When Peter BԪַStar-LordBԪַ Quill, while inspecting a murky extraterrestrial region, pressed play on RedboneBԪַs BԪַCome and Get Your LoveBԪַ in the first BԪַGuardians of the Galaxy,BԪַ it would have been hard to imagine that James GunnBԪַs space opera would ultimately lead to something as sincere, poignant and kinda cornball as the trilogy-ending
But as Gunn has showed over over the course of these increasingly soupy sci-fi spectacles, the genetically spliced DNA of his chaotic, cartoonish cosmic vision is a double helix of opposites. Breezy BԪַ70s rock papers over extreme violence. Cynical exteriors cloak sentimental emotions. A ragtag group of outcasts, more so than even the cast of BԪַFast and the Furious,BԪַ talk a lot about BԪַfamilyBԪַ and BԪַfriends.BԪַ
Against the odds, BԪַCome and get your loveBԪַ has turned out to be a legit invitation.
BԪַVol. 3BԪַ is a messy, overstuffed finale. But you rarely question whether GunnBԪַs heart is in it.
Sometimes it spoils some of that effect by trying too hard to juxtapose tonal extremes, and show off its brash juggling act. Yet whatever this sweet, surreal sci-fi shamble is that Gunn has created, everyone here seems to believe ardently in it. And for even a movie that sends a golden-hued Will Poulter shooting through space to the tune of HeartBԪַs BԪַCrazy on You,BԪַ that earnest belief goes a long way.
The song, though, that kicks off BԪַGuardians of the Galaxy Vol. 3BԪַ is not an upbeat one. RadioheadBԪַs BԪַCreepBԪַ casts a sour mood over the Guardians, who we find in a lethargic state of disarray in the spaceport Knowhere following their 2017 BԪַEmpire Strikes BackBԪַ-esque second chapter.
Whether BԪַGuardians of the GalaxyBԪַ is best suited to strike these solemn notes, or reach for such last-chapter poignancy in BԪַVol. 3BԪַ is debatable. IBԪַve always liked these films at their most cartoonish. Donning a degree of self-importance is probably the most Marvel thing about this BԪַGuardians.BԪַ GunnBԪַs films BԪַ which, unlike most of the comic-book studioBԪַs releases, are both written and directed by him BԪַ have always stood out for their distinct lack of Marvel house style. BԪַGuardians 3,BԪַ unfortunately, has contracted a touch of BԪַEndgameBԪַ grandiosity.
The group BԪַ including Star-Lord (Chris Pratt), Drax the Destroyer (Dave Bautista), Nebula (Karen Gillan) and Groot (voiced by Vin Diesel) BԪַ is quickly sent into emergency mode. Adam Warlock (Poulter), an artificial being created by the High Priestess Ayesha (Elizabeth Debicki), comes careening into their lair, leaving Rocket (voiced by Bradley Cooper and played in motion capture by Sean Gunn) on his deathbed. To save Rocket, a cybernetically enhanced raccoon, the Guardians must hurriedly resuscitate him with his original programming.
This means traveling to the lab he was created in years before by the High Evolutionary (a sensational Chukwudi Iwuji, an all-time Marvel villain), a Doctor Moreau sort whoBԪַs been toiling to craft a BԪַperfectBԪַ race of hybrid creatures to populate a copy of planet Earth. As the Guardians seek to infiltrate his realm, BԪַVol. 3BԪַ repeatedly flashes back to RocketBԪַs experience with the High Evolutionary: his transformation from raccoon, his joyful experience with other experimental creations and his harrowing escape.
ItBԪַs telling that in this BԪַGuardiansBԪַ swan song that Gunn centers Rocket and less so Quill, whose father-son drama dominated BԪַVol. 2.BԪַ (Here, heBԪַs mostly in save-my-friend mode when not wrestling with the heartbreak of this version of Zoe SaldañaBԪַs Gamora. Thanks to some BԪַAvengersBԪַ events, she no longer even knows him.)
These are foremost epics of orphandom about distinctly un-superhuman characters. Mother and father figures float in and out, while the Guardians attract one forlorn figure after another. In BԪַVol. 3,BԪַ itBԪַs both comical and even a little stirring just how far empathy reaches for all of GodBԪַs BԪַ and MarvelBԪַs BԪַ creatures. Gunn has taken a woebegone B-team or C-team of comic book oddballs and cast them into a cosmic tapestry of weirdos and misfits, ranging wildly in size, shape, color and dancing ability.
In BԪַVol. 3,BԪַ Gunn really lets the freak flag fly, putting the Guardians in battle with not just the High Evolutionary but the notion of perfection. ItBԪַs not a coincidence that this BԪַGuardiansBԪַ film arrives, finally, in the suburbs BԪַ or at least some slightly warped version of it.
Gunn, a B-movie director at heart, fills these films with more sinewy than sleek worlds, full of florid beauty and opulent grotesquerie. (BԪַVol. 3,BԪַ more than the last two films, reminded me of BԪַThe Fifth Element,BԪַ a good thing.) ItBԪַs often clear that his ambitions are sometimes just a bit too much; this, like his DC film BԪַThe Suicide Squad,BԪַ BԪַVol. 3BԪַ could have used a firmer editor to corral some of GunnBԪַs impulse for excess.
This installment, of course, nearly didnBԪַt happen after . And partially because of that forced hiatus, heBԪַs now ruling an even larger, more mainstream superhero cosmos at DC. That surely has something to do with the sense of parting that permeates the final act of BԪַGuardians 3.BԪַ
After so many speeches about friendship and togetherness, BԪַVol. 3BԪַ ends curiously elegiacally, and with one last dance.
BԪַJake Coyle, The Associated Press