Earlier in the year, in my review for Captain America: Brave New World, I planted a flag in the ground where I declared that the next film on the Marvel slate would be afforded a grace period, as the MCU’s make-or-break point in its current lineup would undoubtedly be the highly-anticipated Fantastic Four: First Steps. Thus the entire long-running project of comic book interconnectedness would not irreversibly implode if Jake Schreier‘s Thunderbolts* ended up being a dud.

I can not be more relieved to tell you that not only is the film not a dud, Thunderbolts* manages to handily be the most emotionally-engaging, clear-stakes, excellently-performed Marvel film in quite some time. What could have very easily been discardable popcorn fodder turns out to have action whose weight you can feel, characters that are incredibly endearing and easy to root for, and thematic exploration the likes of which we have not seen since the early phases of this cinematic universe. Moreover, the film looks like a proper blockbuster, with emphasis on color contrast, spatial blocking, and mindful camerawork (especially in the back half), rather than the rushed, cinematic visual sludge we’ve received as of late.

Florence Pugh is an utter revelation as Yelena Belova, the current Black Widow, as she navigates the emptiness of her life, and the cycle of meaninglessness she has found herself in. She has an uncanny ability to inject such irrefutable emotion into this internal struggle that there were multiple parts throughout where I nearly shed tears, especially when in tender proximity of her father, the Red Guardian (played by an affably bumbling David Harbour, who can also crank up the emotion at a moment’s notice). Lewis Pullman‘s turn as Bob is perhaps the most exciting and central transformation the film has to offer, as his struggle perfectly aligns with Yelena, the one person who might be able to relate to his pain. Sebastian Stan, Wyatt Russell, and Hannah John-Kamen round out the cast, each providing another distinct counterpoint of comedy and action to add to the team. Julia Louis-Dreyfus reprises her role as Valentina DiFontaine, orchestrating the inciting events of the film, and unwittingly bringing our Wheaties box aspirants together. Especially after Sam Wilson last left off with the hopes of assembling the new official Avengers roster (pun intended), who is meant to be Earth’s front line of defense in the meantime?

The film is a decidedly moving examination of loneliness, self-worth, purposelessness, identity, and how to combat nihilism. The underlying existential thesis at the heart of it all is that no one is better off alone, and it is always worth the risk of vulnerability to allow others into your life. We are stronger together. The central antagonist is the perfect embodiment of encroaching fatalistic surrender, and the long shadow it casts over us all. In an unbelievably metaphysical third act, our ragtag team of unlikely antiheroes must confront what ails them head-on (this is perhaps the place where my sole narrative/character complaint exists, as Ghost does not give the audience anything to latch onto in terms of what she’s working against, nor does her past inform the story in any meaningful way).

What really allows Thunderbolts* to soar is that it is the first Marvel film in a considerable while that has its own genuine personality, visual identity, and effective themes. It hearkens back to the successes of the MCU of old that some naysayers may never have imagined we might return to; there is a potent sincerity within the script that made my sold out opening night audience at Times Square feel every emotion as intended. I was so surprised to audibly hear the people in front of me sniffling at moments of vulnerable exchange. If the Marvel Machine can manage to oversee the production of more irresistibly earnest, thematically potent, crowd-pleasing good times in the vein of Thunderbolts*, we may yet be able to bury the late stage accusations of superhero fatigue.

As to what the “*” in the title is in reference to? Well, you’ll just have to stick around for the end credits, won’t you?