The chaos of the new film “Guardians of the Galaxy Vol. 3” is “so conspicuous in its conventional C.G.I. simulations that it has all the emotional impact of putting a computer to sleep,” tnyfrontrow writes.
The eternal battle at the heart of modern movies gets a vigorous workout in “Guardians of the Galaxy Vol. 3”: the battle between text and image. Spoiler alert: text wins, and it isn’t even close. In that Pyrrhic victory of a clever script over inspired direction, the loser isn’t just the audience for this particular film. It’s the art of movies over all and its claim to distinctiveness and importance in the face of its prime rival, television.
The action turns on friendship as a prime motive to undertake a dangerous mission, which quickly builds another sentimental strut into the action: in order to get inside Orgocorp, the Guardians need the help of one of their former number, Gamora , who turns out to be a simulated duplicate of her former self. At the end of “,” she and Peter became a couple; now, Gamora has no memory of their relationship. But the trip to the realm of Orgocorp is only part of the struggle.
The artificial heart of the movie is a drama of identity: it begins with a batch of baby raccoons and a human hand reaching in to pluck one out—a foreshadowing of Rocket’s extensive backstory—and, early on, shows the grownup Rocket grousing in Knowhere, “I’m not a damn raccoon.
“Vol. 3,” like its predecessors, is a comedy of sorts; it’s filled with humoroid dialogue, whether Drax’s insistence on the friendship pecking order or the vain assertions of an Orgocorp sentry that he’s saddled with a nepo assistant; whether Peter introducing himself as Patrick Swayze when faux flirting with a miniskirted, go-go-booted Orgocorp file clerk or Cosmo bickering with another Guardian, Kraglin , when he calls her a bad dog.
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