It’s getting more and more difficult to imagine a time when sci-fi was seriously uncool. Not just slightly still uncool as it is to be obsessed with it, but in the it was something to be kept hidden from the world. It’s very ironic that of all the places that could have become synonymous with nerd culture, the stereotype that grew was in the basement. Even now as its exposed in the light of mainstream culture, with Hollywood’s biggest actors signing themselves up to play aliens and goblins and all sorts, it still retains some of its outsider, underground status. The biggest tentpole film of the year comes from an obscure run of Marvel comics which would have remained hidden in basements if it had not been resurrected.
Movies can often reflect the times you live in as well as the culture it came from. The ironic, sarcastic, self-deprecating and misaligned heroes of the first film, Guardians of the Galaxy (2014, Dir. James Gunn) are very much a reflection of today. It’s difficult to imagine Tim Burton’s Batman (1989) and the Joker bickering like children at the dinner table, clever remarks and funny one liners matched only by characters trying to explain their unspoken romance with references to Cheers, a live-action US sitcom from the 80s. We carry our cultures with us, and in 30 years a new generation will understand these techniques even less. And while its impossible to say that any one person was responsible for what was in this film, it’s important to note its mix and remix of timeless themes and time specific aspects (songs, jokes) is what makes this series work.
One of the brutal facts involved in this sequel’s judgement is the fact that people are already in on the jokes this time. A large unspoken part of why people talk about the law of diminishing returns when it comes to returning to a franchise or story is because the director can’t get away with as much as when he’s introducing the world for the first time. This is why the jokes maybe fall a little flatter this time, why as I sat in the cinema I could predict a few of the one-liners a couple of seconds before they land. Humour always lands hardest when the balanced scales between the audience and the director/joke-teller are weighted heavily towards the latter. When you’ve already got a whole film’s worth of previous material in your memory, the film has to stretch much harder to ring laughs out of an audience who have, to put it bluntly, seen it all before.
That’s not to completely let Vol. 2 completely off the hook though. A style needs to constantly evolve to remain fresh and interesting. The first time you hear a joke its funny. The second time round its less so. A couple more times and it becomes downright aggravating. Even being ironic gets annoying, and Vol. 2 suffers from a constant struggle of trying to undercut itself in an attempt to balance its humour with drama. Honestly on multiple occasions I was trying to decipher whether a scene was meant to be serious or a soon to be joke, and only with the help of its dramatic orchestral score (not its 70s/80s jams) can you actually orient yourself and figure out whether a scene’s meant to be funny or not. It’s sad I guess that the film is being crushed under the weight of its own previous success, much like Joss Whedon experienced with his Avengers Assemble (2012)/Avengers:Age of Ultron (2015) projects. Lightning can’t strike in the same place twice.
So what’s left? Well there’s a serious amount of spectacle going on here. This is really the highest level of money in filmmaking, and as a result no expense is spared. The world is as fully realised as can be, the relentlessly good CGI covering for any of the practical sets and worlds built, all of which no detail or expense is spared. Really the set pieces in this film remind me of video games and their boss fights, worlds which simply up until now would be too inhumanly expensive to even attempt recreating on film. It’s strength also lies in its ability to actually have colour, to make it more of a fantasy and pull itself away from the brown-grey colour palette of “gritty realism”. It’s world feels tangible at time, and as a result a lot of its more technical parts can rely on tried and tested classic methods to get its point across, when its production design is doing most of the work for it. You won’t find any experimental editing or cinematography here, but then if you’re looking for that you’ve come to the wrong film.
So while its humour takes a beating and its spectacle is only a backdrop, what holds it in place? Well I found it in its core, the same place which made the first one catalyse so well; it’s characters. The film really stretches its legs in this department, and manages to keep its spectacle playing second fiddle to the character’s and their relationships. It’s coincidental that in a film where it’s villain is literally a giant brain, its primary concern and what keeps it focused is what goes on in the heart. From its ramshackle family dynamics, ranging from the explosive to the intimate,both of which don’t feel mawkish or cringe at all, to the introduction of a character who is an empath (can feel other people’s feelings) Mantis (Pom Klementieff). In all of the monumental CGI spectacle, Vol. 2 never loses sight of the grounding it desperately needs in just what these character’s feel, about themselves and about each other.
The messed up ensemble family dynamic was and always has been Guardians strongest pillar to stand on, and credit to James Gunn for managing to stay mostly on that track. I always rated the first installment of this series as the best thing to come out of the MCU, since it’s the film that’s least concerned with the “super” part of superheroes. As this film shows, it’s difficult to care about gods unless they’re human. I mean, its shiny aspects of irony and nostalgia and flashy soundtrack may stick out more, but it’s the very human heart which keeps the film from completely disintegrating into a very colorful vibrant mess. It’s strange watching it, because the film itself seems pulled in so many different directions it can be disorienting and overwhelming at times; family drama, heady concept film, mindless popcorn fodder, cheesy 80s mining of nostalgia, operatic violence and low-brow brutish humour. It really is a reflection of the times we live, of remix culture, the obsession with the 80s (which I’m still not on board with). witty bantering and CGI dream worlds.
I’m not saying its a perfect film. But it’s a film that reminds me why I go to the cinema. It was a film I got lost in, both ironically and un-ironically. Even in its weaker moments, its something to enjoy, cinema which does its best to make its audience actually enjoy themselves. It’s power lies in its ability to not take itself too seriously, and while not everything lands, does it really matter? Like your family, not every moment with them is the best or worst in your world. The point is that they’re there around you, their presence and their personalities more than enough comfort in what would otherwise be the empty black void of space.
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