‘That’s not how you make a good movie!’ Thunderbolts* tries an artsy crew-focused trailer, and fans are calling it a cringe cash grab. Is Marvel out of touch? Sound off below! #Marvel #Thunderbolts

The Marvel Cinematic Universe is at a crossroads, and Thunderbolts*, its next big swing, is stirring up more confusion than excitement with its latest marketing campaign. A new trailer dropped recently, and instead of hyping its ensemble of gritty antiheroes or dazzling action, it fixates on the crew behind the scenes—a move straight out of A24’s playbook, not the billion-dollar franchise that once ruled the box office. Fans are scratching their heads, and frankly, so am I. This isn’t how you sell a superhero blockbuster, let alone one tasked with pulling the MCU out of its post-Endgame slump. The FandomWire piece from March 8, 2025, nails it: “That’s not how a good movie is made.” And honestly, I’m struggling to defend Marvel anymore.

A Trailer That Misses the Mark

Let’s break this down. Thunderbolts*, set to release on May 2, 2025, is the MCU’s 36th film and the capstone of Phase Five. It’s got a killer cast—Florence Pugh as Yelena Belova, Sebastian Stan as Bucky Barnes, David Harbour as Red Guardian, and more—teaming up as a ragtag squad of misfits facing a shadowy threat in New York City. Sounds like a recipe for MCU gold, right? So why does the latest trailer feel like a pretentious behind-the-scenes doc for an indie darling? Instead of explosions or quips, it lingers on the “talented crew” Marvel assembled—director Jake Schreier, cinematographers, and production staff. It’s the kind of self-congratulatory flex you’d expect from a low-budget auteur film, not a tentpole meant to rally a fractured fanbase.

This isn’t just a quirky choice; it’s a head-scratcher that’s got fans up in arms. Social media reactions, as noted in the original article, range from “super embarrassing attempt at relevance” to “Disney and Marvel really going like ‘if you think this sucks, then you think A24 sucks.’” The backlash isn’t subtle: fans smell desperation. After Captain America: Brave New World underwhelmed, the pressure’s on Thunderbolts* to deliver. But this campaign feels less like a confident stride and more like a stumble into unfamiliar territory, borrowing from a playbook that doesn’t match Marvel’s DNA.

A24 Envy: A Misguided Move?

A24, the indie studio behind hits like Everything Everywhere All at Once and Hereditary, has mastered the art of marketing mid-budget films with big ideas. Their trailers often spotlight the creative minds involved, building hype around vision and craft. It’s a smart tactic when you’re selling a $20 million passion project to cinephiles. But Thunderbolts* isn’t that—it’s a $150 million-plus blockbuster in the biggest franchise ever. Highlighting the crew might work for a niche audience, but for the millions who’ve fueled the MCU’s $30 billion haul, it’s a disconnect. They want Yelena’s snark, Bucky’s brooding, or a glimpse of whatever chaos Valentina Allegra de Fontaine (Julia Louis-Dreyfus) is cooking up—not a resume reel for the production team.

This A24 mimicry reeks of a franchise unsure of its identity. The MCU thrived on spectacle and character-driven hype—think Iron Man’s swagger or Avengers’s team-up teases. Even in its weaker moments, it leaned on star power and stakes. Now, with Thunderbolts*, it’s like Marvel’s trying to flex artistic cred instead of blockbuster bravado. Is this a pivot to win over critics who’ve panned recent entries as soulless? Or a panicked grab at relevance after Phase Four and Five faltered? Either way, it’s a gamble that could alienate the core fans who just want a good time, not a lecture on filmmaking.

The MCU’s Rocky Road

Context matters here. The MCU isn’t the invincible juggernaut it was in 2019. Endgame was a peak—$2.8 billion and a cultural moment—but the years since have been rocky. Eternals divided audiences, Ant-Man and the Wasp: Quantumania flopped critically, and The Marvels tanked at the box office despite a billion-dollar predecessor. Deadpool & Wolverine bucked the trend in 2024, raking in $1.3 billion, but it’s the exception, not the rule. Captain America: Brave New World, released earlier in 2025, was supposed to steady the ship with Anthony Mackie’s Cap, but lukewarm reception left Marvel scrambling. Enter Thunderbolts*, billed as a gritty team-up to close out Phase Five and set up Phase Six. The stakes couldn’t be higher.

Yet this trailer suggests Marvel’s lost the plot—literally and figuratively. A crew-focused campaign might signal confidence in the film’s quality, but it also hints at a lack of faith in the story or stars. Are they hiding a weak script? A muddled tone? Fans on X aren’t mincing words: “That’s not how a good movie is made,” one quipped. Another called it “an attempt to emulate A24 style… extremely unnecessary.” The consensus? This feels like a billion-dollar franchise grasping at straws, not swinging for the fences.

Could It Work?

Let’s play devil’s advocate. Maybe this isn’t a misstep but a bold reinvention. Thunderbolts* could be a tonal shift—an introspective, character-driven caper that justifies the artsy marketing. Pugh, Stan, and Harbour are A-listers with dramatic chops; if the film leans into their chemistry and moral ambiguity, it might stand out in a sea of CGI slugfests. Highlighting the crew could be a nod to a unique vision, a way to say, “This isn’t your typical MCU flick.” If it lands, Marvel could hail it as a visionary risk that paid off.

But that’s a big “if.” The MCU’s built on accessibility—broad appeal, not niche artistry. A24 thrives because its films are distinct, not formulaic; Marvel’s the opposite, a machine of interconnected hits. This campaign risks confusing casual viewers who don’t care about the gaffer’s resume—they want action, stakes, and a reason to buy tickets. Worse, it could backfire by making Thunderbolts* seem pretentious or out-of-touch, especially if the film itself doesn’t match the indie vibe. A gimmick only works if the product delivers, and Marvel’s recent track record doesn’t inspire confidence.

The Verdict: A Campaign on Thin Ice

So where does this leave us? Thunderbolts*’s marketing is undeniably strange—a curveball from a franchise that once threw fastballs with ease. It’s not unsalvageable; a killer follow-up trailer with action and intrigue could right the ship. But right now, it’s a head-scratching move that fuels doubts about Marvel’s direction. The FandomWire piece captures the sentiment perfectly: this feels like a desperate ploy to “save” the MCU, not a confident step forward. I’ve defended Marvel through its ups and downs—Thor: Love and Thunder had its charm, Quantumania had ambition—but this? I’m out of excuses.

Come May 2, 2025, Thunderbolts* will face the ultimate test: the audience. If it’s a hit, this odd campaign might be forgotten as a quirky footnote. If it flops, it’ll be Exhibit A in the case against Marvel’s faltering empire. For now, fans are right to be skeptical. This isn’t how you make—or market—a good movie. And unless Marvel’s got an ace up its sleeve, the Thunderbolts* asterisk might just stand for “trouble.”