knight), the film introduces a more textured, atmospheric cinematic style that’s different from Marvel’s conventional output. From behind-the-scenes footage highlighting practical effects to darkened visuals, everything in Thunderbolts speaks of a move away from the Marvel mold.
And by initial reviews, that work is succeeding. With an 88% Rotten Tomatoes rating—the highest for a Marvel film since Spider-Man: No Way Home—critics are universally applauding the film for bringing much-needed energy to a weary genre. Instead of relying on huge set pieces or limitless one-liners, Thunderbolts is more interested in characters dealing with their emotional baggage, providing viewers quieter, more introspective moments that pay off with a surprising depth of emotion.
Publications such as Workshopping Humanity remarked that the movie is remarkable in allowing its characters to just be without degrading heavy moments with a joke. The comedy is understated and earned, and the cinematography eschews the clinical sheen that has harmed most contemporary superhero films. Florence Pugh and Lewis Pullman deliver with sincerity and depth in their performances, anchoring the movie in something less heroic but more human.
Nevertheless, Thunderbolts doesn’t completely break with the Marvel playbook. The structure of the story is still familiar, and some of the plots feel undercooked. But the difference lies in the tone: there’s a willingness to not rush, to deal with mental health, and to stress character over chaos. That change alone feels like fresh air.
Going forward, Marvel appears to be using this more creative, experimental methodology in other movies as well, such as The Fantastic Four: First Steps and Avengers: Doomsday. From graphic trailers to quirky social campaigns, the studio is obviously trying to make sure people pay attention by doing something—anything—different.
As NYU business instructor Paul Hardart points out, marketing only goes so far. Ultimately, it’s high-quality storytelling that gets people back to the movies. And with Thunderbolts, Marvel may have finally hit on what audiences have been hungrily seeking: a superhero movie that dares to be more than another installment of the machine.
So, is superhero fatigue over? Not exactly. But if Thunderbolts is any indication of where the genre is going, it may be the start of a new era—one where character is more important than spectacle, and where “superhero” and “cinema” don’t have to be enemies.