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Tatler Asia
02-05-2025
- Entertainment
- Tatler Asia
‘Thunderbolts' director Jake Schreier on why this Marvel film feels different
Above Yelena Belova (Florence Pugh) in Marvel Studios' Thunderbolts (Photo: Chuck Zlotnick) That tension—between isolation and belonging—runs through the entire film, from its sombre opening to a surreal, stylish finale. Unlike many Marvel entries that feel like they're juggling four subplots too many, Thunderbolts resists bloat. It doesn't try to impress you with endless cameos or lore; instead, it earns your attention with brisk pacing, dry wit, and emotional clarity. Nowhere is this more evident than in Florence Pugh's performance. Her Yelena is devastatingly good—witty, sharp, emotionally raw. She delivers her lines with the confidence of someone who knows exactly when to undercut a tense moment with a perfectly timed quip, and when to let a silence hang heavy. Her banter with Harbour's Red Guardian recalls the best kind of familial bickering, but it's her quieter moments that leave the deepest mark. See also: From Merdeka 118 to the Blue Mansion: Malaysia's most specatular film locations that have captivated international cinema Above Yelena Belova (Florence Pugh) on top of Merdeka 118 during the opening scene (Photo: Chuck Zlotnick) It helps that Schreier brings a director's eye for texture, not just tempo. Many action sequences were done in-camera, not in code. 'We tried to do a ton of things practically,' he said. 'It wasn't just about blowing up cars in Utah, though we did that too. Sometimes, it was just a simple match cut instead of a big CG transition.' That commitment to craft extends all the way to a vertigo-inducing stunt filmed on Merdeka 118 in Kuala Lumpur—the second tallest building in the world. 'Um, it was very difficult,' he admitted, laughing. 'We wanted a sort of Bond-like opening for Yelena in our story, but Yelena in our story is a character who's in a kind of depressed place and going through something emotionally. We knew we needed a very tall jump that would work as a base jump. And so obviously, Tom Cruise already took the Burj in Dubai but we found Merdeka 118 and amazingly it really fit into the kind of sleek, darker aesthetic of our film. So our production designer was very excited about that. And then it was just a massive amount of conversations between our incredible line producer and Biscuit Films, our local production company in Malaysia, talking to the tower and getting them excited about it and getting them to agree,' Schreier explains. Above Pugh behind the scenes on the set at Merdeka 118 (Photo: Steve Swisher) He then goes on to detail how, when it came to actually filming the scene, they had to have three different engineering firms working on the steel deck on the roof to make sure that it was safe. 'On the day of filming, we're just waiting on the top floor that I don't think even has air conditioning yet. And just wait every time there's a lightning strike, which, as you know, is almost every 20 minutes given how high up we were. And we would have to come off the roof for half an hour. So it was this crazy dance of like, what window can we get like long enough to shoot it. We ended up shooting very, very early first thing in the morning,' says Schreier. Don't miss: Star-studded K-dramas with next-level casting and unforgettable cameos The result is a rooftop sequence that opens the film and sets the tone. It definitely captured the Bond-level swagger the director intended but was also undercut by an emotional twist: Yelena isn't leaping into action out of confidence—she's doing it from a place of despair. This tonal balancing act continues throughout the film. Schreier cites everything from Reservoir Dogs to Toy Story 3 as tonal references, and somehow, it all works. 'I wanted Thunderbolts to take its emotional stakes seriously,' he explained, 'while still having the fun and humour people expect.' And it does. The film may be about characters with blood on their hands, but it's not cynical. If anything, it's about redemption—earned, not assumed. The climax, while a touch rushed, still lands with surreal grace. And the post-post-credits scene (yes, stay for it) hints at bigger things to come—not with a roar, but with a whisper that feels both thrilling and earned. Photo 1 of 7 Taskmaster (Olga Kurylenko) (Photo: Chuck Zlotnick) Photo 2 of 7 Alexei Shostakov/Red Guardian (David Harbour) (Photo: Chuck Zlotnick) Photo 3 of 7 John Walker (Wyatt Russell) (Photo: Chuck Zlotnick) Photo 4 of 7 Bob (Lewis Pullman) (Photo: Chuck Zlotnick) Photo 5 of 7 Ghost (Hannah John-Kamen) (Photo: Chuck Zlotnick) Photo 6 of 7 John Walker (Wyatt Russell), Yelena Belova (Florence Pugh), Bucky Barnes (Sebastian Stan), Alexei Shostakov / Red Guardian (David Harbour), and Ghost (Hannah John-Kamen) (Photo: Chuck Zlotnick) Photo 7 of 7 Yelena Belova (Florence Pugh), John Walker (Wyatt Russell), Ghost (Hannah John-Kamen) and Red Guardian/Alexei Shostakov (David Harbour) Part of what makes Thunderbolts so satisfying is how deliberately un-slick it is. It's not relentlessly trying to expand on the world-building or the weight of a thousand intersecting plotlines. This is a story that knows what it wants to say and trusts the audience to follow. Schreier credits Marvel Studios president Kevin Feige for that freedom. 'He told me, 'Make it different. Make it work on its own.' You don't have to have seen the other movies, though if you have, there's a lot in there for you.' Thunderbolts won't change the genre. But maybe that's the point. It isn't trying to. It's trying to remind us that there's still blood in the machine. That the MCU, at its best, isn't just about heroes—it's about people. Broken ones, funny ones, dangerous ones. People who, together, might be more than the sum of their pasts. Credits
The National
31-03-2025
- Automotive
- The National
Bentley's new Continental GT hybrid is still the best grand tourer on the market
For two decades, the Bentley Continental GT has been the gold standard in grand touring. With the launch of its fourth-generation model, that reputation not only holds, but feels more justified than ever. This is the most refined, most powerful and arguably the most compelling Continental GT to date. There's a big change under the hood. Gone is the towering 6.0-litre twin-turbo W12, a behemoth of an engine that has powered the top-end Continental GT for years. In its place is a plug-in hybrid V8. Performance is nothing to worry about. This new hybrid set-up is staggering. The 4.0-litre twin-turbo V8 produces 584 horsepower, while an 187-horsepower electric motor sits between the engine and an eight-speed dual-clutch gearbox. The combined output? A monstrous 771 horsepower, catapulting this 2,500kg grand tourer from 0 to 100km/h in only 3.2 seconds. Not bad for a car built to cruise rather than sprint. 'The plug-in hybrid was a bold move,' says chief executive Frank-Steffen Walliser when we meet in Dubai. 'But customers have embraced it. When they drive it, they say: 'Wow, this is completely different. The hybrid actually adds more to the car than it takes away,'' he adds. Spending a weekend with the new Continental GT, I can confidently say the hybrid system doesn't dilute the experience – it enhances it. There are several drive settings to cycle through, but I keep it firmly in sport mode. The rumble is deep, satisfying and absent in the more restrained driving modes. When the first Continental GT launched two decades ago, Bentley was in a very different place. The brand was struggling, and the Continental GT almost single-handedly resurrected it. Fast forward to today, and Bentley no longer needs that kind of rescue mission. Its portfolio includes the best-selling Bentayga SUV, but the Continental GT remains just as vital. And in this latest iteration, it commands the road like few others. The first thing you notice? Presence. The new GT is still big – dominant, even – but it doesn't come off as aggressive. It's the kind of confidence that doesn't need to shout. Inside, that sense of grandeur continues. I'm a big guy – 1.96 meters tall – and I still have plenty of room to spare. I can't say that's the case in many cars with this kind of performance. The accommodating cabin is already a win in my book. Of course, no Bentley review would be complete without talking about craftsmanship. The interior is plush, infinitely customisable and drenched in high-end materials. A personal favourite touch is the rotating centre console, a Bond-like party trick that lets you toggle between a high-resolution touchscreen, a set of classic analogue dials, or a smooth, uninterrupted dash panel. It's the kind of detail that reminds you Bentley never skimps on drama. The challenge now? Finding the car that will take Bentley into the next two decades. The plug-in hybrid models mark a crucial step towards full electrification, even though the marque has pushed its all-electric goal to 2035. 'The move to the electric car is maybe the most demanding task in the history of the car,' says Walliser. 'This is clearly driven by regulation, but we also see there's a demand and acceptance for plug-in hybrid. And so this is why we extend our offering and plug-in hybrids in our model lines. And on the other side, we are coming with a full electric Bentley in 2027.' At some point around the time you are reading this, Bentley is set to roll its 100,000th Continental GT off the production line in Crewe. And as I settle back into the cabin, Sport Mode engaged, I realise that while a lot of change is on the horizon, right now, I wouldn't change a thing.
