«Thunderbolts*»: These comic heroes save the world with a group hug

The fact that the latest superhero film, "Thunderbolts*," has an asterisk in its title isn't an expression of wokeness. English doesn't have a gender star, and Marvel doesn't intend it that way. On the other hand, inclusive language would be appropriate insofar as the group called upon to save the world is assembled according to the principles of diversity management, while also building political bridges.

These Thunderbolts initially consist of two women, one of whom is a person of color and the other – Yelena Belova, nicknamed Black Widow – is Russian. Her father, a walking vodka bottle named Shostakov, also joins the team uninvited.

Then there's the Winter Soldier, real name Bucky, who is a pale congressman in his professional life – and on the other hand, with his prosthetic arm, a super-strong advocate for people with disabilities. Finally, the collection of strongmen is completed by John Walker, a washed-up Captain America imitator whose wife has run away with their newborn.

A bunch of losers; they know it themselves. These not-so-super heroes feel like losers, burned out, disillusioned, exploited by politicians. But they must pull together to stop the despotic CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus).

According to fan theories, the asterisk in the title refers to an imaginary footnote that reads: "The New Avengers." Because the old superheroes are gone. And instead of relying on the stubborn, half-witted Thunderbolts, de Fontaine conducts deadly human experiments to breed new heroes who are loyal to her.

So far, "Thunderbolts*" is incredibly unoriginal, tame, and boring. Lapidary action scenes, lazy lines: By any standard, a completely irrelevant film. For long stretches, at least. Because the final third brings a decisive turn in direction.

Superhero cinema is stuck: Every conceivable threat and world-destroying fantasy has been tried and tested. Continuing to inflate the visual appeal can't be the idea. "Thunderbolts*" ultimately does the only sensible thing: introspection instead of explosion.

De Fontaine's human experiment produces an indestructible superman so strong he can even bend Captain America's shield: "He made a taco out of it!" he moans as his tool is folded like a tortilla. But what makes the villain, Bob his name, interesting is how unmotivated he is.

Bob (Lewis Pullman) is bipolar and suffers from severe mood disorders. At one point, the young man becomes so depressed that he wants to impose the emptiness that grips him on all of humanity. All the people he targets turn into shadows. They are swallowed by their own traumas. To fight Bob, the Thunderbolts must literally venture into his psyche. The showdown takes place in the hippocampus. They tumble through dream worlds of repressed memories. Instead of superhumans, superegos face off.

Director Jake Schreier sends the genre to the analyst. But what the film lacks is driving energy. "Thunderbolts*" remains too controlled, which reveals the problem with Marvel and the usual contemporary blockbuster: everything is somehow inhibited. It's telling how, in this case, the enemy is tamed. When the blows are ineffective, you have to try the gentle approach. Without giving too much away: the greatest superpower turns out to be a hearty group hug.