“Thunderbolts*,” the latest offering from the Marvel Cinematic Universe, seems like awfully familiar territory. In the film, a group of assassins, criminals, and burnouts band together to form a ragtag group of do-gooders looking for redemption. There are definitely shades of the MCU’s “Guardians of the Galaxy” in play. Or how about that Sony-controlled “Sinister Six” movie that may never materialize? Actually, the real template seems to be “Suicide Squad” from the DC Extended Universe. That was the crummy team-up of also-ran villains that had the hook of Margot Robbie playing Harley Quinn. “Thunderbolts*” can’t even boast Robbie’s Harley, but it also isn’t saddled with Jared Leto’s miserable Joker, so it’s roughly a draw.

For all the emphasis on the team effort, there is an unadvertised clear-cut lead. Yelena Belova (Florence Pugh), the adopted sister of the late Black Widow, is starting to feel bored with an unfulfilling life of black ops work. She visits her father, Red Guardian (David Harbour), but he isn’t much help. He loves her very much, but he’s never been the best father, and he mostly wants her to help him advance his own shambled career.

Yelena takes an assignment in the base of a mountain, but it’s a trap. She’s ambushed by the molecularly unstable Ghost (Hannah John-Kamen), seen here for the first time since 2018’s “Ant-Man and the Wasp.” Then the two of them are ambushed by disgraced soldier U.S. Agent (Wyatt Russell), seen here for the first time since the 2021 Disney+ series “The Falcon and the Winter Soldier.” Then they’re all ambushed by Taskmaster (Olga Kurylenko), seen here for the first time since 2021’s “Black Widow,” and if this group is the Suicide Squad, then she’s the Slipknot. Also present is an amnesia-stricken stranger named Bob (Lewis Pullman), but there’s not much time to learn his story, as the mountain is about to be incinerated.

Pulling the strings and trying to cut off loose ends is CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus). Much like Amanda Waller of “Suicide Squad,” she’s a morally-compromising government official who’s a little too eager to sacrifice her own people. She’s in the middle of an impeachment and wants to eliminate four of her most embarrassing assets. So she assigned them all to attack each other, with a follow-up plan to blow up the whole mountain anyway. Even though they don’t like each other, they work together to escape. With some help from Red Guardian and the Winter Soldier (Sebastian Stan), frustrated that he can’t stop the dangerous de Fontaine as an elected official, they form a team temporarily known as the Thunderbolts, named after Yelena’s pee-wee soccer team.

de Fontaine still wants to eliminate the Thunderbolts, but she’s intrigued by escaped test subject Bob. He unwittingly has tremendous superpowers, and with the right molding, he could be the best asset to the U.S. government since The Avengers. The problem is that he’s also capable of tremendous destruction and could also be the biggest threat to the world since Thanos. He’s so unstoppable with his ability to instantly turn victims into lifeless shadows that the Thunderbolts have to try to get him to choose to stop attacking people because they are in no way a match otherwise.

There’s an admirable emphasis on mental health in “Thunderbolts*,” with the movie taking sensitive looks at Bob’s repressed dark side, Yelena’s uncertainty about her place in the world, and everybody’s past traumas. It’s why a lot of people have been won over by this movie, and I’m glad they’ve been able to find something of value here. But all I saw was the MCU realizing that they had too many directionless minor characters, so they consolidated them into one unoriginal, uninteresting movie.

Grade: C-

*The asterisk in the film’s title is because the MCU wants fans to call the movie something different once they’ve seen it. I’m not getting behind that nonsense, and I hope the practice doesn’t catch on.

“Thunderbolts*” is rated PG-13 for strong violence, language, thematic elements, and some suggestive and drug references. Its running time is 126 minutes.

Robert R. Garver is a graduate of the Cinema Studies program at New York University. His weekly movie reviews have been published since 2006.