Review – Guardians Of The Galaxy

The Marvel Cinematic Universe lives up to its name in this star-spanning space opera that puts the fun back into a genre that had disappeared up its black hole.

A genuine pleasure, Guardians Of The Galaxy should give JJ Abrams something to think about for the next installment of  that other well known space opera

A genuine pleasure, Guardians Of The Galaxy should give JJ Abrams something to think about for the next installment of that other well-known space opera

The fact that Guardians Of The Galaxy is drawing so many comparisons to Star Wars is not only a testament to the high esteem it’s being held in by so many critics, but also to the fact that it’s so refreshing to watch a film of this ilk that resolutely refuses to take itself too seriously.

Too often, sci-fi filmmakers get bogged down in blindsiding their audience with Midi-chlorians, flibbertigibbets and unnecessary solemnity at the expense of an intriguing narrative and engaging characters. Although Guardians… isn’t averse to a spot of Basil Exposition (understandable considering it’s the first in what will undoubtedly become another Marvel franchise), it does so with a light and breezy air that avoids spoon-feeding the audience.

The A Team - Gamora (Zoe Saldana), Rocket (Bradley Cooper), Peter Quill (Chris Pratt), Groot (Vin Diesel) and Drax the Destroyer (Dave Bautista) in Guardians Of The Galaxy

The A Team – Gamora (Zoe Saldana), Rocket (Bradley Cooper), Peter Quill (Chris Pratt), Groot (Vin Diesel) and Drax the Destroyer (Dave Bautista) in Guardians Of The Galaxy

Abducted from Earth as a young boy following the death of his mother, intergalactic thief Peter Quill, aka Star-Lord, (Chris Pratt) incurs the wrath of the super-evil Ronan (Lee Pace) when he steals a mysterious orb. With Ronan’s henchmen, and women, hot on the trail of the orb, including his lieutenant Nebula (Karen Gillan), Peter forms an uneasy accord with assassin Gamora (Zoe Saldana), genetically engineered racoon Rocket (voiced by Bradley Cooper), the tree-like Groot (Vin Diesel) and warrior Drax the Destroyer (WWE star Dave Bautista).

When the extent of the orb’s power becomes clear, and Ronan’s diabolical plan reveals itself, Peter must turn his ragtag associates into a full-on fighting force to save the galaxy from destruction.

The heroic Peter Quill/Star Lord (Chris Pratt) in Guardians Of The Galaxy

The heroic Peter Quill/Star Lord (Chris Pratt) in Guardians Of The Galaxy

Marvel’s policy of trusting its multi-million dollar products to leftfield directors (Edgar Wright’s departure from 2015’s Ant Man notwithstanding) once again pays off. The edgy comic touch of James Gunn’s previous flicks Slither (2006) and Super (2010) is a perfect fit for Guardians‘ tongue-in-cheek sensibility.

The film takes great pleasure in sending up the clichés of the genre, such as the team’s slow motion walk towards the camera in which Gamora can be seen yawning. Gunn and Nicole Perlman’s meta script goes off on tangents, some funny, others less so, and concentrates on the relationships between the lead characters. This is a bunch of misfits we can believe in and the bond they gradually form is convincingly handled by the cast.

The evil Ronan the Accuser (Lee Pace) and his loyal lieutenant Nebula (Karen Gillan) in Guardians Of The Galaxy

The evil Ronan the Accuser (Lee Pace) and his loyal lieutenant Nebula (Karen Gillan) in Guardians Of The Galaxy

One of the more successful elements of Guardians… is its soundtrack of 70s and 80s classics, ingeniously crowbarred into the film as they form part of Peter’s beloved mix tape from his mother. Setting aside the fact that his Walkman wouldn’t probably survive 26 years and that AA batteries would likely be a little hard to come by in outer space, the music serves as a reminder that Peter, like Buck Rogers and John Carter, is a human in an alien environment and our way into this universe.

Gamora (Zoe Saldana) learns more about the mysterious orb in Guardians Of The Galaxy

Gamora (Zoe Saldana) learns more about the mysterious orb in Guardians Of The Galaxy

Despite trying a bit too hard at times to be Han Solo’s slightly less cool brother, Pratt is a good fit for Peter and proves a likeable lead. Saldana may look like a character from Star Trek, but she kicks ass and is proving a formidable presence in the world of big budget sci-fi, what with the Trek and Avatar franchises already in place. Cooper’s energetic, fast-talking voice work for Rocket is nicely played, while Diesel manages to give a new meaning to each new utterance of his singular phrase “I am Groot” and even non-actor Bautista does some solid work as meathead Drax.

Elsewhere, Gillan is impressively alien as Nebula, while Gunn makes sure to give his other supporting cast members something to do, especially Michael Rooker’s blue-skinned alien Yondu and John C Reilly’s corpsman Rhomann Dey.

A genuine pleasure, Guardians Of The Galaxy should give JJ Abrams something to think about for the next installment of  that other well-known space opera.

Four Frames – The Natural (1984)

This is my latest contribution to The Big Picture, the internationally-recognised magazine and website that offers an intelligent take on cinema, focussing on how film affects our lives. This piece is part of the Four Frames section, wherein the importance of four significant shots are discussed, in this case from Barry Levinson’s hagiographic baseball epic The Natural.

Of all the films made about the sport of baseball, plenty have struck out, while only a handful have truly knocked it out of the park. None, however, can compare to The Natural.

It’s unsurprising that a sport so revered by its innumerous followers should provide the backdrop to a picture whose central character is seemingly touched by the divine.

The Natural

Determined to become “the best there ever was” in baseball, the rise to greatness of gifted 19-year-old farm boy Roy Hobbs (Robert Redford, aged 47 at the time of release) is brutally cut short by a maniacal femme fatale dressed head-to-toe in black (Barbara Hershey), who lures him to her hotel room before shooting him.

Sixteen years later, Roy joins the dead-end New York Knights as a “middle-aged rookie” and becomes an overnight sensation when he literally knocks the cover off the ball, a feat lent extra drama when a thunderstorm breaks out as the ball is struck.

The Natural

His belated ascent to baseball deity is threatened when he again allows himself to succumb to the wrong woman, this time in the form of the duplicitous and manipulative Memo (Kim Basinger). However, redemption presents itself when his childhood sweetheart Iris (Glenn Close) re-enters his life.

Director Barry Levinson’s sophomore picture incurred the wrath of many by jettisoning the downbeat ending of Bernard Malamud’s source novel in favour of a wholly triumphant final reel.

The Natural

It’s the crucial play-off game and a debilitated Roy steps up to the plate knowing the Knights’ whole season rests on his shoulders. Cometh the hour, cometh the man; he sends one final, glorious home run crashing into the stadium lights, exploding them in a shower of sparks that light up his lap of honour in front of an enraptured crowd – all played out in slow-motion as if time itself is in awe.

Shameless and implausible it may be, but for a genre that so repeatedly wallows in melodrama, it remains an iconic moment in sports cinema. All the ingredients are there; from Randy Newman’s superheroic score, to Caleb Deschanel’s breathtaking cinematography, which imbues each frame with a warm and nostalgic beauty.

The Natural

The film takes Arthurian legend (Roy’s Excalibur-esque bat Wonderboy, fashioned from a tree split in two by lightning) and Homer’s The Odyssey and fashions its own mythos out of the mix. It also lathers on the religious sub-text, most strikingly during a key moment when Iris, dressed all in white and stood in the stands watching Roy play, is bathed in an angelic glow courtesy of Deschanel’s astonishing use of lighting.

As hagiographic as it is towards Hobbs – and, in turn, Redford – The Natural perfectly captures the joy of witnessing the sort of greatness that comes along only once-in-a-lifetime.