Guardians of the Galaxy 2 is still goofy fun, it’s just a lot shallower

Isn’t nice to have a sequel that is just called 2? No faffing around with words like revengeance or requiem. It’s just the second instalment of a series, there’s still a galaxy to guard so they’re going to do it. Twice.

How do you follow up a wildly successful, critically acclaimed surprise hit? Guardians of the Galaxy was Marvel’s wild card, a strange mish-mash of sci-fi and superhero tropes with an ensemble cast of oddities in a comedic world. It was a film that found a significant cohesion between the comedy and action, held together by performances and an incredible soundtrack. It stood on its own, as a film set in a faraway galaxy, it was free from the tie-ins of the Marvel cinematic universe. That meant it was able to bore its own path, set its own tone that needn’t adhere to previous Marvel fare. It was colourful, light hearted and other worldly in a way that Marvel films haven’t been since Iron Man.

The film, which I still maintain is the best Marvel movie to date, was always going to be a tough act to follow and Vol 2 has displayed the issues that face sequels to highly popular movies. The first half of the original followed the traditional Marvel route, with the first half dedicated to the establishing of the team, but instead of an origin story detailing how a person became a superhero, Guardians followed a group of superheroes forming a team, it was fresh and different to other franchise starters. Vol 2 faces the problem of having to come up with a first half to its story and this is where the issues begin.

Guardians of the Galaxy Vol 2 has more of a Star Trek feel to it than a movie, its structure is more that of a TV show, which is not necessarily a bad thing, but in this case, it makes the whole first half of the film feel limp and directionless. The real threat of the film is not revealed until over an hour in and at that point the film has been spinning its wheels, making jokes and reintroducing you to characters you never forgot about.

It’s enjoyable, I will never refuse it that, the jokes are funny and the characters are as likeable as ever. Though the humour is enjoyable in the way a Big Mac is, you know what to expect and you get it, but when you think about it, it’s hard not to taste how manufactured it all is. Baby Groot is an unashamedly obvious example of this. People who saw this teaser poster may have had their suspicions that the movie would shoe horn the little devil in as much as possible and compromise the final product. The first scene of the movie is a perfect example of this, a long CGI ridden, tracking shot of Groot dancing while everyone else fights in the background, it’s funny and cute for the first few seconds but drags on for minutes and adds no new layers to the joke. The film is giving people what they want and only what they want, adding nothing new to the universe in favour of playing it ‘safe.’

In a sense the film is a pandering hodgepodge of elements that made the first film great. Take Drax for example, Drax’s character was a great strength of the first movie. His deadpan delivery of his lines and slow discovery of what irony is was a great introduction to the character. He was a brooding and serious laughing stock. This contrast was what made him so fun to watch. In the return, he is nothing but a joke machine, all his lines are comical to the point where the contrast which made the character great has entirely dissipated.

The film as a whole, is treated as such. All the contrast is gone, it is filled with crowd-pleasing moments that Mary-Sue our characters into unbelievable territory. Any and all possible moments for character development are squashed by badly overwritten dialogue that smashes you over the head with its meaning. Subtext is missing and brought to the foreground, characters make each emotion they feel plainly obvious and then feel the need to say it again. This feels like a film that was heavily dumbed down to appeal to a larger audience, from the complete lack of subtlety, the abundance of the one-note Baby Groot and to the morals of the story which amount to nothing more than “we’re a family and a family sticks together” Guardians of the Galaxy Vol 2 feels too much like teen fiction.

In addition to all this, the ending of the movie is a transparent attempt to force viewers to invest in a new group of characters that have no real impact on the story, just so that there is some anticipation for the latest MCU tie in, which stars these characters no one has heard about.

Recommendation

Everything that you loved about the original Guardians of the Galaxy is still there, its eighties vaporware aesthetic, its charming characters and fun action scenes. It’s just all a lot bolder and a lot more obvious, in traditional sequel fashion. And in traditional Marvel fashion the villains are either too overpowered or too underpowered to the point where you lose interest.

The film constantly compromises its misfit charm for what is a safe bet. It’s a sterilised version of what we had before and there is so much going on that moments are not given time to land. It is less removed from the trappings of the Marvel Cinematic Universe than the first but for the most part it does stand up on its own. For all intents and purposes it is a fun watch and all the actors involved easily so themselves justice, but expecting it to approach the first in terms of quality is just asking to be disappointed.

Passengers is sleek and polished on the surface but a muddled mess at its core

Passengers’ promising first act is let down by the avalanche of farce that proceeds it

Science fiction is experiencing a bit of a boom lately, no doubt boosted by the power of new Star Wars movies and ever increasing ‘nerd culture.’ But sci-fi is often expensive, CGI heavy and cerebral. Meaning that it can be a difficult genre for a studio to simply cash in on: for every District 9 there are at least ten Battleships. So how can a studio ensure that a generic conglomeration of popular sci-fi tropes and unoriginal visuals makes a sensible profit? Why, of course, by sticking two of the biggest stars on the planet in a spaceship and ensuring that they fuck each other, so they can show it in the trailer. Unfortunately for desperate corporate ploys to capitalise on market research, Passengers has not been the breakout success that was hoped for.

Passengers is a film starring Chris Pratt and Jennifer Lawrence as passengers aboard The Avalon. The ship is taking 5000 paying customers to another planet to escape the husk that the Earth has become, the two wake up 90 years earlier than other passengers and cannot get themselves back into stasis, leaving them stranded on The Avalon together. One positive thing to say about Passengers is that it is at least an original story rather than a reboot or a sequel. However, a negative thing to say about Passengers is that there doesn’t seem to be many original ideas in it outside of its premise. The visuals are refined and clean but unfortunately seem to be almost entirely taken directly from previously successful sci-fi films; Alien, Prometheus and 2001: A Space Odyssey being the three main examples. References and inspiration can be a good thing but too many of them and the film just begins to feel like a stale rehash.

It is not only in the visuals that Passengers feels unoriginal. It also borrows several moments almost verbatim from recent films such as Gravity, Guardians of the Galaxy and The Martian. Now that is not to say that sci-fi has to be 100% original, in fact in most cases it is common to repeat successful movies’ motifs, but Passengers does this with so much frequency that it becomes a Frankenstein’s monster made up of mostly of other films dramatic beats.

The film is a tonal mess that appears to not know whether or not it should take itself seriously and when humour is appropriate. Starring Chris Pratt means that there will of course be comic elements but the film produces what seem like unintentional moments of comedy through strange editing choices and inappropriate dialogue. Jennifer Lawrence’s character Aurora interrupts a sweet romantic moment by stopping mid-laughter and stating in the most deadpan way “for a minute I almost forgot my life is in ruins” and Aurora continues to be an incessant downer for the rest of the movie. The film contains comical pratfalls, facial expressions that would make the Wayan bros blush and a hilariously tactless robot doctor, none of which were intended to be funny. Unless they were, in which case the film should have just been a comedy.

What disappoints me so much about the film is that it is possible that there was at least one good film in there somewhere. There is a heavy theme of isolation a ’la The Shining, blatantly displayed by Michael Sheen’s android bartender, Arthur. This seems to be setting the film up as a psychodrama about a man lost in space slowly losing his sanity. The film jumps straight from this sort of heavy subject matter to a Risky Business/Home Alone style montage and immediately back into goofy comedy. Followed by the introduction of a genuinely tough moral choice and some significant character development the film fails to develop on the ideas and instead turns into a romance before turning back into the most generic sci-fi film possible. The film had set itself up as a combination of Moon and Misery which could have resulted in an interesting film. Instead the second half of the film falls into complete farce, sprinkled with plot holes, Deus-ex-Machina and hilariously bad writing.

Recommendation

There are parts of Passengers that are so bad that they are comical, but not enough to justify watching purely for its shortcomings. The film is a tonal mess with incredibly high production quality, unfortunately poor writing cannot be hidden behind CGI.

There are flashes of three disparate films in Passengers, one a moral dilemma based romance, the second a nervy psychodrama and the final is a by the numbers generic sci-fi. There is enough to like within the film but unfortunately there is way too much space in between it all.