Sikoryak has made his comics career out of taking words and pictures from other people and mashing them together — most notably collected in Masterpiece Comics. His thing generally is to redraw famous comics pages — sometimes new pages in the style of someone old and/or dead, but usually the famous art itself — and put different words into the balloons, for amusing, satiric, and or artsy purposes.
A couple of years ago, he decided, for whatever reason, to abandon high literature and take his text from much duller reality — Apple’s iTunes Terms and Conditions, a legal document that millions of us have accepted without actually reading. The book Terms and Conditions
explains, in a short postscript, how he went about working on this project, and which iterations of the changing legal document were used for various versions of these pages, but it never actually tells us why he did it.
The book also never mentions that Sikoryak replaced the main characters in all of this redrawn art with what looks like a Steve Jobs figure — the name Jobs is never mentioned, nor the fact that this book has a single main character throughout all of its hundred art styles. But it’s what he did, and you can see many of the styles of Job on the front cover.
Sikoryak’s postscript also notes that he worked on his book in batches of pages, a dozen or so at a time. He would draw those page and then shoehorn some T&C onto them, and then go onto the next batch. So he didn’t pick pages to coincide with the text; he just redrew a bunch of famous comics pages to star Steve Jobs instead, and then tossed what is essentially lorem ipsum text onto those pages.
It’s all very arty. But I don’t really see the purpose or use of it. Terms and Conditions can have no artistic unity in any way — each page in completely independent, and the text is pure legal boilerplate. The enjoyment in reading it is primarily in recognizing each page (if you do so instantly) or in trying to figure out the source if it’s vaguely familiar. It is a cold and pointless thing, of interest primarily to people who like conceptual art.
It’s hard to imagine Vixen as a member of the DC Universe for over 35 years now, an early victim of the DC Implosion before arriving as a guest-star in Action Comics. She’s been a constant presence if not a major one, but was exactly in the range of secondary characters ripe for development for television since her powers were not entirely special effects-laden.
Interestingly, she was brought to The CW through their CW Seed website, a way to expand the Arrowverse with original content. In 2015, there were six short animated episodes that performed well enough that a second season arrived last October. The dozen episodes have now been edited into a 78-minute feature, Vixen the Movie, out now from Warner Home Entertainment.
The series is only kinda sort of close to the source material as we learn of Mari Jiwe McCabe’s (Megalyn Echikunwoke) upbringing in the African land of Zambesi, but raised in Detroit by her foster father Chuck Neil Flynn). The series opens with Mari wanting to learn the truth about her birth parents and the origins of the Tantu Totem necklace she was given by her birth mother. People are now after it and she discovers it imbues her with animal powers, bringing her to the attention of Flash (Grant Gustin) and Green Arrow (Stephen Amell). She rejects their offers of help and instead turns to college professor Macalester (Sean Patrick Thomas) for answers, leading her back to Africa and a confrontation with Kuasa (Anika Noni Rose), the sister she didn’t know she had, and one who wants Mari dead so she can possess the totem.
The second season went way beyond the comics and introduced the notion that there were five powerful totems – air, earth, water, fire, and spirit. The fire jewel has been found and comes into the possession of Benatu Eshu (Hakeem Kae-Kazim), a general who has been seeking any one of the jewels for years. He appears too powerful for Vixen until she digs deep and finds a way to persevere. Along the way, she demonstrates how comfortable she has gotten with her powers by aiding Flash, Firestorm (Franz Drameh/Victor Garber), Atom (Brandon Routh), and Black Canary (Katie Cassidy) during an attack from Weather Wizard.
The animated story suffers from the same weakness of its live-action colleagues, an inability to effectively write team action or proper use of powers. In this case, Eshu uses fire much as Heat Wave does, as some sort of force rather than something that burns. The dialogue has the same snap to it, though, which is welcome.
The animation is adequate if a little stiff and angular in character design while the live-action actors needed far better direction for their animated counterparts. Thankfully, Echikunwoke does a far superior job, which earned her a guest spot on Arrow last year and would be most welcome back for a third season or another live-action appearance.
The movie comes on a Blu-ray with Digital HD code. The lone special feature is “Vixen: Spirit Animal” which has comics historian and ComicMix contributor Alan Kistler, series executive producer Marc Guggenheim, Victor Garber, and Carlos Valdes weigh in on how her magical background fills a gap between the super-hero and the vigilante in the Arrowverse. Not much about her comic book origins are ever discussed, though. Additionally, there are two episodes from Justice League Unlimited included – “Hunter’s Moon” and “Grudge Match”.
Blechman has been making comics and related art for six or seven decades now, going back to 1953’s The Juggler of Our Lady. Most of that stuff was collected a few years back in Talking Lines
— but Blechman is still around and still making art.
(If anything below ends up sounding critical — I never know which way my fingers will tend — let me say up front here that it’s really damn impressive that Blechman is still around, still working, and still getting books published. This is a man who was born in 1930 and got into the Art Directors Hall of Fame nearly twenty years ago…and he had a new book out in 2016. I only hope I can be around when I’m 86.)
Amadeo & Maladeo
is a historical graphic novel, something of a compare-and-contrast about two musician-composers in the late 18th century, loosely inspired by the life of Mozart. And it looks like it will have a crisp, defined contrast between the two of them, but then…wanders off into specifics on both sides that make that comparison muddied.
I’m torn on whether that makes this book stronger or weaker — on the one hand, the book it seemed to be heading towards could have been dull and obvious, with the rich prodigy brought low in the end and the poor kid finding fame and success in America. On the other hand, their careers aren’t particularly parallel, and there’s a moment where something bad happens to a middle-aged Amadeo — a carriage accident of some kind — that Blechman never quite explains.
But, anyway, Amadeo is a prodigy, performing for the crowned heads of Europe in the 1750s, before the age of ten. Maladeo, born on the other side of the blanket to a servant girl who had a happy night with Amadeo’s violin-teacher father, performs on street-corners and is shanghaied to New York at a young age.
In the end, we are with Maladeo as a happy old man, which I suspect is the big clue — Blechman himself lived to an impressive old age, and he had Amadeo die at an age similar to Mozart’s. Neither man could choose his life, of course, and both had successes and happiness along the way — but Maladeo is still going at the end, and that has to count for something.
So there may not be a moral here, just the story of two contrasting lives. The world has enough morals, though, so the lack here is not a problem. And Blechman’s trademark “shaky line” is as expressive and wonderful here as ever — note that it’s not because of age; he’s always drawn like that on purpose. If you’re not expecting something stark and classical in its construction, you’ll likely enjoy Amadeo & Maladeo a lot.
Warner Home Entertainment is commemorating Wonder Woman’s 75th Anniversary leading up to the June 2 release of Patty Jenkins’ feature film. Joining in on the fun is this week’s rerelease of 2009’s animated film, directed by Lauren Montgomery.
This new edition, out as a Combo Pack with Bu-ray, DVD, and Digital HD, comes with just one new extra (the old ones remain): What Makes a Wonder Woman with a nice assortment of people chatting about her cultural significance, including Jenkins, Montgomery, Phil Jimenez, William Moulton Marston biographer Jill Lepore, and a few others for good measure.
Here’s our original review, which remains unchanged:
The DC Universe series of animated features got off to a rocky start with the Superman vs. Doomsday offering but has gotten steadily better. New Frontierwas pretty amazing and now they offer up Wonder Woman, which may be the closest we get to a feature about the Amazon Princess for quite some time.
And I’m pretty okay with that, given how good this direct-to-DVD offering is. It’s not perfect, but it’s entertaining and a great introduction to the character. If you’ve been following the interviews we’ve been posting here at ComicMix, you know that it comes from the usual suspects behind the animated DCU along with a very strong voice cast.
The movie posits that Wonder Woman exists in a world of her own and there are no references to the greater DCU, allowing you to dwell on the mythological background that spawned the character. Created by William Moulton Marston, his grasp of the Greek mythology he predicated the character on was shaky at best and frankly, it wasn’t until the George Perez-driven version of 1987 before anyone explored the Greek gods and their role in the Amazons’ world.
This is an extended origin story hewing fairly closely to the familiar canonical tale although there are several different interpretations of characters and events to make this another flavor of the origin.
We get to learn of the Amazons and how they arrived on Themyscira and how their queen, Hippolyta, longed for a child, fashioning one from clay and given life by the gods she worshipped. Life in paradise was fine for some, not for others but the island also served as a prison for Zeus’ son Ares, god of war. His scheme for freedom coincides with the accidental arrival of Steve Trevor, an Air Force pilot and the decision to hold a contest to allow the winner the right to bring the man back to his world.
The look of the island and its inhabitants is nicely designed and many of the familiar characters are given more personality and wit than their comic book templates. Steve Trevor, voiced by Nathan Fillion, has more charm and unique characteristics than in any previous interpretation and makes you understand what Wonder Woman eventually sees in him.
Once Diana wins the contest and takes Steve back to “man’s world”, the story begins developing logic problems which are never resolved (or even explored in the accompanying commentary). She’s given the invisible robot plane with no explanation or training in its use and then they go to America. The Air Force doesn’t seem remotely interested in his whereabouts so he’s never debriefed but remains free to use their equipment. He then says that Ares, now freed, is leaving a trail of destruction and a pattern will form and he can be followed, a logical point but never followed through.
Instead, Ares finds an ancient cult that remains active, and uses them to gain access to Tartarus where Hades aids his cause. Let me say that the look and handling of Hades wildly varies form the comics but works perfectly here and I applaud the design.
Ares, now more powerful, summons an army from…somewhere…and launches his campaign of war against mankind from Washington D.C. which, from his point of view, makes no sense. He makes a pretty speech from the steps of the Lincoln Memorial which also makes little sense. But it does kick off the climactic fight which is well handled throughout. The arrival of the Amazons, though, makes it appear the Potomac River is as large as an ocean and is a little too reminiscent of moments from Troy and Lord of the Rings.
While the story doesn’t hang together as well as one would like, it also is filled with deft little moments and great bits of dialogue so kudos to WW scribe Gail Simone and Michael Jelenic for the overall story and Jelenic’s script. The voice cast, led by Keri Russell, Alfred Molina, Rosario Dawson, and Fillion, is also strong, letting the animated people feel more than two-dimensional.
The score is a generic animation score and in that regard is like wallpaper but could have done more.
The disc comes with a 10-minute background to their next offering, the just announced Green Lantern feature due in July. There are other background features to several other DCU animated projects and trailers for related product from Warner Home Video. The commentary from the production team could have been more focused but does provide some interesting insight into what made it to a storyboard and what made it to the final cut. The two-disc set comes with several Justice League episodes as does the Blu-ray.
I’m not sure what it would take for me to get solidly behind a war movie these days. There’s certainly a fatigue component from the unending wars we seem to be fighting in real life, full of drama and heartbreak in their own kind. It’s also very hard to get anything new out of the genre right now. Perhaps because so many fantastic directors have made big important war movies, or maybe just because we seem to get three to five every year. I would need either a fantastic take on the themes I’ve seen a thousand times (and I think you’re about to fall well short of that with Dunkirk, Christopher Nolan) or some fantastic new way of telling a story in the backdrop. The Wall is an attempt at doing the latter; this is a horror/thriller movie set in the Iraqi desert, but it isn’t a good enough movie to get over my general distaste for the genre.
The Wall is not a complicated movie. Two soldiers are in the Iraqi desert to investigate an attack and are ambushed by a sniper. Staff Sergeant Shane Matthews (John Cena) is hit first and is incapacitated, and Sergeant Allen Isaac is shot in the leg and is trapped behind the eponymous wall. The rest of the movie is mostly Sergeant Isaac talking to his assailant (Laith Nakli) over short-range radio while he devises numerous plans to stay alive, identify and locate his attacker, and try to escape. It’s not the strongest plot in the world, but it’s only an 81 minute movie and it’s more than enough to make that time feel full. It hits the necessary action beats, it has some unsatisfying twists which I’ll come back to, and it does what it can to find catharsis.
What the movie is missing is a coherent thesis statement. For a short film it does an awful lot of bouncing around. There’s a fair amount of assuring the audience that war is hell, but there’s not a person alive that hasn’t heard that a thousand times by now. There’s a lot of dialogue about who is really the terrorist, the insurgent fighter or the invading army, but they undercut it pretty dramatically with the way in which the Iraqi sniper threatens to gouge out Isaac’s eyes or staple his tongue to his chest. Ideology aside, I’m not looking to even entertain the idea of rooting for someone that wants to do that so there’s no incentive to look at both sides. There’s a desperate last minute attempt on the part of the movie to perhaps assert that this was a movie about the way people deal with guilt and grief. I could entertain that idea if it weren’t introduced in the last ten minutes of the film, that’s a little late to be telling me what the movie is actually about and seems more like a last ditch effort to seem important.
This isn’t a story that needed to be set in the Iraq War. You could have set this in a city with only a couple changes. It could be in the distant future or an awful lot of the earth’s past. I kind of want to know why they decided to make it a movie about a modern war. One of the twists late in the movie (and this is a spoiler and this is your spoiler warning and I hope you’ve stopped reading by now if this bothers you) is that the Iraqi sniper is using the information he gets from talking to Isaac to fake a distress call to command and he plans to ambush the rescue team, and he probably did the same to get Isaac and Matthews out here to begin with. It turns the sniper from a troubled person who claims to feel forced by the circumstance of the war into a cold blooded serial killer in a snap. It bucks the trend of the last 40 or so years of war movies, and instead of showing the adversaries as people fighting for country this man is undeniably evil and is killing for sport or pleasure. If the whole movie were set up like this it would be one thing, but as a last minute reveal it works to dehumanize the enemy in a war we aren’t even fighting anymore. It left me cold, I didn’t like it.
That said, I don’t think I was supposed to like it. I’m not entirely confident who The Wall is made for but it isn’t me. It’s violent and graphic in ways I’m not interested in seeing. It’s a gritty war movie and I don’t need any more gritty war movies; it’s not interested in deep or meaningful characters as it is in manipulative drama and shock moments. It isn’t a movie for me, but it’s probably a movie for some. There were two teenagers sitting behind me who seemed really into it. They’ve probably seen a lot fewer war movies than I have. Ironically, this movie about people who use fantastically precise weapons is a dull, blunt, instrument.
The Adventures of John Blake: Mystery of the Ghost Ship By Phillip Pullman and Fred Fordham Scholastic Graphix, 160 pages, $17.99
There’s little original in Phillip Pullman’s first graphic novel. We have a mystery ship shrouded in fog. Time travel. A rich madman. A plucky heroine. Still, he manages to spice things up then stir them into a tasty concoction that makes this book a cut above many of the more recent releases from Scholastic’s Graphix imprint.
First, it is taller and wider than the other books and artist Fordham takes advantage of this with solid sequential storytelling, barely wasting a panel. Pullman’s characters can be talky but at least here he’s giving them meaningful things to say.
We open with multiple threads all involving the Mary Alice, a sailing vessel that is legendary in its random appearances, always foreshadowed by thick fog, making it hard to discern. There are two different sets of people seeking it, one to understand it, one to destroy it. They work at cross-purposes throughout, which heightens the tension.
Then we have Serena, an Australian teen, who tumbles overboard her family’s sailboat only to be rescued by the boy in the red shirt, John Blake himself, the master of mayhem. As we learn throughout the book, the Mary Alice’s predicament is one of his unfortunate making and he’s trying to set things to rights. To accomplish that, he has to expose Carlos Dahlberg’s perfidy and it turns out, he needs Serena’s help to pull that off.
Dahlberg comes off two-dimensional while everyone else is nicely delineated by Pullman. Some of the best scenes are watching Serena acclimate herself to life aboard the Mary Alice and getting to know her time-lost crewmates. I actually wish there was a little more of that and little less mustache-twirling action.
It’s an ambitious tale with a lot packed into the pages. Fordham designs good characters and layouts but some of his figures are too stiff. The color work is also strong, which helps the overall story.
The best part may be that this is a done-in-one story. If we never see John Blake again, the readers will be satisfied. On the other hand, the title says “Adventures” so expect to see more of him in the future. This recommended for ages eight and up although younger readers may find the time travel paradoxes a little difficult.
I’ve grown to appreciate Vin Diesel over time so I thought it as high time I checked out his xXx franchise. I know it was intended as high octane action, his Rambo or Commando and it’s been fifteen years since the first such file. He supposedly died after the first while a second film focused instead on a different member of the XXX program, Darius Stone (Ice Cube). Diesel has been talking about xXx: The Return of Xander Cage since 2006 but it took a decade to finally get it done and in all that time, you would have thought they’d come up with a story.
The basic gimmick is that there is now a device that can override satellite programming and turn them into weapons, bringing them crashing down on targets. Nicknamed Pandora’s Box, it is in the possession of the CIA until they are betrayed, allowing a tactical to invade and steal it. When a satellite is brought down on NSA Agent Augustus Gibbons (Samuel Jackson), it triggers a mad scramble to obtain the device. The CIA’s Jane Marke (Toni Collette) tracks down Cage and convinces him to find the box in Gibbons’ memory.
From there, it’s a dizzying collection of set pieces as various factions clash in pursuit of the box which takes them around to tropical locales allowing Diesel’s muscles to glisten and women to wear very little, including rival Serena Unger (Deepika Padukone). The story’s conceit is that nothing is as it seems and betrayals and reversals come quickly until the various factions band together to destroy the device before it can be used again.
The set pieces are fast and usually imaginative, although the editing shreds many excellent moments, a disservice notably to Donnie Yen and Tony Jaa. DJ Caruso’s direction is frenetic but does little to enhance the storytelling.
There are the Schwarzenegger-like quips, notably “I love this shit” as Cage reaches the film’s climax. But beyond that, the dialogue is flat and unrevealing about the characters which wastes some good actors, especially Collette. Joining the team as their geeky tech expert is Felicity Smoak, I mean, Rebecca “Becky” Clearidge (Nina Dobrev), who at least gets some good moments. Jackson appears early on and is on the joke that Gibbons and Nick Fury are almost identical (which gives the film its best inside joke in the opening scenes).
Overall, it’s a lot of noise and action and very little to hang it on which is disappointing and could explain why the $85 million production earned about half that domestically, a major disappointment. Even its worldwide gross of about $350 million makes a fourth installment questionable.
The film, out now from Paramount Home Entertainment, has a superb 2.39:1 high definition transfer coupled with a Dolby TrueHD 7.1 audio track that lets you hear every shell casing hit the ground. It has been released in multiple packages including the Blu-ray, DVD, Digital HD combo and 4k UHD.
The Blu-ray comes with a handful of special features that focus on the cast and crew including Third Time’s the Charm: Xander Returns, Rebels, Tyrants & Ghosts: The Cast, Opening Pandora’s Box: On Location, I Live for This Sh#t!: Stunts, and a great Gag Reel.
I saw Guardians of the Galaxy Volume 2 this weekend, and man, did I have a blast. Is it a 100% perfect movie? Maybe not – how many comics adaptations are? But is it a really solid comics flick, an excellent second chapter to the Guardians’ adventure, and one of the most fun Marvel movies out to date? Yes, yes, and yes! And was it also made by creators who had a love for the source material and the actual product itself, knew their audience wanted an even more epic Guardians story, and delivered without falling into the more-of-the-same-only-bigger-equals-underwhelming-sequel trap? You bet!
(Warning: some SPOILERS ahead!)
Guardians Vol. 2 paints its backdrops in broad strokes. It is, as it should be, a space epic. The Guardians planet-hop, crash spaceships, and, at one point, bounce through something like forty space jumps at once. There are also several other groups of space-faring folk to keep track of – different factions of Ravagers, the newly-introduced Sovereign, and, of course, Peter Quill’s long-absent father. And the scenery is vast, unusual, and visually stunning, whether we’re seeing the innards of a collapsing planet or fireworks at a rare Ravager ceremony.
But set into all of this are the smaller scenes that knit this movie together with one thread: family. The theme is everywhere – from the reminder that the Guardians, even when they’re fighting, have chosen to be a family; to the denouement of Peter’s tamped-down desire to know his real father and his confrontation of difficult parental issues; to the rivalry between Gamora and her sister Nebula; to the well-played new friendship that’s struck up between the overly literal Drax and the extremely sheltered Mantis; to the bloody and harsh conflict that plays out between the Ravager factions; to gruff Yondu’s bonding with the equally prickly Rocket, and the redemption arc of Kraglin’s relationship with Yondu; to, of course, everyone’s involvement with The Growing Up of Little Groot (who is, as in Vol. I, one of the best parts of any scene).
Although interactions with Little Groot (no longer a potted baby stick, but still dancing adorably, particularly when set against the intense space-monster battle of the opening credits) are cute as can be (except when he’s killing folk, or, to be honest, even when he is), most of the familial messages are not all sweetness and light. But the overall gestalt of the film is that although families can be dysfunctional, messy, and even sometimes irredeemable, the value of being able to be your true self and still rely on family – whether they be your blood relatives of simply the people who have decided to love you like they are – is the most important thing.
Writer and director James Gunn hammers this home by having characters straight out remind us that the Guardians are, in fact, a family, in a couple of perhaps unnecessary “telling instead of showing” moments. However, unlike in Iron Man 2 where we were told about how Tony had become a better person after the events of Iron Man but the “showing” didn’t really back that up, the moments that Gunn uses to build this movie really carry that message.
And maybe he’s also playing with that “tell vs. show” aspect. Quill’s “real” father tells him all about how much he wanted to find his son as he explains (using a hilariously plastic-y series of museum exhibit-like display pods) his courtship of Peter’s mother; but then shows how little value he has for family through his actions and the harm he brings to Peter. Whereas Yondu, who raised Peter, regularly told Peter fairly awful stuff (“You said you would eat me!” “I thought that was funny!”), but consistently, even to the point of losing the respect and loyalty of his crew, looks out for and will not harm Peter. Likewise, Drax tells Mantis, in his usual tactless way, that he thinks her appearance is ugly and disgusting – but he is consistently kind and gentle towards her, and looks out for her and patiently answers her questions. Gamora takes Nebula prisoner and Nebula swears revenge – but when push comes to shove, neither can let the other go. And Groot – well, Groot tells everyone that he is Groot, and we just love him for it, end of story.
In focusing on the characters and their bonds, Guardians Vol. 2 also avoids the trait I dislike in so many comics space stories (and crossovers). Often, these stories get so caught up in the Grandiose Larger Purpose of what is going on – this planet is fighting that planet which is fighting that other planet over there – that I really stop caring which Planet wins, because they’re all just planets. But Guardians doesn’t throw focus. It doesn’t neglect the spaces within the epic story that is, in fact, also happening as Peter’s father tries to take over the universe.
It recognizes the mundane moments that sometimes show who people are more than a grand gesture or epic fight, and that make the audience care. Gunn being who he is, I’m not surprised that he almost takes this to the next level, to the point where the characters spend several movie minutes searching for Scotch tape. Some moviegoers might be put off by this, but I see it as part and parcel of who the Guardians are, and the unique sense of fun they bring to saving the world. Pretty much like when Rocket assigned Peter to acquire a prisoner’s fake leg for a prison break plan in the Guardians of the Galaxy Vol. I, and then it turned out he didn’t need it and simply thought it would be hilarious to send Peter to get it (that still makes me laugh).
Fortunately, Gunn and the rest of the cast and crew didn’t lose that humor in Guardians Vol. 2, and in fact, in some places, amped it up in the best way. Drax (Dave Bautista), for instance, has been developed beyond the already humorous incongruity of his literal interpretations of the expressive way most people speak, to a character who is now more relatable but still unreasonably tactless and blunt at all the wrong moments. The result is that he gets some of the most subtly humorous but also human dialogue exchanges in the film, particularly with Mantis (Pom Klementieff, who is adorable, and stellar in keeping an equilibrium between Mantis’s sweet naiveté and the strong emotions she experiences as an empath).
Rocket (Bradley Cooper) is hilarious for the sheer fun he takes in mayhem and destruction (the scenes of him messing with the Ravagers in the forest are absolutely hysterical). Chris Pratt continues to balance Star Lord’s irreverence for serious moments and almost childlike sense of fun with the responsibilities of being the natural-born leader of the group. And Groot (in some magical combination of CGI and Vin Diesel that is definitely more than the sum of its parts) brings the house down while he tries and epically fails to bring his friends various objects to help them escape from a holding cell.
Of course, some characters are more suited to be “the straight man,” but even though Gamora (Zoe Saldana), Yondu (Michael Rooker), Nebula (Karen Gillan), Peter’s dad (Kurt Russell), and Kraglin (Sean Gunn) tend to be played straighter overall, each of them does a great job and also still gets at least a few moments of humor (and Michael Rooker has one of the absolutely funniest lines in the movie as they’re all falling to the ground towards the end). Heck, even the seriousness of the Sovereign, who exude gravitas and are quick to take offense, is undermined by the fact that they go to war by, essentially, playing space video games (Ender’s Game, anyone?).
But I think a point being made here is that life doesn’t have to be all serious or all fun – like this movie, it can contain everything from deadly Ravagers bouncing through the air like helpless popcorn at the hands of a “trash panda;” to poor little Groot being bullied and sadly squelching away (and boy, did that make me want to punch that whole mean crew in the face); to the leader of the saviors of the galaxy choosing to save that galaxy as a giant Pac-Man; to Yondu’s arrow snaking through the darkness in the most beautiful kind of 80s neon death I have ever seen as it kills those who betrayed him; to the universal trope of every teenager everywhere, no matter what species, being yelled at about their messy rooms; to the whole of space exploding into glorious fireworks to honor fallen family. This movie is, all in a couple of hours, ridiculous, badass, serious, not taking itself seriously, heartwarming, grim, riotously fun, incredibly sad, gloriously chaotic, seriously ugly, and vibrantly beautiful.
Which means that at its heart, despite the epic space setting and multitude of species, Guardians of the Galaxy Volume 2 is a very human movie – and as Peter says when his father informs him that turning his back on his legacy will make him only human: “What’s so terrible about that?”
Not a thing, and I’m glad that the Guardians will be returning so we can be reminded of that yet again in, I assume, Volume 3 (the soundtrack of which had better be played on a Zune).
Until then, feel free to check out this clip from my further discussion of Guardians Vol. 2 on the Fantastic Forum radio show (the whole episode of which will be up here shortly), and don’t forget to Servo Lectio!
Guardians of the Galaxy Vol. 2 is an amazingly charming movie. The characters they’ve constructed over these two movies are each a delight. There’s an infectious camaraderie that makes it feel like it must be the best movie set to work on the there ever was. The infectious joy and prodigious joke density easily carries a slightly disjointed script through the murky bits. I don’t need everything to make sense or even be particularly important as long as I’m having fun and the rest of the theater is having fun. There aren’t many movies more infectiously fun than Guardians of the Galaxy Vol. 2.
There are two separate stories being told in Guardians of the Galaxy Vol. 2. In one Star-Lord meets his father, Ego the Living Planet (Kurt Russell), and goes to his home planet (or his self? There’s nothing in the MLA rules about this) along with Gamora and Drax. Why do Gamora and Drax come with him? It would appear to balance the crew between the two stories because both of them barely interact with this story from the time they land on the planet until the third act. In the other story, Rocket Racoon and Groot are captured by Ravagers and are going to be turned in for some sort of bounty involving stolen batteries. This storyline is mostly about making baby Groot jokes and having people mistake Rocket for another kind of rodent. It eventually hooks back up with the rest of the crew— not because it needs to, but more because they’re done. These plots are not grand adventures in storytelling but rather a frame for character moments and jokes and they’re just fine for that, but I think they deserve to be called out for being a bit sparse.
The Guardians are such wonderfully distinct characters though. Drax’s laugh is the glue that holds the first half of the movie together. It isn’t what I thought would happen to the Drax character on the big screen, but he’s basically all comedy at this point with little action in sight. Bradley Cooper is never going to get any recognition for this, but he’s doing fabulous work as Rocket. He imbues a lot of humanity in to a character it would be so easy to not take seriously. Rocket has a tearjerker of a line near the end that could easily fall flat. The best scene in the whole film is between Gamora and Nebula talking about their familial relationship. I never thought it would be believable to transition Nebula to the side of the Guardians after all the bad blood in the last movie and they accomplish it in three lines. It’s the best scene between two women in any Marvel movie and I understand I’m not setting a particularly high bar. It’s high now.
James Gunn has made a great looking movie. There are so many shots with so much going on and they’re especially fun to take in in 3D. There’s this concerted effort to have stuff going on in the background of shots and it’s a great way to sneak stuff in. It looks an awful lot like a 1970s cosmic comic book. I wouldn’t say Kirby-esque, I think we’re too liberal with Kirby-esque, it doesn’t look like Jack Kirby drew it but it looks an awful lot like Walter Simonson and that’s no slight. The sequence that caps off the Rocket Racoon plot is the best of the whole film, it’s a great bit of elaborate camera work and fun violence. The climax of the main plot is a little less impressive if only because there are a lot of supposed to be dramatic moments of people facing down grey goo. Grey goo is not that scary.
Go see Guardians of the Galaxy Vol. 2. It’s a great time. Get a big popcorn and a smaller drink (it’s a very long movie) and just enjoy being in an air conditioned room with other people having a good time. My wife remarked that the emphasis on family and reforming some former adversaries makes this Guardians feel like a step toward transitioning to a sort of Fast & Furious in space thing. I agree, and there’s nothing I would rather see from Marvel than something that leans so in to that kind of joy and absurdity. I hope they can do it.
If you think working in the greater comic book conspiracy is all fun and games – well… there’s a lot of truth to that. For example, where else can you go to the movies, call it work and then take the ticket price off your taxes?
Last Thursday, I joined fellow ComicMixers Adriane Nash and Joe Corallo in the wildlands of Milford Connecticut (where the phrase “Milf” was coined) for the debut of Guardians of the Galaxy Volume Two. We went for the full movie monty: IMAX 3-D at a ticket price that would cause Uncle Scrooge to quit working for Disney. When I plop my ass down in a movie theater seat, I am hoping I’m not wasting my time and all that energy I spent looking for a parking place. In the case of next month’s Wonder Woman, I will plop my ass down in a movie theater seat praying I’m not wasting my time… but I digress.
I had no such concerns for GOTG2. All the cast, crew and management had to do is jack up the action slightly and change the soundtrack and write some new gags. If Looney Tunes could do it for nearly four decades, James Gunn could do it twice. If, after seeing the movie, you find yourself debating whether it was as good as the first, not as good as the first, or better than the first – you’re thinking too hard. To paraphrase Joel Hodgson and Josh Weinstein, “It’s just a show, you should really just relax.” If you’re going to go to a movie like this with a stick up your ass, you’ll never get past the vicious furball who runs around carrying ordinance bigger than he is, let alone the pithy-yet-cute jumping twig that steals every scene he’s in.
In other words, we had a great time watching a very funny movie with an exceptionally high body count. If that sort of thing bothers you, don’t take your kids. Anyway, they’ll have more fun seeing it behind your back.
GOTG2 even made fun of the mighty Marvel movie method. There are five inter-credits scenes (they should start running the closing credits at the beginning of GOTG3) and more cameos than you can count. While it is impossible to translate a comic book property to the big screen without making some changes, GOTG2 came remarkably close to the source materials while maintaining the continuity from the first movie as well as the other Marvel Studios flicks. In fact, they even managed to do a quick tribute to Jack Kirby’s original depiction of Ego The Living Planet – they didn’t have to, but it was a nice touch for those of us who remember.
Remarkably, this movie fits squarely into the current Marvel Studios trans-flick story arc, and does a lot to set up next year’s Avengers: Infinity War. You are probably aware that the GOTG leads are all in that one, but then again, so is everybody else. I wouldn’t be surprised to see Ben Afflick in there somewhere.
And speaking of Ben Afflick, if that nightmare of a movie Batman v Superman degenerated into a story about heroes with severe mommy issues, then Guardians of the Galaxy Volume Two is about a hero with severe daddy issues. But unlike the aforementioned DC movie, Guardians makes it work without insulting the audience. Kurt Russell turns in a wonderful performance as god.
The soundtrack, built around the theory that obnoxious tunes from the 1970s sound much better forty years later, is different from the first film, as one might expect. What I did not expect is for them to include a tune I play about once a year on Weird Sounds Inside The Gold Mind: Lake Shore Drive, by Aliotta Haynes Jeremiah. It’s really a beautiful song about the remarkably calming major highway that separates the City of Chicago from the parkland that hugs the coast of Lake Michigan. Quite frankly, I would think Rocket “Raccoon” would hate it.
We had a swell time. What more could you want for the money? If you were expecting Citizen Kane Volume Two, you need to change your meds.
