1st impressions: Preacher & issues with over adaptation


Truly we live in a cross-media Golden Age, where anything from any medium can find new life and wider fandom in a different format.

Basically, if it can be adapted from a comic or a book or a video game or someone’s stupid Twitter Feed it can be transformed into a television show or movie.

The zenith of this are the television adaptions of A Song of Ice and Fire (renamed A Game of Thrones after the first book in the still running series) & The Walking Dead as well Marvel & DC’s various superhero cross-media “events”.

Unfortunately this means that with so many adaptations filling so many screens, the quality & which parts of the narratives they choice to follow as well as which characters they may change or cut various from production to production. More often than not fans of the original medium are angry &/or disappointed that they favourite scene, character or story arc has been either cut or changed beyond all recognition. After sci-fi series The Expanse had run its first season I was going to write an article about how the show completely race-washed, turning minor characters white for no other reason then TV producers prefer white people on screen because they perceive their audience to still be almost all white. I shit-canned the article because of crippling mental health issues but the arguments stayed with me.

When an adaptation diverts or completely diverges from its source material, it often creates a schism in the fan base. With the source material purists on one side decrying the changes as they wrest their shirts and beat their manboobs and the new/adaptation fans being blessed in their supposed ignorance of what they are missing out whilst being deprived of the original greatness (from the view of the members of 1st camp).

Yet there are many reasons for altering material within an adaptation that go beyond mere culturally ingrained racism. These have to go with keeping costs down, having to fit things within time/broadcast restraints as well as basic ignorance of the people doing the adapting. These harsh practicalities often mean that sections of the audience are left lamenting what they may never see or what never was yet they are crucial to how an adaptation is both produced and viewed by a wider audience. Obviously there are issues with not including important material from the source but if the adaptation is handled well, all that is cut or changed is not truly missed.

This brings us onto AMC’s last comicbook adaptation (the other being the widely popular The Walking Dead), Preacher.

Preacher was a seminal work from writer Garth Ennis and artist Steve Dillion as part of DC’s “mature” publication line, Vertigo, made (in)famous by how far Ennis was willing to push the idea of the grotesque, violence and the absurd (three trademarks of Ennis’ work). There had been previous adaptations in the works over the years, some even making into pre-production phases, but it wasn’t until 2013 when Hollywood uber nerd (and stoner) Seth Rogen had teamed up with AMC to produce a pilot of a series. Cut to 3 years later & the results are finally on our screen.

The short of it is, that the story surrounding Preacher is about titular preacher, Jesse Custer, being possessed by an entity called Genesis, the infantile product of breeding between a devil and an angel, that has escaped from a furious God, granting Jesse the ability to verbally command almost anyone around him to do, literally, what he says. This power bring him into conflict with forces divine and mundane who either want it for themselves or wish to see it destroyed. So he travels the US with his arsekicking ex-girlfriend, Tulip, & charming rogue-cum-scumbag Irish vampire, Cassidy.

Rogen & his writing/producing partners Even Goldberg and Sam Catlin obviously have a lot of love for the original comic but does not mean that they are not willing to make changes where they feel they are necessary or interesting.

The greatest toxic stain on any adaptation or franchise are those directors & writers who both adhere vehemently to the source material yet make drastic changes which make no thematic or narrative sense for the sake of a shiny visual or action scene. Zach Snyder is fundamentally the king for doing such things, so it is refreshing to see how Preacher’s creative team have handled their changes to the source.

One thing that riled a lot fans up was the casting of Ruth Negga (known mainly for being Raina in Marvel’s Agents of SHIELD), born of Ethiopian and Irish parents, as Tulip in a case of what some net-dwellers called “reverse whitewashing”. Some people genuinely can’t handle a known character being turned from white into another race yet have no qualms about it going the other way (this is why I term to be examples of Cultural Paradigm & Cutural Privilege). Yet in complaining they fail to see how well Negga captures the essence of Tulip, in her brutal creativity, capacity for violence yet her utterly caring nature. The scene in which we are introduced to her is kept lighthearted in how she teaches two small children how to make a bazooka out of household items, metal toy soldiers & cornshine but never denies that she’s a force to be reckoned with. Negga’s ownership of the character is impressive, even down to how she gets her Texan regional drawl, but never once does she feel like she has been changed for a misguided sense of tokenism.

Original vs. TV version: let the race debate begin!

In fact, it is how much the actors who play the central characters inhabit their roles which makes Preacher such an impressive adaptation.


Dominic Cooper (who is known for playing Howard Stark in Marvel films & TV series) plays Jesse Custer & you would swear that he was a native Texan with how well he performs the accent. There is no trace of English civility within him, replaced with a broken scene of Americanism that’s a fettered mix of faith & violence. Within the first scenes you know that Jesse is a man who is running away from something, whilst trying to do his best but not his hardest for the small & exceedingly backwards/redneck community to which he has returned after a long, unexplained absence. Cooper plays Jesse as a man seething with an underlying sense of helpless & rage, trying not to fall back into old habits but struggling with keeping the moral high ground against people without any sense of shame or even human decency to their fellow man.
He’s joined by Joe Gilgun as the Irish vampire Cassidy, portraying him, ironically enough, as full of life. Cassidy is the embodiment of hedonism & self destructive behaviour all cloaked within the guise of roguish charm, to which Gilgun plays up with utter aplomb. His accent is flawless, especially reflecting the speed in which Irish people can talk when they’re spinning up a tale. Gilgun plays Cassidy as a man without a plan but confident that he can get out of any situation he finds himself stuck in through a combination of disarming charm, ingenuity & extreme violence -as depicted in his fight scene on a private jet. His involvement with and meeting of Jesse is a little tenuous but plays off well as Cassidy sees Jesse as both a kindred spirit & a source of entertainment who can provide him with shelter from the sun & whomever he’s happened to have pissed off.

The strong trinity of Negga, Cooper and Gilgun pushes the pilot episode through despite how it changes so much from the original comics, such as introducing the character of Eugene Root way earlier than he should’ve been but the young actor Ian Colletti portrays what would otherwise be a pathetic character as one nuanced with hope, shame & fragility at how he is perceived by those around him.

This is a series that I have good hopes for, especially by the impact made by the first episode.

The episode itself exists to set up basic context with the three lead characters without flooding the viewer with an over abundance of background information, played out against an invisible force from deep space (as seen in an incredible retro sci-fi B film opening) that is possessing & destroying high ranking members of the global religious community (including a Russian high priest of the Church of Satan & Tom Cruise delivering a Scientology sermon). The focus is primarily on Jesse as he struggles & fails to be the moral centre for a highly immoral community, constantly beset by members of his congregation, like mother issue swamped Ted, & their personal issues. This is reflected in how a young boy asks Jesse is hurt his dad because he beats up his mum, with Jesse laying out how things escalated when resorting to violence but fully knowing that the other authorities in town will do nothing to prevent the abuse & that often violence is the only answer to a bad situation. This is constantly brought up in how other characters, such as the sheriff & Tulip, bring up his past & bad reputation within the town -mainly by referring to how he is no longer acting like he used to. It’s all brought to a head by Tulip’s return to recruit Jesse into what one would assume to be a major crime & Cassidy crashing out of the sky only to stumble into a bar where Jesse drinks away his emotional pain.

The episode as a whole does not take itself too seriously but does not disrespect the audience or actors by playing up serious scenes or ideas by being silly, self conscious or giving any knowing winks of fan service. It plays with comicbook convention & loose scene/time transitions as well the hyper-realised violence &  yet does not over play the jokes. This is seen from the opening scene of an African minister exploding over his congregation you are well aware that this will be a show that indulges, like the original comic, in the grotesquity & absurd idea of violence without flashing up nudity ever 20 minutes (which is Game of Thrones greatest failing, replacing drama with tits & now cock). There is even a lack of foul language, despite the gory violence, which is a little surprising but well done in its own way.

This is so refreshing when we are caught in such a glut of cross-media adaptations, where things are being turned into movies or TV shows before their even published or dragged out or transformed beyond recognition of the original. Preacher touches the high watermarks of other series like Game of Thrones or Marvel’s work with Netflix where it keeps largely faithful to the source but isn’t afraid to venture out when new ideas are needed.

Time will basically tell if a wider audience will be willing to adopt another comicbook adaptation for the small screen -especially one from the 90’s before a large section of the audience weren’t alt-pop culture consumers. If the actors & production team keep up with what they provided in the pilot & stick to the spirit of the comics then it will be easily adored by others. Yet if they decide to swerve away from the cores of the characters & narrative, especially what sets both apart from other series out there, then it will more than likely be dropped quicker than a sci-fi series on Fox.

Between the Prequel & the Sequel -TV Critique: Marvel’s Agent Carter

AgentCARTERTitle: Agent Carter
Series Creator(s): Christopher Markus, Stephen McFeely
Network(s): ABC (USA)
Original Airing Dates: January 6-February 24 2015
Number of Episodes: 8


In 1946, Peggy Carter must balance the routine office work she does for the Strategic Scientific Reserve (S.S.R) while secretly assisting Howard Stark, who finds himself framed for supplying deadly weapons to the top bidder. Carter is assisted by Stark’s butler, Edwin Jarvis, to find those responsible and dispose of the weapons.


When you have a tightly focussed & structured narrative universe like the current Marvel cinematic one, it’s hard to fit in side stories that parallel & enhance larger narratives that play out within a different media space (i.e. movie to television).
That was pretty much my issue with the MCU TV line’s 1st show, (Marvel’s) Agents of S.H.I.E.L.D. because it had to adhere to a timeline structured between several movies (mainly after The Avengers & then fitting in overlaps from both Thor: The Dark World & Captain America: The Winter Soldier). This meant that the narrative & scope was fairly stunted because it couldn’t create story conflicts with the larger (& more important) cinematic universe. Agents of S.H.I.E.L.D. has always been hampered by what it could & couldn’t do & whilst it has been able of late to break out of the MCU constraints with it’s own storylines it’s still tied into the larger idea of the Inhumans & that new movie franchise (since Fox owns the rights to Marvel’s Mutants).

 Agent Carter is fortunate in that it does not have to adhere to a myopic narrative structure but it is still trapped within a much, much larger structure which limits what it can do.

The 1st limit is the big one: Captain America -both the 1st film & the character himself.

Even though the series is about Peggy Carter & her search for purpose & meaning in a world after WW2, everything is still set in her relation (& failed relationship) with him. This hampers both the overall story -because things have to be references to a world after Cap’s supposed death- & the character of Peggy herself, because she’s only really framed in terms of references to Cap. Even though he’s not a physical presence within the series, he basically affects all of Peggy’s motivations, as she does actions in regards to what Cap would do or think.

This is something that is constantly put to her by other characters, such as members of the S.S.R (which is an odd choice of name considering that the Cold War was rolling in) & her friends from the war, like Howard Stark & the Howling Commandos. Peggy isn’t really allowed to be her own woman, she’s always Captain America’s other half. This idea is quasi played with a meta-radio play within the series that has Peggy’s character dumbed down to a field nurse & Cap’s love interest always being rescued & always played juxtaposed against Peggy enacting her own agency (as in: kicking someone’s head in).

It’s not that she’s a bad or shallow character, she’s just reactonary.
peggy carter
She’s always reacting against what others think of her how how they treat her (such as her S.S.R. colleagues turning her into the office tea lady & disregarding her years of combat & field experience) or against expectations of the time (her role as a woman in Post-War USA) or even reacting to the hidden villains’ plans. She has agency within the narrative but she’s never really enacting. Her motivation is to prove herself to her male chauvinist colleagues & proof her worth as an agent but that’s still a reaction. Same with how she chooses to socially & personally isolate herself in the 1st few episodes of the series -this is a reaction against losing Cap & her general experiences during the war.

That is not to say that Peggy Carter is robbed of all development & action, it’s just framed poorly in terms of development. Always leaving her on the backfoot & behind. Done well, this can create great tension in the story but it’s not deftly done her, leaving some parts -such as the threat of the various villains- feeling rather flat. It speaks too much of how poor Hollywood is at depicting female characters who do not fit within comfortable moulds & stereotypes. Even when empowered that they still have to fit typical feminine rolls of love interest, daughter, sister, et cetera as well as fitting the physical form of societally accepted beauty (see Buffy the Vampire Slayer for some examples of the empowerment-disempowerment dynamic & the superstrong Barbie Doll).

Yet, despite this reactionary form of agency, this is actually a very well put together show.

This starts with strong performances of the central characters of Hayley Atwell as Peggy Carter, James D’arcy as Jarvis (Howard Stark’s long suffering butler) & Dominic Cooper as Howard Stark is what holds so much of it together becuase of the natural yet conflicted chemistry that they bring to their individual roles. I think because they are all British actors with a diverse range of past roles they seem to perform better than their American counterparts (who do come off as fairly 2 dimensional). Add to the mix the other great British actor Ralph Brown as the nuanced Dr Ivchenko, you have a great front line cast.

It does help that Hayley Atwell is so gorgeous!

I need to build a bunk so I can be in it.
I need to build a bunk so I can be in it.

That’s not to sexualise or trivialise her in any way but she just has this dominant presence upon the screen where she just conquers all of your attention. She really inhabits the role, the struggle for acceptance & reacting against a society & occupation that just wants to keep her down. She also twists these expectations, knowing that everyone underestimates her she can do and get away with what others can’t. Her outer & inner strength shine through but she still needs support from friends.

This does lead into a character who was wasted & inconsistent: Jarvis.
carter & jarvis
James D’arcy plays him brilliantly but he’s so weak & wishy-washy in terms of his depiction despite having a strong & determined back ground. He exists almost solely as the Yank’s idea of the stiff upper lip Brit servant who has been a fixture of pop culture since the 1st World War. Jarvis is shown as having great fortitude & determination yet is so weak & easily yielding, lacking physical presence & abilities that Peggy has in abundance but this is in direct contradiction he was in the British army & has been trained to fight (according to his & Howard’s own words at least). That all given, D’arcy plays Jarvis with aplomb, giving him little gestures & habits that endear him to the audience -especially when he talks about his equally love suffering wife & their history together.

The other cast members are a bit of a mixed bag, with many of them not getting any development beyond stock misogynistic G-Men. There are some hints of things deeper, such as with Chief Dooley & how he views Peggy as someone who needs to be protected because of his estrangement but this is pretty much thrown out of the window in order to ramp up the tension & bring the S.S.R. together.

Yet the biggest thing that truly annoyed me about the series is how they didn’t connect it to the larger Golden Age period of Marvel Comics. There is a swathe of classic characters they could’ve referenced & used -such as the hero Angel. They could’ve connected a lot of the superpowered heroes back to the Captain America Supersoldier projects that spawned many other fictional heroes (which in turn can be used to explain superpowered individuals within the larger MCU).

That aside, Agent Carter, despite (or because of) it’s short run stood out amongst all the other superhero TV adaptions of the past few years. It has rich visuals, fairly good acting & a focussed core story (for the most part) without resorting to many choking tropes of TV series (ships in bottles http://tvtropes.org/pmwiki/pmwiki.php/Main/LockedInARoom, et cetera).

Hopefully it will get a 2nd series that expands the past MCU a fair bit & introduce other classic characters. Plus more Hayley Atwell on screen is always a good thing.


How a Space Opera Should Be – Live Action Critique: Guardians of the Galaxy

Title: The Guardians of the Galaxy
Genre: comic adaptation, space opera, sci-fi, comedy
Director: James Gunn
Studio: Marvel Studios
Original Release: 7/8/2014 (Australia)
Running time: 121 minutes

The Standard Promo Poster
The Standard Promo Poster


In 1988, following his mother’s death, a young Peter Quill is abducted from Earth by the Ravagers, a group of space pirates led by Yondu. Twenty-six years later on the planet Morag, Quill steals an orb only to be intercepted by Korath, a subordinate to the fanatical Kree, Ronan. Although Quill escapes with the orb, Yondu discovers his theft and issues a bounty for his capture while Ronan sends the assassin Gamora after the orb. After fighting Gamaro as well as the bounty hunters Rocket (Raccoon) & Groot, all four are arrested by the Nova Corp & sent to prison station, The Kyln, where they encounter Drax the Destoyer, who wishes vengeance upon Ronan for the death of his family. Together they plan to escape in order to sell the orb but Ronan will stop at nothing to obtain it.


Guardians of the Galaxy, based upon the Marvel comic of the same title (that had two separate runs many decades apart), would probably be my favourite Marvel film to date.

That is because it eschews most of the standard Superhero fare of moral actions based upon power & responsibility in favour of a more rip-roaring Space Opera epic.

Basically it’s what Firefly wanted to be (yes, am trolling to get more page views) but, in reality, it’s more the best bits of that classic pile of cheese Flash Gordon (1980) mixed with the good Star Wars trilogy as well as some aspects of the aforementioned Firefly in terms of character interactions/relationships.

Don’t want to get on the complaint train right away, so will start with what the film gets right.

It’s a beautiful film.

Utterly stunning visuals, smoothly integrated CGI that will (probably) date well (except in some scenes) coupled with amazing make-up & costuming for the non-human characters. There are tons of wonderfully rendered background details as well, from subtle references to huge city, space & land scapes. This is honestly not a film that could’ve been made a few years ago because of the level of technology & investment that it represents. There would have been no way Marvel Studios & Disney would’ve sunk so much money into visual pre-Avengers.

In so many ways, GotG represents a huge risk that both Marvel & Disney took.

Left to Right: Gamora, Quill/Star-Lord, Rocket, Drax the Destroyer, Groot
Left to Right: Gamora, Quill/Star-Lord, Rocket, Drax the Destroyer, Groot

That’s because outside of the comic fans, the Guardians aren’t really well know & if it wasn’t for the modern classic Annihilation comic storyline from a few years ago & it’s spinoff Annihilition: Conquest, it’s doubtful anyone would know who the Guardians were (apart from those who appeared in other Marvel titles over the years). The further risk was so drastically altering the various origins of each of the characters -especially Rocket (Bradley Cooper). Who in this film is a product of a genetic experiment but in the comic comes from a planet of anthropomorphised animals (basically taking the piss on Disney & Warner Bros cartoon short’s characters). Drax (the wrestler Dave Bautista) is also changed from a cosmically altered human to an alien, which actually works better in the context of the movie because it makes it far less human (& American) centric like sci-fi tends to be.

The film is also exceptionally funny. With many laugh out loud moments from either the character interactions, dialogue or some random sight-gag that occurs in the background. This is ultimately the strength of the film. How the humour is used & how it’s used to balance out the majority of the characters. The humour is characters use isn’t the quips of confident heroes but the self-depreciating and boastful fashion of those who are trying to cover up their pain, loss & ultimate emptiness & self-loathing at their own inadequacies.

Which leads to the other strength of the film; which is the characters.

Collectively, the team that will become known as the Guardians of the Galaxy are basic broken individuals. Without true family or friends or even homes. All of them have either been taken from somewhere or had something taken from them. They had make up for it with bravado (often which they can back up, unlike the usual sort of character) or extreme violence. They have physical & psychological flaws as well as scars (literal ones as well) & they know that they are losers as well as broken. The way they come together as a team does feel fairly natural, based upon self-interest & greed at first but blossoming into mutual respect & understanding for they have each been through.

Unfortunately, as a whole, they are not as developed as I would have preferred them to be, that is more then made up for by how natural they seem -especially being such unnatural (actually & figuratively) creatures. This is proved by how much suspension of disbelief you put into two of the characters: Rocket & Groot. The aforementioned mentioned Rocket is a small human-like Raccoon with a passion for weapons & can quickly Macguyer any sort of weapon from scrape as well as come up with complex plans on the fly; whilst his constant companion is Groot, which is a humanoid tree with incredible shapeshifting ability but a limited vocabulary (he can only say the phrase “I am Groot”). In the hands of a less director, writer & special effects team, these two characters would not only look horrid but lack any ability to garner an audiences’ sympathy & attention. Bradley Cooper makes Rocket sounds like an utterly psychotic George Costanza & whilst vin Diesel has little to say as Groot, he managed to alter his 3 word lines in such a way that they convey the immediate emotion of Groot’s intention & inner self.

Unfortunately, the more human characters aren’t rendered so well. Whilst Chris Pratt & Zoe Saldana are admirable as Peter Quill/Star-Lord & Gamora respectively they still come off as occasionally more artificial than their CGI screen companions. Part of me thinks that this is probably more to do with the Studio Execs wanting to simplify things & not spend too much time on actually character development. There are some attempts to flesh out the characters by giving them token backstories but they at least go some way to giving logic to the characters’ actions. Quill/Star-Lord was abducted from Earth immediately after his mother died of cancer & raised by space-thugs called Ravagers, lead by Yondu (who is very much modified from his heroic incarnation in the original GotG comics). He was never allowed to properly grieve or grow up, forced into a criminal life at a young age & never given any true emotional support (except for Yondu’s constant forgiveness), so Pratt plays Quill as a cross between Captain Kirk (boning all the alien babes) and Han Solo (the lovable rogue). Whilst Saldana is the emotionally vulnerable arse-kicker trying to seek revenge on the creature who turned her into a living weapon as well as destroyed her planet. She unfortunately isn’t given a flesh out or visualised backstory but Saldana (whom many know as Uhuru from the recent Star Trek reboot) tries to make her layered in her performance but is let down a bit by the script. Bautista, despite his very limited & wooden acting range, actually brings some interest to the very literal & verbose Drax. Naturally he fails to show any real emotional depth with the character but he delivers his lines with furious relish that you could see that he was having fun making the film -which I think has to do more with the physicality that he brought to the screen. You don’t really feel the weight of the pain or fury at the world that he has, which, again, is probably because of his limited acting range but the character has some pretty witty lines because he takes everything literally, failing to understand metaphors or what a turn of phrase is; quipping after being told that language goes over his head “Nothing goes over my head. My reflexes are to fast. I’ll catch it.”.

The action scenes are also where the film soars -be they person on person fights, group melee or CGI laden spaceship battles. Everything is shot in a way that you can see the action & who’s involved, especially when you have characters taking out multiple opponents at once across various points of the mise-en-scene. This is something that Michael fucking Bay & his cronies should learn after they butchered both the Transformers in those 4 cinematic abominations & in Teenage Mutant Ninja Turtles’ recently released film.

Unfortunately the greatest let down in the film are the villains but that seems to be pretty standard for a Marvel film unfortunately. Outside of Tom Hiddleston as Loki, I doubt anyone but the most ardent fans can really name or remember the various villains from the other Marvel films, other than the brilliant turn at the Mandarin by the usually always brilliant Ben Kingsley.

Ronan looking like an ancient Egyptian drag queen
Ronan looking like an ancient Egyptian drag queen

Ronan the Accuser (Lee Pace, who plays the Elf King in the recent Hobbit films) had so much potential as an antagonist because he’s depicted as a zealot who despises the recent peace treaty with Xandar http://en.wikipedia.org/wiki/Xandar but since we have no idea as to the background of this supposedly galactic war, there is no impact or threat from Ronan’s actions. There is no gravitas or true reason to his being; only words spoken, so you get no inner sense of him like you did with Loki. Even when Ronan is slamming Drax about the place, I felt no sense of action danger from him. He does have some good scenes with the mad god (though actually a powerful alien known as a Titan) Thanos (the mastermind behind the alien invasion in The Avengers), who is revealed in a greatly understated fashion (which was perfect in my view) but they all go to waste when he turns into generic universe destroying bad guy number 468 (for some random reason). The same goes for Karen Gillian (of the long legs & Doctor Who fame) as Nebula, another of Thanos adopted assassins. She’s driven by her sadism & jealous over Gamora’s position as their ‘father’s’ favourite but she barely gets any screentime, despite her awesome make-up & the fact she shaved her head for the role.

She may be bald, cybernetic & pure evil but you'd still try to bang her given half the chance
She may be bald, cybernetic & pure evil but you’d still try to bang her given half the chance

There are also lots of incidental characters & quick references -especially during the scenes in The Collector’s museum (& one that the producer Kevin Feige is connected to the next GotG film, the Infinite Gem saga & the classic character Adam Warlock). In fact, the film packs in heaps of references to the larger meta-Marvel universe as a whole, especially with the Infinite Gem mythology, adding in the god-like Celestials http://en.wikipedia.org/wiki/Celestial_%28comics%29, Cosmo the psychi Cosmonaut Dog & a certain anthropomorphic duck who featured in one of Marvel’s earliest, & also universally considered the worse, mainstream films. Plenty of Easter Eggs to keep the ardent fans watching it again & again but enough useful info for the lay audience to engage in the larger (mainly Jack Kirby created) Marvel Universe.

Also have to make a quick special mention of the music used within the film, which is both diegetic & non-diegetic, stemming from the mixed tape that Quill was given by his mother. The songs -many of which were overplayed in the trailer- are all 70’s pop stuff yet used to great effect. Mainly because they juxtapose the action on the screen or boost the humour content (such as with Quill’s final challenge to Ronan). The other non-diegetic music is your typical blockbuster fare but still used to good effect, adding to the mood of a scene, such as Quill & Gamora, when the acting doesn’t quiet cut it. Also, the final pre-credits scene featuring Groot & a Jackson Five song will sure to have you squeeeee.

In the end, this is a fast past, very funny film full of action & amazing looking scenes. It gets you onside enough to overlook it’s few down sides (mainly when it tries to get emotional on you). The end scenes actually hold together well but was annoyed at Gamora’s transform from an utter badarse to another (green) babe in a mini-skirt -thus diminishing her threat level (but not as much as if they put her in a mid-riff cleavage exposing top). Over all, it’s a great popcorn film that doesn’t leave you feeling mentally deadened & has enough hooks in it to make fans watch it a few more times (as well as buy the DVDs on 1st day release). I’ll no doubt go see it again, which is a rare thing for me & the cinema (mainly because it always costs so bloody much!). I only hope that Marvel Studios doesn’t rest on it laurels, making the same film over & over again until we are sick of them. Naturally a sequel is due out in 2017, which will connect up to the 3rd Avengers film (as well as all the other Marvel films due out within the next 3-4 years).

Some man-meat for the ladies.
Some man-meat for the ladies.