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His sense of moral right and wrong is boringly on point, and you can always rely on him to see through any nefarious bullshit that comes his way (even if the audience can see it a long time before him). Gunn’s script avoids turning Star-Lord into a complex, fragile human being, instead just running with the idea that he’s the boy who never grew up. The ultra-endearing scamp we first met in TV’s Parks and Rec is back in a version of the character that’s so watered down as to almost be unrecognisable. Pratt himself is, by some margin, the film’s weak link.
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But there are unfortunately no fathers who seem good, and are just straight-up good people. Some fathers seem bad, and actually are extremely bad, to the point where you should attempt to murder them at the closest opportunity. Some fathers seem bad, but are in fact good. What we learn: some fathers seem good, but are in fact bad. As the team gather their marbles and continue to bicker, Quill is confronted by a mysterious good-ol’-boy-with-a-beard named Ego (Kurt Russell), who has been circumnavigating the universe in search of the fruit of his loins.Īnd so the film’s theme of fatherhood is introduced. Yes, that’s just about the extent of the ideas this time around – lot’s of wacky happenstance, literal visual symbolism and P-L-O-T. We join Chris Pratt’s Peter Quill (aka Star-Lord) and his team as they set about defending some batteries(!) from a battery-eating killer space squid(!). It’s a bunch of short episodes – sketches – which culminate in the galaxy being placed in peril, and a bunch of slick-ass bickering guardians swooping in to save the day once more. It’s a hard call to make.īeyond that, there is nothing musical about the film in terms of its pacing and editing. It forces you to question whether you’re enjoying the film, or just the opportunity to listen to a memorable melodic song with an added visual accompaniment. The songs which make up the ‘Awesome Mix Tape Vol 2’ soundtrack work as background toe-tappers that are often employed with irony – ‘Oh gee, they’re landing their giant white sperm-craft on that paradise planet with George Harrison’s ‘My Sweet Lord’ playing on the stereo…’ Later, the Big Final Fight occurs to the strains of a ’70s coke-rock classic. Yet it would be a stretch to call this Marvel’s first honest-to-goodness musical, as it’s rare that the tunes and the visuals sync up in any meaningful way. Any small moment where it’s possible to slide some AM radio rock underneath the action, it damn well is. There is a lot of music in Guardians of the Galaxy Vol 2. ‘Sweary Raccoon with a Shotgun’ by Stig Bjørnebye’s Eight Gallon Blues Band ‘Razzle Dazzle’ by Bill Haley & His Cometsġ0. ‘It’s the Same Old Song’ by The Four Topsģ.