It is in service to a film that sincerely enjoys spending time with its protagonists, and takes to heart the old adage that suffering builds character. Yet unlike certain other superhero properties, the new shadings of gray and melancholy are not an affectation or thin coat of paint. 3 is the darkest installment in its trilogy. He even had other talking animal friends whose good humor belies the nasty and extremely painful-looking implants the High Evolutionary has installed on their bodies. The movie is thus divided across two tracks: the Guardians’ various space escapades that bring them closer to understanding the true malevolence of Rocket’s god/demon, and poignant flashbacks of Rocket’s youth where he was the prized pupil of the High Evolutionary, and fairly carefree despite his suffering. Worse still, given that he was so badly experimented on by his “maker,” an intergalactic Frankenstein with a god complex called the High Evolutionary (Chukwudi Iwuji), the Guardians are forced to hunt this Holy One down if they want to save Rocket’s life. Hence, shortly after the movie begins, the Guardians are attacked by a new threat and Rocket is left at death’s door. However, it ultimately plays to his advantage, adding yet another layer of regret to the most intimate and barebones plotting of Gunn’s three MCU films. It’s filled with all the usual suspects: Kraglin (Sean Gunn), a former ravager turned part-time Guardian, Cosmo (Maria Bakalova), a Soviet space dog who survived her one-way trip into orbit and is now a talking adventurer in her own right, and of course the main team.Īlas, despite the colorful locale, the atmosphere is bleak as Pratt’s Quill mopes over the loss of Gamora (Zoe Saldana), whose convoluted absence after the events Avengers: Infinity War and Endgame (2018, 2019) is glossed over to be “she doesn’t remember who she is.” One senses Gunn as a writer-director is struggling to adapt to what Marvel did with the Guardians in his absence. As last seen during the Guardians’ Christmas special (which you don’t need to have watched to follow along), the Guardians are now living in a floating den of iniquity for space pirates called Knowhere. It introduces us not only to the raccoon’s alt-rock tastes but also the movie’s setup. Luckily then, most of the movie is about Rocket, which becomes apparent from the aforementioned opening. Whenever the movie rests on Cooper’s pensive raccoon, it’s working in a way the MCU hasn’t in a long time. And for his final adventure with these glorified space pirates, he’s found the grace to make a fairly wistful character study gussied up in the trappings of a Marvel romp. 3 (perhaps including the most ungainly element of what is a fairly top-heavy film), however Gunn has always been a filmmaker able to cut through the commerce and see the humanity of what others might deem as merely IP. To be sure, there are inevitable concessions provided to the commercial side in Vol. While Gunn isn’t the only filmmaker who has a knack for cosmic comic yarns full of mischief and moxie, he remains one of the few genuine auteurs that Marvel Studios allows a wide range of latitude. Rather everyone’s favorite character, Rocket Raccoon (Bradley Cooper), is the first one we see. Back under the watchful gaze of their steward and true director, however, they’re not defined by simply pluck or dances. 2, but they’ve often been in the margins of someone else’s story. Sure, we’ve technically seen the Guardians since Vol. After a six-year absence from real quality time with these characters, the misfits return fuller, and also wearier, than we remember them. Hence the immediate jolt of Guardians of the Galaxy Vol. Blue Sky.” Baby Groot (and the viewer’s mood) is practically doing cartwheels. The second movie then raised those good vibe stakes when the same character and his surrogate son, a sprite-sized talking tree who did the Baby Yoda schtick first, got lost in the symphonic, Beatlesque harmonies of ELO’s “Mr. But the second? It’s that same character as an adult sashaying his way into a space ruin while grooving to Redbone’s “Come and Get Your Love,” a disco-laced standard from ‘70s A.M. Technically the first scene of the movie is a familiar refrain: a young comic book protagonist discovers he’s an orphan. When the first Guardians of the Galaxy skipped its way into theaters almost 10 years ago, it arrived like a cool, spiked glass of tonic water.
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