In an attempt to release a movie so huge it’ll give each fan his very own heart attack, Disney has crammed every single hero from the Marvel Cinematic Universe into one (okay, two) giant film(s). To prepare for the only film with a call sheet longer than its running time, check out the following fake spoilers for Avengers: Infinity War…
When I first heard that Marvel was contemplating a Guardians of the Galaxy project, I thought it could be cool, but that it would take a really good story to break through the normal sci-fi hurdles of an original, potentially-unrelatable cast of characters and settings. Then they announced that they’d hired James Gunn and any trepidation I might have had turned immediately into joy and excitement.
While most critics and commentators were questioning the logic of hiring a guy who had only directed low-budget films like Super ($2.6M) and Slither ($15M), (as well as his beloved series PG-Porn) and handing him the keys to the kingdom, I was thinking about how brilliant Marvel Studios has been by focusing not on finding “known” directors, and instead hiring directors who exude originality in tone, and taking chances on them.
More than anything, it seems to me that that is what really matters in creating a great comic book movie like Guardians of the Galaxy. Technical inexperience can usually be overcome by hiring the best of the business to head up creative teams and production departments, but a sharp director is indispensable.
In a recent Variety interview, when he was asked how much harder it is to make a $170M movie compared to the small-budget indies he’s used to, James Gunn replied:
“I remember one friend in particular was like, ‘It’s so hard, is the pressure getting to you, are you freaking out?’ And I’m like, No. It seems 1,000 times easier than “Super” was. You’re surrounded by the best people in the business, I can envision any shot in my head and I can make it a reality.”
And this is where the genius of Kevin Feige has made all the difference for Marvel Studios.
When Marvel tapped Jon Favreau to make Iron Man, it was basically the same situation. Instead of hiring a guy who had directed a half a dozen tentpole movies already, they picked a guy who had done primarily smaller films (Swingers, Made) and who had demonstrated a specific tone & vision. Let’s not even get into discussing Joss Whedon’s work prior to The Avengers.
You can see this same type of forward-thinking with casting.
When Robert Downey, Jr. was cast as Iron Man, “the industry” thought it was a big risk because of his past battles with alcoholism. Of course… The character of Tony Stark has also battled alcoholism throughout the comics, so perhaps it was always a perfect fit. Likewise, a few years ago, nobody would have pegged the loveable but kind of schlubby goofball Chris Pratt as a leading man in a superhero movie. But then, the character of Peter Quill is – underneath the Han Solo exterior – an immature goofball, too. He got abducted by space pirates as a boy, and never really grew up. Thus… Chris Pratt makes sense.
So what about the film itself?
With a 92% “Fresh” rating on Rotten Tomatoes and a pile of earned media from its powerful $160.4 million opening weekend, there’s not much I could say about the characters and plot of Guardians of the Galaxy that hasn’t been covered in any of a hundred reviews, so I won’t waste my limited space here with any of that.
Instead, let’s talk about why – after a string of terribly mediocre summer blockbusters (Lucy, Hercules, Snowpiercer, Transformers 4, etc.) – the “Guardians of the Galaxy” are finally here to save the day for movie-goers everywhere. For me, it really all comes down to tone.
James Gunn’s Guardians of the Galaxy is pure space adventure, and all fun.
It’s a movie that is both campy and absurd, yet simultaneously relatable and human. Its realism comes not so much from believable scenarios and plausible technology (definitely not that), but by being emotionally grounded in two important ways.
The first is the core of humor and heart developed with characters who – be they a raccoon, talking tree, or green alien assassin – feel like real people doing things real people would do… for the most part. Admittedly, it may help to have a bit more of an in-depth understanding of the character backstories and the universe to understand everything, but based on the movie’s reception, audiences don’t seem to be having too much of a problem understanding what’s going on.
But even if they did, the second core for Guardians of the Galaxy is the flawless use of pop-music from the 1970s and 80s that grounds the film and makes it relatable, even though roughly 5 minutes actually takes place on Earth. A lot will be made of this in writing about this film, but speaking as a composer and (former) professional music supervisor, it is really an incredible facet of this movie, and it really helps make the complicated plot and interstellar locations feel a lot more like home.
So if you hate Indiana Jones, Star Wars, exciting space adventures, and having fun or laughing uproariously at the cinema, Guardians of the Galaxy might not be for you.
But personally, I already can’t wait to see what Awesome Mix Vol. 2 has in store for us all.
Every few years movie stars are purported to have died – Not literally actors passing, as that’s just a fact of life. Rather the idea of a true blockbuster movie star. Many times it’s a just a quick overreaction to flops with big actors. Sometimes, it feels true. There was a point in time where you went to see movies because of the marquee names. Their participation was an instant vetting of the project and that the movie was worth the price of admission.
But at some point in time after Independence Day and before After Earth, we stopped caring about the actors and more about the stories. The audience starting craving stories. And because of that, the studios began to spend more time and energy developing original screenplays. comic books. And toys. And sequels. Especially trilogies with awesome packaging and glitter and shit. Yes, eventually big movie stars were replaced by BRANDS.
Brands are essentially marketing vehicles for printing large amounts of money. See the movie, buy the toys, eat the cereal and by the time you’ve grown tired of whatever the original idea was based on, the sequel comes out and starts the cycle over again. Children and Midwest residents are apparently the most susceptible to this cycle, which research analysts have redundantly described as the Cyclical Consumer Brand Cycle.
Okay, my tone makes it sound like I’m looking down on brands and money and the Midwest, but I’m not (I have friends from the Midwest, so calm down and I’m using a capital letter to describe it, which indicates a form of respect). I want everybody to make as much money possible. Which is why I have a plan that enables the industry to create movie stars who with pre-existing conditions brands.
Enter the Food Network.