vitinhaoriginal

This film is an out-of-body experience.

Technically, it's one of the most fascinating and awesome films I've ever seen.

This era, when directors and crews could embrace the surrealist and hyper-stylish side of comics without so many external constraints when adapting, was the artistic pinnacle of this niche of cinema.

It's simply a shame that it's 30-40 minutes longer than it should be. While I appreciate the work, it's hard to disagree that it doesn't sustain 2 hours and 20 minutes.

Despite the tiny budget, Michiko Kitamura taps into the same creativity that permeates the entire film to bring the characters' futuristic aesthetic to life through their costumes, especially Tetsuya Azuma.

The extent to which I bought into Ngo's hype shows me the depth of the dilemma the characters experience.

Ngo's principles are destroyed, along with the clarity of his decisions after the fall from his glory, and his qualities as a leader and strategist are fueled by disillusionment and revenge. Comparing this same fall to our protagonist is incredible.

For Ngo, destroying this illusion of right and wrong in Bong's world is almost a new life purpose, fueling him on this journey of opening his mentor's eyes, shattering one principle at a time.

The end of an ideal world where there are no mistakes and where greed prevails over order, honor, or loyalty for someone who saw the world, in his mind, with sobriety and justice.

Technically exquisite, with absurd physicality and some scenes that evoke a "wow" and adrenaline-pumping moments that leave you smiling and pumping your blood.

It's always great to see a film that allows us to see characters fall and feel the impact of action scenes.

All the action scenes have their own unique characteristics and manage to be memorable enough to stand out in the tapestry of a beautiful story about principles and how we can't completely control our fate and our actions.

I want to emphasize again how many beautiful scenes this film has, including beautiful artwork, from cinematography to set design and special effects.

• maybe it's an eternal barrier for me like out of nowhere in some Asian films the characters speak English and then go back to speaking in their native language as if nothing had happened, it doesn't offend my ears, but it disconnects me for a few seconds.

Surprisingly good with real characters

I was genuinely interested in this film when I saw Florence Pugh was involved and her character's striking look.

Amazing work by Meghan Heaney with the beautiful haircut and Evelyne Noraz with Florence's makeup, which for me, brings this character to life.

It's another entry in Pugh's beautiful catalog of looks, alongside Fighting with My Family, Midsommar, Little Women, and Dune. Honorable mention to Little Drummer Girl.

I was worried Yelena would lose her accent midway through the story, but I'm glad she kept it.

Pugh should really consider fully embracing the messy, medium-length bob as her signature look.

The presence she gained with this choppy cut and eye shadow, which resembles a grunge smoky eye, more matte and blended, is penetrating.

It may be an unpopular opinion, but the Void Plan is much more moving to me than the Snap, whether visually or as a form of punishment.

The Sentry is perhaps Marvel's scariest villain, in concept. His Void abilities, just imagining them, are profound and violent in a way that's much less galactic and much more emotional.

Only we know the wounds we hide beneath our flesh armor, and he circumvents all of that.

The idea of losing control of this vault within our minds is frightening and explored with justice in a story that focuses on this internal impact and how the scars on our souls never completely heal, accumulating and feeding on suffering throughout life.

Imagine that feeling when you have nothing to counterbalance or motivate you to move forward, all of us misfits in different ways.

Thunderbolts is a story contained in a cohesive film with a beginning, middle, and end that touches on something tangible and moving beyond the expected fantasy imagery.