Guardians of the Galaxy does something splendid and director Gunn never really acknowledges it, which just makes it more splendid. The Rocket Raccoon character–beautifully voice acted by Bradley Cooper–is easily the most successful CG film creation to date. And Cooper gives the film’s best performance; whoever directed Cooper in the sound booth, be it Gunn, Cooper himself, someone else, does a great job.
Gunn directing the actual actors? Not a great job. Not great enough to notice Chris Pratt’s vanishing accent, Pratt and Zoe Saldana’s shocking lack of chemistry, Saldana’s more shocking lack of presence or the not even soap opera nefarious villainy of Lee Pace. So not a good job.
The less said about Glenn Close, Djimon Hounsou, Karen Gillan, John C. Reilly and Benicio Del Toro the better.
Tyler Bates’s musical score combines plagiarism and ineptness (like much of the film’s visual design, actually).
Guardians is mean-spirited “fun,” with the audience always asked to laugh at someone or other’s suffering. The scenes where Gunn and co-writer Nicole Perlman try to confront it–usually between Pratt and Saldana–stop the film cold. Then the raccoon or his walking tree (who gets all the wonderment, which is silly) come along and save things.
Or even Dave Bautista, who’s not exactly good, but he’s sincere. And sincerity goes a long way in Guardians because there’s so little of it.
Gunn exhibits apathy, cruelty and an utter lack of imagination. Guardians is far better than it should be.
Rocket Raccoon is cute. Part of its cuteness is how it’s not supposed to be cute, even though it’s Skottie Young and he does cute stuff.
Giffen does manage a couple nice plot twists for the last issue, but since he’s ending this series as a prologue to some other series… there’s not much closure. In fact, the lack of closure just points out what a strange book Drax has been. The human inhabitants–turned into slave labor–are dismissible. Giffen made two of them sympathetic.
Cute Doctor Who reference.
Giffen continues to impress on Drax. Besides having the two thug aliens for humor, there’s also the Skrull. The Skrull–and his dimwit sidekick–are very funny. Giffen goes beyond the humor though. He’s got some fantastic plot twists.
There’s so much sci-fi mumbo jumbo in this issue. So, so much. The first five pages or so are just Keith Giffen writing sci-fi babble for his alien characters. Then the comic starts. The sci-fi babble comes back a little later, but the comic’s strong enough it doesn’t annoy.