Movie review: “Guardians of the Galaxy: Vol. 2”

“Guardians of the Galaxy Vol. 2” starts with a considerable handicap: the audience already knows what they’re in for. The first movie surprised because it wasn’t supposed to be good, and was; now, GOTG2 is supposed to be excellent, and mostly, is. The team is back, with the addition of a charmingly naïve empath named Mantis (Pom Klemantieff), who is stuck on a planet with only one inhabitant. That the inhabitant is named Ego should give you pause; that he is played by Kurt Russell, and appears not a jot over 50, should give you night terrors. I’ve seen bricks age worse. But Russell’s eerie youth is being leveraged for a purpose; he is immortal, and has the notches in his bedpost to prove it. One of them is Peter Quill’s mom. Chris Pratt once again brings an appealing, early-Ford-like insouciance to Peter—unfortunately, the movie gives him a fraction of the screen time he got in the first installment, and squanders half of that fraction on a forced romance with Gamora (Zoe Saldana) that seems to exist to service a “Cheers” reference. Thankfully, other relationships are sketched with a lighter hand: Mantis and Drax (Dave Bautista) develop a horrifying version of friendship based on their mutual lack of guile (and filters); Nebula (Karen Gillan, much improved from the first installment) gives her side of the troubled sibling relationship with Gamora, and develops a bit of sympathy along the way; Rocket (Bradley Cooper) pushes away the love of his found family in a way that feels 100% human, 0% CGI raccoon. But all these lively and delicate stories pale by comparison to the main event, which is a war of the father figures—in the left corner, Yondu (Michael Rooker, clearly aware that he is playing the game of a lifetime). In the right, Ego. Peter must choose between the father who kidnapped, bullied, threatened and manipulated him, and the father who wasn’t around to do any of that. The choice appears easy, until it’s not; Platt carefully treads the line between hope and wariness, and Saldana shows a careful tenderness that could easily have melted into romance in the third movie, if the filmmakers had been willing to wait that long. (Alas, it’s easier to talk about a slow burn than to take the time to actually build one. Maybe they should have gone back and watched “Cheers” again.) But who can begrudge anyone a hurried romance when the galaxy is, once again, at risk? It seems churlish to criticize the movie for not being note-perfect when so many of the notes are delightful: Baby Groot (Vin Diesel), tap-dancing his way through an epic space battle. A planet of self-regarding aliens who all resemble Paris Hilton, if she were spraypainted gold. An extended argument about Scotch tape, mid-climax. Exquisitely timed joke payoffs, coming to fruition a full two acts after their setup. A credit roll that will mercilessly test the limits of your bladder with multiple post-credit sequences, all worth waiting for. You will leave the theater bubbling over with glee and catchy pop songs and also pee; but as this movie so aptly demonstrates, two out of three ain’t bad.
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Movie review: “Star Trek: Beyond”

The newest installment in Star Trek’s canon rolls off the assembly line this weekend, christened with a focus-grouped and forgettable title (“Star Trek: Beyond”). Like most of what rolls off the assembly lines these days, the third installment in the rebooted “alternate original series” is serviceable enough, even pretty from certain angles; it offers a polished and effortless ride, depositing you outside the theater two hours later and ten dollars lighter, wreathed in a thin cloud of distraction. It does not, however, possess much of a soul, and if it seems churlish to complain about the lack of “soul” in a multimillion-dollar spectacle featuring the wholesale destruction of a USS Enterprise (complete with the startling phrase “Detach the saucer”), I can only plead affection for simpler fare. Isn’t the concept of hull breach terrifying enough, without seeing the Enterprise literally drawn and quartered in space, then dropped in several large chunks onto the planet below? In a quest to outdo the previous installments’ many and varied crash landings, “Beyond” goes, well, beyond, turning the beloved ship into a piñata and multiplying her attackers until they become a terrifying CGI swarm of… well, what were they, exactly? A character calls the evil army “bees” at one point, but bees have purpose—the antagonists’ motivation remains unclear until the very end, in which the chief baddie (Idris Elba, encased in mysteriously shifting prostheses) explains his Evil Philosophy, which nudges the audience from mere uncertainty into complete confusion. We never truly understand who he is, why he’s become a murderous fanatic, and why he has near-unlimited numbers of kamikaze-style followers willing to die for him. Say what you will about Eric Baña’s scenery-chewing Nero in the first installment, at least he had a motive (I lost my planet—let’s see how you like it).

 

Motive is sorely lacking on the protagonists’ side, too: in a too-neat voiceover at the beginning, Kirk expresses a desire for meaning in a life become rote. This would work better if the movie hadn’t opened with a “never a dull moment” scene from Kirk’s challenging life as a diplomat, or if the movie had meaning to offer besides “Keep the bad guy from getting the MacGuffin to the place before it’s too late to reverse the things.” Spock, too, is having doubts—his alternate-universe-counterpart, the sheared-off version of himself played by Leonard Nimoy, has died, causing him to once again question his relationship with Uhura: while the tributes to Nimoy are effective (and, in one scene, startlingly beautiful), the threat to Spock and Uhura’s relationship is less so, because we’ve seen these stakes before. We’ve also seen “bombardment from the skies/civilians in peril” quite a few times recently—this trope looked cool in “The Avengers”, tolerable in “Guardians of the Galaxy”, tired in “The Avengers: Age of Ultron”, and exhausted in “Batman v Superman: Dawn of Justice”; now, the sight of a citywide evacuation reads as pure visual filler.

 

What the movie lacks in forward impetus, however, it makes up for in color: the characters are lovingly unpacked and given time to mingle, which is precisely as it should be—Star Trek at its best is a character drama, not an action franchise. McCoy and Spock are given an especially generous amount of development time, and even Scottie gets a bit of dimension beyond his comic relief role. Watching these classic characters interact is pleasure enough to balance out the dull bits, and the climax strikes the perfect note of giddy nostalgia: it’s common enough to note that actors “look like they’re having fun”, but how often do they visibly bounce with excitement? This is a summer blockbuster as indistinguishable from other blockbusters as one Honda from another, but there’s cheesy fun aplenty for those willing to turn up the music and put the pedal down.