In a perfect cinematic universe, each sequel would be as The Godfather Part II, broadening and deepening of what came before. In the Marvel Cinematic Universe, there are Guardians of the Galaxy, Vol. 2, which costs quite pleasantly surprised at the familiarity and a few shiny new touches.
The film’s thin plot is just an excuse on which to hang the action scenes
The writer and director James Gunn expert renews the formula that he created for the 2014 original. Guardians took the Star Wars model, and added a comic book of the Earth-born hero Peter Quill, played affectionately by Chris Pratt with a smart mouth-edge and the love for pop culture. Pratt, and the fun of the 70s and 80s, songs of Peter’s old cassette tape made the movie lively, worldwide success. (In real life, Peter’s Awesome Mix Vol. 1 became a best-seller from the soundtrack.)
In the sequel, Peter and his ragtag group are now a team of heroes for hire. Zoe Saldana is once more Peter green skin that would be the love, the trained assassin Gamora, but she seems like a spectator this time. Bradley Cooper is the voice of the mischievous cyber-enhanced raccoon, Rocket, and Dave Bautista is the gigantic Drax. Groot, the film of animation of the tree with Vin Diesel’s voice, he sacrificed himself in the first film. It was replanted as a bud, that becomes one of the best additions to Guardians 2.
Baby Groot is a small, dancing, mischievous pet with a large trunk of a tree face, brought charm to CGI life. It is calculated to be irresistible, and the tactic works. As a villain says about Baby Groot: “It’s too adorable to kill.”
Like so many other space movies, this is essentially a story of father and son
The film’s thin plot is just an excuse, a means of presenting action scenes. When the team is hired to retrieve some valuable size battery power sources, the Rocket slips a few in his pocket. Suddenly, the Guardians are carrying out in all of the cartoonish universe.
Many hijinks occur, but like so many other space movies, this is essentially a story of father and son. As the last film ended, Peter learned that it was only half-human, on his mother’s side. The sequel adds a vivid new character, Peter’s lost father. He is played by Kurt Russell with a sparkle in their eye and a swagger that reveals the location of her son got that roguish attitude.
The edible Oedipus
Carry the baggage of dozens of handsome outlaw roles, Russell begins the film with a peak. In 1980, he and the mother-in-law of Peter zoom along the road as it plays the song Brandy (you’re a fine Girl). In this flashback, Russell’s face has been restored to the youth as if by magic, or technologically, as Robert Downey was when the young Tony Stark turned on Captain America: Civil War.
Why Peter’s father, absent for decades, and what is in your mind now? There is a giant of the track in his name, that is not even close to Lovely Dad. It is the Ego.
The Ego has one of the film’s comic high points, the analysis of the lyrics of Brandy-and explain why it is the best musical composition ever created in the Earth. Guardians could have used more of those moments and less chasing through space.
If a Little more Close he is to playing even a prison break seems sunny
In a plot strand, Peter and Gamora go to Ego on the planet, where there are some delightful, small visual effects. Father and son launches a bright ball of electric blue light as if it were a baseball.
But the other story follows the sense of the rule that sequels must be bigger, as Rocket repels the attack, after an exaggerated attack, and engages in a host of mandatory shootouts. Rocket gets more screen time, much of it is wasted. How many times can a raccoon be offended at being called a puppy dog or a rat?
The production design can be impressive. A planet called Sovereign, whose people are the gold of the feet to the head, is governed by the glamour, the overriding Ayesha (Elizabeth Debicki). Sovereign of all that is Art Deco-inspired. Even the space pods sent to fight against the Guardians have a chrome elegance.
But visually, there are also weak points and odd decisions. Gunn often focuses on the cosmic wide shots on the actors, which makes them resemble lifeless miniatures. The action scenes fill the screen like spaceships in crayon colors chase each other against a dark background. These sequences are occupied by the well of the occupation, except by the music of Peter’s Awesome Mixtape Vol. 2. If the energy of the song a Little Closer it is to play even a prison break seems to be sunny.
The film’s biggest flaw is that Gunn is leaning so hard on the serious issue of the family that sacrifices too much of Peter, wise man character, a key to the franchise’s charm. But Guardians deserves more credit than it has received from an underlying message: the characters of’ color-blindness. Michael Rooker returns as Yondu, Peter’s angry, blue skin of the foster parent. Whatever their differences, at least these aliens are not in disagreement because of your rainbow-toned faces.