Nearly ten years ago, the first Guardians of the Galaxy snuck into theaters like a chilled, spiked glass of tonic water. Technically, the movie's opening sequence is a well-worn trope: a young comic book hero learns he's an orphan. The second, however? That same character can be seen in the scene as an adult dancing his way into a space ruin to Redbone's "Come and Get Your Love," a disco-infused classic from '70s AM radio. The orchestral, Beatlesque harmonies of ELO's "Mr. Blue Sky" then heightened the stakes for similar positive feelings in the sequel when the same guy and his surrogate son—a sprite-sized talking tree that pulled the Baby Yoda gimmick first—got lost in them. (As well as the viewer's mood) Baby Groot is practically doing cartwheels.

In Guardians Of The Galaxy Vol. 3, saying farewell is a major theme. James Gunn, one of the MCU's most recognizable voices, provides us with a third film that, in every respect, marks the end of his adventure with these characters. The movie is heavily influenced by the feeling of parting. Not just in terms of its tone and mood, but also due to the numerous references, cameos, and other tributes to the first two films. It is a huge, appropriate finale, almost like an ode to and celebration of Gunn's Guardians series. Gunn delivers a really gratifying send-off to everyone's favorite group of jackasses standing in a circle, or perhaps he does it one more time since he's moving on to lead a competing studio.

The third volume of Guardians of the Galaxy is the trilogy's worst chapter. The new shades of gloom and sorrow, however, are not an impersonation or a quick coat of paint, unlike some other superhero characters. It serves a movie that genuinely appreciates spending time with its heroes and truly believes that hardships develop character. The movie has a harsher edge than most Disney movies occasionally, but it also has a tone of deeper sincerity, pathos, and heart than the entirety of Marvel's Phase Four. Rocket's antics are peppered throughout the tale.

By reveling in the sillier side of Gunn's imagination during the finest moments involving the other Guardians, the movie is frequently able to counteract this shadow. For instance, the opening act has a bioengineered space station being broken into. Imagine that the human body's inside from Fantastic Voyage was floating through space and covered in athlete's foot. You chuckle throughout the entire aesthetic for an elusive reason. The Guardians come into the set piece wearing candy-colored space suits like kids who were left alone in a school, highlighting Gunn's own brand of fun.

It was a brilliant decision to make Rocket the emotional center of Vol 3. Not just because he's always been my favorite character, but also because the sequences in the movie's most powerful flashbacks, which tell his horrific background, help Vol 3 pack an emotional wallop and venture into unexpectedly dark terrain. A young, timid Rocket who has just had surgery collapses in anguish next to his fellow lab rats in one flashback scene. When they inquire about his wellbeing, all he can muster is a moan and the phrase "hurts". I nearly cried.

Before Groot engulfs them all to protect his new friends and utters the words "We are Groot," the Guardians are seen standing together on a ship that is heading toward its destruction. Rocket has stolen several limbs. launching the most unusual dancing competition to divert a powerful villain. Mantis making Peter's feelings for Gamora out in the open. Being Baby Groot as Baby Groot.

It was a long journey. We are in a unique situation right now since this chapter has ended and the Marvel machine hasn't sped up to announce nine new characters, four reboots, and three Guardian spin-off programs to weaken the franchise. James Gunn has once again broken through the Marvel apparatus to give us something we seldom ever receive from this universe — the notion of an ending — for however limited time it may endure.

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