Cast:
Chris Pratt (Peter Quill / Star-Lord), Zoe Saldaña (Gamora), Dave Bautista (Drax the Destroyer), Karen Gillan (Nebula), Pom Klementieff (Mantis), Vin Diesel (Groot), Bradley Cooper (Rocket Raccoon), Will Poulter (Adam Warlock), Sean Gunn (Kraglin), Chukwudi Iwuji (the High Evolutionary), Linda Cardellini (Lylla), Nathan Fillion (Master Karja), Sylvester Stallone (Stakar Ogord), and Maria Bakalova (Cosmo) Written and Directed by James Gunn (#626 - Guardians of the Galaxy and #932 - Guardians of the Galaxy Vol. 2)
Review:
"In the end, my love for Rocket, Groot, Gamora, Star-Lord, Yondu, Mantis, Drax, and Nebula—and some of the other forthcoming heroes—goes deeper than you guys can possibly imagine, and I feel they have more adventures to go on and things to learn about themselves and the wonderful and sometimes terrifying universe we all inhabit."
Admittedly, the first Guardians of the Galaxy (as adapted from the second incarnation of the comic series of the same name, which was created by Dan Abnett and Andy Lanning) was a nice surprise when it came out in theaters in 2014. Sure, the Marvel push for a cinematic universe was already nine films in when it came out, but it wasn't hard for me to be surprised that a director I had not heard of managed to make a really neat adventure. Who wouldn't want something that sounds like a space epic ensemble? Of course, it's hard to not respect a director who also writes their own stuff, as was the case with James Gunn's prior two films with Slither (2006) and Super (2010). It set up other possible ideas for, well, other things, but the important thing that I remember most is that it had a sense of effervescent fun to it that was interesting without running into a joke just for the sake of it, with Gunn having an evident appreciation for these characters. The second film, released in 2017, was probably a sidestep direction in quality, but it did exactly what was required from a sequel in consistency (besides, as a resident Kurt Russell spokesman, I enjoyed him playing a villainous planet - such is life). Six years and appearances in varying quality and quantity (Avengers: Infinity War (2018), Avengers: Endgame (2019), Thor: Love and Thunder (2022), and The Guardians of the Galaxy Holiday Special (2022) - look I can't watch everything), here we are with a third and final film with this dynamic of Gunn and company. Oh, and it is one of the films in Phase F-Oh hell, if you care about cinematic universes (or making fun of streaming like I do), go ahead, I'm just here for the fun.
I suppose the quality of the film depends on just how much imagination one has in comparison to the director when it comes to seeing the culmination of various stories that have come with these characters over the past nine years. As the longest of the three films at 150 minutes, it tries to cover as many bases as it feels it needs to do in the idea of finding new horizons without turning into the longest group hug ever, complete with stakes that are more emotional than grand. In short: it is a clever way to tie things around when it comes to the stories of these characters without making it a goodbye show or just a vehicle of over-spectacle. It does have a few moments that could be considered disturbing, but one will likely be ready for anything if they have seen enough films with the middle-ground rating of "PG-13", you might say (personally, I fall on the side of not criticizing movies that dare to push a bit when it comes to that rating that lets the audience decide rather than go trying to recommend coddling, but whatever). Besides, if you can handle the influx of staged sequences of action where people are getting beaten a bit, I think you can handle animals in a cage.
When it comes to performances, each get their own respective moments to shine besides the influx of scenes spent with talking animals (these scenes of Rocket are voiced threefold, incidentally, with Cooper doing adolescence, S. Gunn doing the young version, and Noah Raskin doing him as a baby) that loops right in to one last ride for a number of folks. Of course, the fact that Gillan has had an arc that saw her go from a second-tier adversary in the first film to an actual fledged member of the team with worthwhile time to follow along with in levity that fits quite well. Bautista, to the surprise of nobody, still provides the warmth required to balance the ensemble in timing and physicality in what makes for a worthy endnote (who among us would want to put on so much makeup forever, I suppose), which naturally makes for amusing banter with Klementieff and her useful timing again. Cooper carries the film along with pathos that makes it more than just a voice on motion-captured animation, one that makes it clear just how integral he has been to the series. The flashback sequences build that climax to where it has to go, and Cooper helps that make sense. Saldana does fine in essentially playing the straight one among the folks (while reminding of the middling idea of resurrecting her character from the dead in the first place), while Pratt holds his own with self-interest and charm, one that reminds me that just knows how to time things with general presence. Poulter makes for an amusing adversary when it comes to the mannerisms that come from a flying gold painted, uh, doof. Do I regard the movie as the best of the three? Well, that is an interesting point of discussion, because it probably has the best villain of the three films, that is for sure. Iwuji plays it exceedingly well in the art of irredeemable villainy that is compelling to see in all of his brilliant decadence without any ploy of sympathy or false note, which is necessary when it comes being more than just a villain who likes to pick on animals. His pursuit of perfection in the face of reality and the things around him is far more interesting when it feels in sync with no pretenses (so yes, sometimes you can have villains who might seem sympathetic, but this is not one of those days, thank heavens). It is a movie with worthwhile staging when it comes to action (such as one longshot scene) along with dialogue that works in tandem with the music choices to make a vibrant film that is more a resolution to new things rather than just a definitive be-all end-all film, which leaves the folks in a comfortable spot without playing it too safe (aside from maybe one post-credits scene). In the end, the movie is pretty good in the ways you would expect from a third film in a series that closes the loop on what had started in 2014 that will make most of the folks happy (or sad if you really get into it) with what they've seen over the years, whether that is warm enjoyment in the characters or in general.
Overall, I give it 8 out of 10 stars.
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