Road to Infinity War – Thor: Ragnarok, or, The Bummer King

Holy crap I’m almost done! I did it fam. In preparation for my viewing of Avengers: Infinity War on April 26th at 7PM, I went back and rewatched the previous 18 films in the Marvel Cinematic Universe, from Iron Man to Black Panther. Every day leading up to Infinity War I’ll be posting a short piece on each film and my most recent hot takes on nearly a decade of the MCU. I’ll also be linking back to whatever old nonsense I wrote about the movies at the time, if applicable. And if that isn’t enough, check out my ranked listed of the MCU to date on my Letterboxd account here.

ragnarokthor

You will believe a Jeff can Goldblum.

Don’t get me wrong, this movie is amazing, but boy oh boy did it not require any of the Jacuzzi vision quest from Age of Ultron. Like, not even a little bit.

Anyway, spoilers ahead for Thor: Ragnarok.

Despite being a few hundred years old and a god and all that, Thor is one of the more dynamic characters in the Marvel Cinematic Universe, with a compelling arc that finally gets an equally compelling movie to match in Thor: Ragnarok.

When we met Thor in the original 2011 film he was ready to assume the throne of Asgard, eager to rule because damnit it was his birthright to rule, because it was simply what was supposed to happen. In his first cinematic outing, however, the God of Thunder falls prey to a Patented Marvel Humbling (PMH) and learns that even vaguely decent and worthy leadership requires more than lineage and demands more than a wink and a smile. He learns that the throne is more than a chair.

It is perhaps because of that daunting knowledge that when we return to Asgard in The Dark World Thor has no interest whatsoever in the throne he had once been so certain was his. In Dark World, as a far worthier prospect for kinghood than he was when we met him, Thor turns down the throne, maybe out of a newfound humility, maybe out of a newfound fear of ruling.

By the end of Ragnarok, however, Thor has come full circle, back to where we met him years ago, standing before the throne, surrounded by his people. But the golden palace is gone, as is the sparkling silver helm. There are no more feasts and cries of merriment, as all of that pomp and circumstance has been replaced by a sea of refugees and a leader who at last feels the true burden of what it is to rule.

As hilarious as Ragnarok is, it’s also a pretty cruel film. Though it concludes with Thor finally ascending the throne, it only does so after first utterly destroying Thor’s sense of home and then utterly destroying Thor’s actual home. Having finally attained a somber understanding of the responsibility of leadership, Thor is stripped of his understanding of the cultural entity he is tasked with shepherding.

Ragnarok’s uncertain ending echoes that of Captain America: Civil War, that unsure ground being one of many thematic through lines of Marvel’s third phase of films that run through the movie. The problematic and deceitful retelling of history by authority from in Doctor Strange, the protagonist faced with the harsh realities of their inherited privilege from Guardians Vol. 2, and the exploration of monarchy and colonialist antagonism that follow in Black Panther all play a part in Raganrok. One can’t help but wonder what sort of role these motifs might play in Infinity War.

Whatever fate may have in store for Thor, the character has finally truly gotten his due in Ragnarok and Chris Hemsworth has been able to take the God of Thunder on a philosophical and emotional journey few if any other MCU characters can match.

Anyway, I’m calling it: Hela lives!

#GoddessofDeath #Avengers4

Thor: Ragnarok = the God of Thunder’s first semester, freshman year of college? I think maybe:

November 17, 2017: Saved by the Bell: The Sakaar Years, or, Thor: Ragnarok

 

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Road to Infinity War – Spider-Man: Homecoming, or, Marvel’s Joe the Plumber

We’re in the home stretch! I did it fam. In preparation for my viewing of Avengers: Infinity War on April 26th at 7PM, I went back and rewatched the previous 18 films in the Marvel Cinematic Universe, from Iron Man to Black Panther. Every day leading up to Infinity War I’ll be posting a short piece on each film and my most recent hot takes on nearly a decade of the MCU. I’ll also be linking back to whatever old nonsense I wrote about the movies at the time, if applicable. And if that isn’t enough, check out my ranked listed of the MCU to date on my Letterboxd account here.

spider-manhomecoming

PSA: When it comes to grammar, don’t lie down on the job! Remember kids, it’s “Spider-Man” with a hyphen.

Just shy of a decade after Tony Stark declared “I am Iron Man” Spider-Man: Homecoming takes a moment to explore, for the first time, the effects living amongst gods and monsters has on the everyday folk of the Marvel Cinematic Universe. Ant-Man gave us a smaller scale through the lens of thieves and scientific industrialists, but Homecoming shows us the MCU as seen by a high-schooler and a construction worker.

Tom Holland’s Peter Parker is unlike any previous cinematic iteration of the character in that he’s grown up and lives in a world of superheroes before becoming one himself. He lives in a world with a template for superheroics. His is a Spider-Man with preconceived notions of what Spider-Man should be, which proves to be just as stressful for a young dork as being the lone superhero in a regular-ass, pre-shared-universe Spider-Man movie. When he bemoans “I just feel like I should be doing more,” for instance, it’s hard not to see echoes of the same sort of sentiment that got Tony Stark into trouble in Age of Ultron.

Through Peter’s expectations of what he should be as a superhero we get some insight into what the Avengers mean to the Joe the Plumbers of the MCU who haven’t had a city dropped on them or otherwise been made into collateral damage. And it turns out, at least to Peter and his youthful ilk, that the likes of Tony Stark and Steve Rogers are just kind of grown-ups. They’re weird authority figures that are at once less than and more than human, who espouse hackneyed wisdom, who don’t really understand. After all, the youth of the MCU don’t get to watch the MCU, and so its heroes to them are more unattainable ideals than nuanced characters.

Unless of course you’re Michael Keaton’s Adrianne Toomes, in which case they’re deplorable demons of the highest order.

In Toomes we get a taste of a less enthusiastic, though not at all apathetic, perception of the Avengers. They are above the law. They are above reproach. They are above everyday struggle, above the sting of sweat in the eye, above working for an honest living.

Though they never share screentime, Toomes’ vilification of Tony Stark proves particularly potent. If Tony is reformed Big Pharma, Toomes is an opioid dealer, hocking a variation of the same product on a smaller scale to less affluent clientele. Though Stark has continuously attempted to salve the sins of his past as a weapons dealer, so far as we know Stark Industries hasn’t exactly thrown away all the money it made off of those nifty Jericho missiles. I mean, dude drives an Audi.

Inversely, we’re given a glimpse of Toomes’ more relatable wealth, nothing to thumb one’s nose at but a drop in the bucket compared to Tony Stark’s toys, just as the deeds that earned him his meager riches are infinitesimal compared to the global scale on which Stark hocked his wares. But Toomes is a villain. When he is an arms dealer he is a bad guy despite being motivated by the call to support his family, a far nobler pursuit than any that ever fueled Stark Industries’ profit margins.

Through Michael “Bird ‘Batman’ Man” Keaton’s Adrienne “The Vulture” Toomes we see that just as the Avengers can serves as symbols to aspire to, they can serve as something to hate.

Spider-Man: Homecoming gave us kids in detention and bodega owners and school gym teachers. It gave us a real, sustained look at the world outside our window within the MCU and I can only imagine that bonkers spectacle and stakes the franchise has to offer in Infinity War will be all the more affecting and nuanced for having taken this humble detour.

Did you know there were other Spider-Mans BEFORE this Spider-Man? For more:

July 25, 2017: That Parker Luck (Again (Again)), or, Spider-Man: Homecoming

Road to Infinity War – Doctor Strange, or, Started From the Bottom Now We’re Magic

Oh I did it fam. In preparation for my viewing of Avengers: Infinity War on April 26th at 7PM, I went back and rewatched the previous 18 films in the Marvel Cinematic Universe, from Iron Man to Black Panther. Every day leading up to Infinity War I’ll be posting a short piece on each film and my most recent hot takes on nearly a decade of the MCU. I’ll also be linking back to whatever old nonsense I wrote about the movies at the time, if applicable. And if that isn’t enough, check out my ranked listed of the MCU to date on my Letterboxd account here.

doctorstrange2

Look, if you get Michael Stuhlbarg, you give Michael Stuhlbarg top-billing. How Marvel survived such a faux pas the world may never know.

It’s easy enough to write off Doctor Strange as magic Iron Man. Both films are origin stories about rich pricks with facial hair getting taken down a peg. Fair enough. But the humbling of Stephen Strange is so much more expansive than that of Tony Stark.

In Iron Man, Tony Stark has to reckon with, essentially, living his life in the wrong direction. By the end of the film he’s the same dude with the same skills, he just harnesses them for a different cause. He’s still an inventor. He’s still a smartass. He still struggles with egomania. But he does it in the right direction. Stephen Strange, on the other hand, is forced to reckon with that sinister insecurity that has perhaps nagged each of us in our worst moments, that he is living his life wrong. That what he believes is wrong. That what he thinks is wrong. That his ironclad existence has been made of straw all along.

In the world-expanding, black light bonanza, Timothy Leary roller coaster sequence the Ancient One sends Strange on upon their initial meeting, we watch a man’s sense of self and understanding of the universe get utterly obliterated. His quest from there is not a simple reorienting or rebranding, it’s one of rebuilding from the bottom up.

The new world in which Strange rebuilds himself is a fascinating one of charming allies, intriguing villains and fantastic visual effects.

We aren’t in 1993 anymore. Jurassic Park is, like, 100 years old. CGI is a fact of blockbuster life and usually the only time its noteworthy is when Andy Serkis is involved or it totally sucks. But the effects in Doctor Strange not only serve as a narrative catalyst for Strange’s humbling and new pursuits, they create mesmerizing fabrics and textures for this previously unexplored corner of the MCU that go beyond the typical blockbuster fair of beams and lasers and crumbling superstructures.

Of course, those visual effects would be little more than an expertly-crafted distraction were it not for the film’s cast. Benedict Wong and Chiwetel Ejiofor in particular are two of the primary reasons I’m hoping to return to the world of Doctor Strange sooner rather than later. Tilda Swinton and Mads Mikkelsen are both on point as opposing forces of mystic power that have presumably encountered the same humbling Strange is in the midst of, but have since let their egos drip back into their beliefs and perceptions.

This is a film that tosses aside better actors than most could ever hope to get. Look, no discredit to Benedict Cumberbatch’s Doctor Strange, but having Oscar MVP Michael Stuhlbarg traipsing around the fringes of your movie is bound to coax a few daydreams out of me about what a Stuhlbarg Sorcerer Supreme might be like. Similarly, fellow dramatic powerhouse Rachel McAdams gets the Natalie Portman treatment. That said, I devoted much of my initial post on Doctor Strange to my displeasure with McAdams’ sidelining, but in rewatching the film I understand her character, Dr. Palmer, is not entirely squandered.

The good Dr. Palmer brings to the world is practical. She is a person who helps those in need that are right in front of her face. Real people, with real injuries. Dying, hurting, bleeding patients. Not the disembodied charts and stats Stephen Strange mulls over blessing with his presence. When we meet Strange his do-gooding amounts to little more than selfishness disguised as lofty innovation. Amongst the visually spectacular, physics-bending skills Strange picks up over the course of the film, he also learns what Palmer already practices – to put more stock in how you can benefit the world around you, rather than how it might benefit you.

Coming off of the unresolved philosophical divide of Civil War, Doctor Strange introduces an important, timely notion to the MCU, the idea that widening one’s perception and opening up to ideas that contradict or even dismantle your own can be an invaluable strength, rather than a haughty catalyst for conflict.

For some characteristic anti-establishment film criticism and general bemoaning of Rachel McAdams limited roll in the MCU (though, I mean, third-billing? That’s some agent):

November 8, 2016: Doctor Strange, or, Breaking Most of the Rules

Road to Infinity War – Captain America: Civil War, or, When Keeping it Rational Goes Wrong

Oh I did it fam. In preparation for my viewing of Avengers: Infinity War on April 26th at 7PM, I went back and rewatched the previous 18 films in the Marvel Cinematic Universe, from Iron Man to Black Panther. Every day leading up to Infinity War I’ll be posting a short piece on each film and my most recent hot takes on nearly a decade of the MCU. I’ll also be linking back to whatever old nonsense I wrote about the movies at the time, if applicable. And if that isn’t enough, check out my ranked listed of the MCU to date on my Letterboxd account here.

civilwar2

KISS FIGHT.

With its 13th film the Marvel Cinematic Universe officially arrives at the point in which audiences can reasonably assume that the denizens of the MCU would be like “hey these super-folks are great I guess but they sure do knock stuff over a lot with alarming regularity and I guess maybe we should do something about that.” Captain America: Civil War delves into that sentiment without ever lapsing into navel-gazing, becoming the Empire Strikes Back of the Marvel Universe that Age of Ultron fell short of and, perhaps most notably, dividing the Avengers along philosophical lines that as of this writing have yet to be resolved.

That there is no clear answer to the problem of collateral damage in the MCU is a testament to the franchise’s characters, who bring perfectly rational ideologies into a world too vast and sprawling to rationalize. Tony and Cap’s conflict in Civil War is such an ideological standstill because, after a dozen previous films, it arises so organically, so reasonably. Tony is being Tony and we love Tony. Cap is being Cap and we love Cap. The only thing that’s changed is circumstance.

Since 2008 Tony’s heroism has always been bombastic and proactive. He’s never thought small and this isn’t the first time he’s forecasted a problem and sought out an inventive solution like a man possessed. He’s always been about the big picture and he’s always had the ego to believe, for better or worse, that he can and should change the world.

Inversely, Cap is a hero who has always been grounded in the here and now, defined by a call of duty to intervene in any situation in which he senses injustice. What is broken right now? What can be fixed right now? Cap’s concerns are the injustices he can see and hear, not those that others imagine and prognosticate.

These ideologies don’t necessarily have to conflict with one another, but Civil War’s Sokovia Accords all but ensure they do. The Accords present such a compelling source of conflict because they play to the thematic backbones of both heroes.

Tony’s character arc has always been a humbling. He was a hot shot who was taken down a notch and forced to reevaluate his entire life, and now, even as a hero, his ambitiousness often sees him flying too close to the sun, all too often reaping dire consequences for the world around him, as in Age of Ultron. If you’re Tony Stark and you have even an inkling of self-awareness, come Civil War you might realize you’ve got a track record of biting off more than you can chew to the detriment of humanity. Tony’s acquiescence to the Accords is a step in the right direction for the character, an admission of guilt, a surrendering of the ego to the idea that maybe Tony Stark doesn’t always know what’s best for the world.

But for Cap, agreeing to the Sokovia Accords would mean abandoning responsibility, signing up for an excuse to take the easy way out rather than doing what is right and standing up to injustice whenever and however he can. Even as a scrawny Brooklyn kid Cap has always been about doing everything in his power to stop bullies. If something bad is happening and Steve Rogers gets wind of it, he will always take it as his personal responsibility to intervene, whether it means stopping the Red Skull from world annihilation or confronting a heckler in a movie theater. For Cap, surrendering his agency to act against injustice is irresponsible, lazy even.

These ideologies ensure that Cap and Tony come into conflict, which is unfortunate because in other circumstances, having both a head in the clouds and boots on the ground could be an asset. The reasons Cap and Tony come to blows are the same reasons the Avengers need both of them. Hopefully circumstances will arise that shed light on that, for the sake of both our heroes. Like, I don’t know, maybe a purple-chinned glove-monster from space or some shit.

For more on Captain America: Civil War, specifically why the youth of today should be held responsible for coming up with hot takes on this shit rather than me:

May 20, 2016: Captain America: Civil War, or, What’s Your Policy on Late Work?

Road to Infinity War – Ant-Man, or, So Much More Than Just Perfect Timing

Oh I did it fam. In preparation for my viewing of Avengers: Infinity War on April 26th at 7PM, I went back and rewatched the previous 18 films in the Marvel Cinematic Universe, from Iron Man to Black Panther. Every day leading up to Infinity War I’ll be posting a short piece on each film and my most recent hot takes on nearly a decade of the MCU. I’ll also be linking back to whatever old nonsense I wrote about the movies at the time, if applicable. And if that isn’t enough, check out my ranked listed of the MCU to date on my Letterboxd account here.

ant-man

Tried. So. Hard. To find the version of this poster that is just Michael Peña and Bobby Cannavale.

Ant-Man was instantly the perfect pallet cleanser after Avengers: Age of Ultron. Coming out so quickly after the second Avengers film I still wasn’t completely admitting my disappointment with that movie when I first saw this one. I didn’t know how to feel about Age of Ultron, but I instantly felt a fondness for Ant-Man. It’s charming and fun and it never once threatens to utterly collapse in on itself under its own weight, instead focusing in on likely the smallest (yeah, yeah) stakes we’ve seen in from the MCU.

Which is a good thing.

But rewatching Ant-Man, it’s so much more than just a welcome respite from the cacophony of its immediate predecessor. Ant-Man explodes with style and flavor. Quick pans. Brilliant montages. Cops and crooks with competing motivations. Christophe Beck’s sneaky, percussive score. Ant-Man commits to the heist genre in earnest, lending it the authenticity of a heist film that happens to have a superhero in it, rather than the artificiality of a superhero film that shoehorns in a few heist movie gimmicks.

Upon its initial release Ant-Man drew myriad comparisons to the first Iron Man film, allegations that it was the same cookie with different icing, traced from the same stencil with a different pen. Similar obligations were later lobbed at Doctor Strange, which I will similarly whine about when I write about that movie again in, like, two days. Such comparisons require an incredibly broad view of the films in question. I won’t bore you with a laundry list of discrepancies here, but, to my mind, the most compelling difference between the two films is the position in society from which its protagonists hail.

Where Tony Stark is a billionaire tasked with taking responsibility for his immense economic power, Scott Lang is a recently freed convict who can’t hold down a job at Baskin-Robbins. His is a new low for heroic status quos in the MCU, and one that begs some interesting questions about how morality and justice shift and distort with size and scope. When we meet Scott Lang he’s paid the penal price and continues to pay a societal price for crimes that come nowhere close to the collateral damage caused by Tony Stark’s misguided creation of a maniacal artificial intelligence. Scott Lang is certainly established as having a moral compass, but Ant-Man largely concerns him being forced into the position of a shrinking superhero because, justified or not, society will not let him live a normal life.

With that in mind, though I’d hoped to focus on just how good this film is in its own right, Ant-Man serves not only as the perfect follow-up to Age of Ultron, but also as an excellent thematic primer for Captain America: Civil War.

There’s some issues that keep Ant-Man in the middle of the pack for me, specifically its nonsense villain and the unbearable “protection clause” cop-out it levies against Evangeline Lilly’s Hope van Dyne (though that looks to be mended with the upcoming Ant-Man and the Wasp).

Ant-Man was one of the Marvel movies I was least looking forward to rewatching. I’ve never disliked the film, but I couldn’t get myself excited to watch it again. It was also one of the films that surprised me the most in just how much it exceeded by remembered notions of it. I may not have been looking forward to rewatching it, but once I popped it in I had an absolute blast. This is a really fun, entertaining movie that doesn’t get enough credit for its adept execution of style and the nuance of scale it lends to the franchise as a whole.

All of this is to say: Michael Peña, am I right? Michael. Peña.

For more Ant-Man ramblings, with admittedly less to say, from the time of the film’s initial release:

August 5, 2015: Perfect Timing, or, Ant-Man

Road to Infinity War – Avengers: Age of Ultron, or, The Selfless Marvel

Oh I did it fam. In preparation for my viewing of Avengers: Infinity War on April 26th at 7PM, I went back and rewatched the previous 18 films in the Marvel Cinematic Universe, from Iron Man to Black Panther. Every day leading up to Infinity War I’ll be posting a short piece on each film and my most recent hot takes on nearly a decade of the MCU. I’ll also be linking back to whatever old nonsense I wrote about the movies at the time, if applicable. And if that isn’t enough, check out my ranked listed of the MCU to date on my Letterboxd account here.

ageofultron

Whoa! Look at all the stuff!

After the first Avengers film and the conclusion of phase one of the Marvel Cinematic Universe the concept of the shared movie universe seemed like a proven, cut-and-dry formula: small, enjoyable-enough “solo” movies with charming characters that slowly pave the way for a climactic collision of costumes rewarding audiences for biding their time through Avengers hanging out by themselves and not avenging. For better and worse that all kind of falls apart with Age of Ultron and Marvel’s second phase.

Like Iron Man 2 before it, Age of Ultron serves as a sort of sign post for a point of no return, an alarm for when certain storytelling strategies have been worn out. In this case, Age of Ultron represents the last time Marvel could get by on quips and costumes alone. There’s certainly joy to be had from Joss Whedon’s sassy one-liners and the reunion of our heroes is undoubtedly action-packed, but this isn’t a direct sequel to The Avengers, this is a film that has to contend with the more organic humor of Guardians of the Galaxy and the more physical action of The Winter Soldier and ultimately comes up short on both accounts.

As it turned out, those enjoyable-enough solo movies could be astonishing, and those climactic collisions of costumes could be utterly unrewarding.

Age of Ultron feels like a response to Avengers and not much else. Where the first Avengers film built directly off of Iron Man, The Incredible Hulk, Thor and Captain America, nothing about Age of Ultron feels like a natural progression from Marvel’s second phase of films, be it narratively or stylistically. There are the compelling seeds of a story here, James Spader’s Ultron is quirky and menacing in his own strange way and the events of this film present compelling and integral moments in the grand story arc of Tony Stark, but whatever Whedon’s initial vision for his follow-up to Avengers was, it gets muddied in translation by what feel like corporate mandates.

This is the least self-contained film in the Marvel Universe due in large part to its seeming lack of concern with itself. Age of Ultron introduces a slew of new characters, goes legitimately all over the world and sets up threads for three or four future MCU installments, but it doesn’t allot much of its running time to just be itself. It’s a very selfless movie that way, and it suffers for it, coming off like a film without an identity of its own.

Because so much of this movie is so expository, most of the characters wind up being short changed, leading to an Avengers outing that feels like less than the sum of its parts. At times Age of Ultron feels like a party that’s being thrown in order to disguise doing chores. The party being an Avengers movie. The chores being tedious and, in retrospect, entirely unnecessary setup for the MCU’s future. There are some great sequences in this movie and some genuinely funny moments, but it certainly hit the brakes on the exciting momentum the MCU had been building since The Winter Soldier.

And now for a look back at the morning after I saw Avengers: Age of Ultron, a point in which I am both not yet prepared to admit my disappointment with this movie and compelled by a sense of duty to write something about this movie:

May 1, 2015: Avengers: Age of Ultron, or, Marvel’s Big Comic Book Movie

Road to Infinity War – Guardians of the Galaxy, or, The Anti-Batman

Oh I did it fam. In preparation for my viewing of Avengers: Infinity War on April 26th at 7PM, I went back and rewatched the previous 18 films in the Marvel Cinematic Universe, from Iron Man to Black Panther. Every day leading up to Infinity War I’ll be posting a short piece on each film and my most recent hot takes on nearly a decade of the MCU. I’ll also be linking back to whatever old nonsense I wrote about the movies at the time, if applicable. And if that isn’t enough, check out my ranked listed of the MCU to date on my Letterboxd account here.

guardiansofthegalaxy

You have no idea how shockingly difficult it is to find a decently sized version of the U.S. poster for any given Marvel movie.

It was Guardians! It’s always been Guardians! The movie that made mine Marvel. The one that finally coaxed me into taking that first sip of the Marvel Kool-Aid. Marvel’s third transcendent piece of filmmaking, but the first I recognized as such from day one.

In the summer of 2014, even at the eve of the Star Wars sequel era, all blockbusters, and particularly Marvel films, still shivered in the shadow of the Dark Knight Trilogy for me. Even walking out of Winter Soldier, a film I have since developed quite an affection for, I remember unsurprisingly writing it off as good, but not The Dark Knight. Guardians of the Galaxy is the movie that finally got it through to me: “hey dummy, Marvel isn’t in the Dark Knight business!”

In a lot of ways, with Guardians of the Galaxy Marvel made an anti-Batman, an equal and opposite force of inspired cinema.

In a sense, dope as he is, Batman is a dude from the upper echelons of society who was wronged and thus goes about imposing his will on the city beneath him. The Guardians are basically a bunch of misfit burnouts in detention tasked with saving their high school. They aren’t characters who come from a position of power like some of their MCU predecessors and they aren’t fueled by guilt or duty, righteousness or responsibility. They’re some punks who get an opportunity to do the right thing and begrudgingly take it.

That lack of pretense is emphasized by the film’s now-iconic soundtrack. Where the Dark Knight Trilogy has Hans Zimmer and James Newton Howard going bananas on eardrums, Guardians cobbles together disparate songs from the radio of yore to an equally compelling but opposite effect. Where Zimmer and Howard’s spectacular scores engulf you and bolster those films’ imagery, underpinning a cinematic experience that towers over audiences, the Guardians soundtrack endears itself to the audience, coaxing your guard down and drawing you in closer. Additionally, ample credit has not been given to Tyler Bates’ score for the film, which proves particularly potent during some of the film’s quieter, more potent moments.

Of course you can’t talk about Guardians without discussing its humor. This film has moments of not only comedic relief, but straight-up comedy. Among the crazy visuals, catchy tunes and compelling story it was the comedy of Guardians I really found myself relishing, basking in the laughs on my way out of the theater. From the goofy opening dance number on Guardians declares itself willing and able to be unapologetically bright and colorful and hilarious. It doesn’t fail at achieving the operatic grandeur of The Dark Knight because it has no interest in being a grand opera.

For me, The Dark Knight ushered in a new level of engagement with movies. Guardians of the Galaxy is the movie that pried me free of the dogmas I’d picked up seeing The Dark Knight in theaters a dozen times. James Gunn’s film didn’t diminish my adoration of Christopher Nolan’s films, it expanded my appreciation for blockbusters at large, and all the flavors they can come in. I watch blockbuster films with a more thoughtful eye, and engage with the Marvel Cinematic Universe as intensely as I do, because of Guardians of the Galaxy.

For a stroll down memory lane to a time in which my computer screwed me over (thanks ASUS, kindly go to hell) and I wound up handwriting and drawing my blog posts and taking pictures of them on my phone to post:

August 4, 2014: Guerilla Blogging, or, Guardians of the Galaxy