New to Theaters: “Guardians of the Galaxy Vol. 3”

After years of perilous adventures, the Guardians of the Galaxy embark on their most personal mission yet in “Guardians of the Galaxy Vol. 3.”

The Marvel roster is brimming with majestic heroes and endearing personalities. While dedicated fans will surely debate their favorite Marvel figures, the Guardians of the Galaxy have consistently ranked as my favorite super-powered crusaders.

For those uninitiated to comic book lore, the Guardians of the Galaxy is a misfit team of intergalactic bandits. They encompass a personable roster of distinctive characters — including a sardonic talking animal (Rocket Raccoon), a menacing yet admittedly empty-minded warrior (Drax the Destroyer), a tree-like humanoid with a big heart (Groot), the cunning talents of a no-nonsense mercenary (Gamora) and their fearless but admittedly fool-hearted leader from Earth (Star-Lord). Along the way, the guardians adopted several other quirky figures, like the kind-hearted empath Mantis and Gamora’s hard-edged sister Nebula.

In the hands of writer-director James Gunn, the team transformed into a lovable makeshift family onscreen. The eccentric array of colorful personalities blended into a harmonious unit that dispenses clever one-liners and heartwarming sentiments in equal measure. Where 2014’s “Guardians of the Galaxy Vol. 1” showcased a promising origin story, 2017’s “Vol. 2” excelled to even grander heights, meshing blockbuster thrills with thoughtful character development in ways that supplant most superhero endeavors.

“Guardians of the Galaxy Vol. 3” arrives as a potential final chapter for the franchise. Pulling off a great trilogy is a nearly impossible feat in Hollywood; just ask “The Dark Knight Rises” and “Godfather 3.” Fortunately, “Vol. 3” soars to the meteoric heights of its beloved predecessors. The sequel maintains the brand’s charming allures while upping the ante in surprisingly mature and emotionally resonant ways.

There is not enough praise to heap on Gunn for his creative achievement here. Gunn, who started from humble roots as a low-budget filmmaker with “Slither” and “Super,” has seamlessly transferred his distinctive tonal-hybrid trademarks into the confines of the Marvel Cinematic Universe formula. He is one of the few Marvel filmmakers to shatter the studio’s all-too-predictable mold, setting a shining example that several of his contemporaries have already half-heartedly tried to duplicate — looking at you, “Thor: Ragnarok” and “Love and Thunder.”

Visually, “Vol. 3” boasts an uncanny stylistic electricity. Gunn imagines his vast celestial setting through his singular eye, intermixing a vibrant color scheme with an array of inventively designed creature creations. Even with the vast creativity on display, the film never loses itself in a trap of style over substance.

Gunn and cinematographer Henry Braham capture each frame with a thoughtful eye, allowing each image to harbor substantial power in its grander emotional and thematic connotations. I would also be remiss in underplaying the impactful soundtrack Gunn has assembled here. Timely musical cues remain a fixture of the “Guardians” franchise, often accompanying moments of enthralling action and intimate heartache in ways that effectively elevate the material. “Vol. 3” features a similarly inspired blend of tracks. Each carefully curated melody captures the spirit of a given scene without ever feeling like contrived inclusions.

The imaginative technical flourishes certainly pop on the screen, although Gunn’s affecting and audacious storytelling remains the true standout. I do not want to get too in the weeds with details, as within seconds of the film, a seismic event that occurs alters the following 150-minute experience. What I will say is the film brilliantly furthers the foundation established in previous entries. Gunn’s ability to personify his characters with textured dimensions is an impressive feat. Each member of the Guardians could come off as a one-note archetype in lesser hands, but the writing here always finds the humanity embedded within the characters’ unique personalities.

Submerging his protagonists within personable emotions is one of Gunn’s true calling cards as a blockbuster filmmaker. So many big-budget movies today forget that audiences need something meaningful to invest in. Sure, it can be exciting seeing superheroes save the world against a menacing threat. However, the Guardians’ efforts in confronting their deeply felt flaws and insecurities continue to be the main reason they are beloved figures. “Vol. 3” features a plethora of inspired subplots, whether it’s Rocket Raccoon reckoning with trauma from his youth or Star-Lord trying to reignite his romantic bond with Gamora. Both arcs feature a level of emotional intelligence that is frankly rare for MCU features.

The “Guardians” franchise also benefits from a dynamic cast. Chris Pratt’s goofball charisma as Star-Lord, Dave Bautista’s sharp one-liners as Drax, Zoe Saldana’s biting grit in the role of Gamora, Pom Klementieff’s sensitive spirit as Mantis and Vin Diesel’s ability to so satisfyingly mutter “I am Groot,” all command the screen throughout. Each actor feels tailor-made for their lively parts, embracing the dimensions of their characters with effective results. For someone like Pratt, who is often maligned for his routine movie star performances, the aching vulnerabilities of Star-Lord serve as a perfect canvas for the actor to showcase underutilized tools in his acting toolbox. The addition of a new fearsome villain, Chukwudi Iwuji as the callous High Evolutionary, also adds gravitas and palpable tension to the material.

Picking standout performances amidst a talented crowd is never easy. For me, it is Bradley Cooper and Karen Gillian who truly stole the show. In a voice-over performance, Cooper imbues remarkable vitality into Rocket Raccoon. This movie allows the actor to peel back the layers of Rocket’s rugged personality, with Cooper exploring the character’s pain and hardship with raw power onscreen. Gillian is often overlooked for her work as Nebula — a character who typically clashes with the Guardians for her hardened personality. Here, Gillian relishes the opportunity to explore new layers of Nebula as she skillfully finds the beating heart buried within the character’s robotic exterior.

Is “Guardians of the Galaxy Vol. 3” perfect? Not quite. A slew of new inclusions, like the famed comic book character Adam Warlock, end up getting lost across an admittedly busy screenplay. In addition, certain marquee moments in the third act indulge too much in standard-issue comic book devices that only exist to inject fake tension onscreen. Still, a few gaffes do not come close to tarnishing an immensely accomplished blockbuster ride.

You never know if this will be the Guardians of the Galaxy’s last ride together onscreen. If it is, I could not think of a more fitting way for these characters to ride off in the sunset.

WARNING: “Vol. 3” features more adult-oriented content than most Marvel features, including moments of trauma and violence involving animals. Maybe leave the children at home for this one.

Also Playing: “Beau is Afraid”

Neurotic loner Beau embarks on an odyssey to reconnect with his controlling mother in “Beau is Afraid.”

A simple plot description of writer-director Ari Aster’s latest endeavor cannot come close to describing the three-hour epic he’s constructed here. Aster has quickly ascended the industry ranks, showcasing masterful composition and ingenuity in films that intensely wallow in dour conceits. His articulate perspective and haunting imagery propelled “Hereditary” and “Midsommar” into becoming cultural touchstones — a valiant achievement considering the challenging conditions facing most arthouse features.

Described by Aster as his “Lord of the Rings,” “Beau is Afraid” represents the auteur’s most ambitious swing yet. The film transforms its depiction of an alienated mother-son relationship into a surrealist voyage through torment and angst. It’s also a work that guarantees divisive reactions from viewers. Some are already labeling it as a meditative masterwork, while others decry its existence as a pretentious piece of drivel.

I can see both sides of the coin here, but I could not help being entranced by “Beau is Afraid.” Aster conjures an evocative and admittedly bombastic descent into the emotional hellscape of a man consumed by his mother’s looming shadow.

Even detractors of “Beau is Afraid” will likely still appreciate Aster’s singular craft. He conjures a personal story on the grand scale of a Herculean epic, placing Beau on an uncompromising pathway where he must confront his lingering insecurities. Aster glues Beau’s journey together through fascinating vignettes, whether it’s a nightmarish post-apocalypse New York or a theatric stage play that colorfully highlights the inevitability of Beau’s existence. Yet, no matter where Beau finds himself, Aster exerts poise and artistry at every step. The auteur displays a commanding hold of the camera through several evocative long takes and precisely framed moments, all of which land with compelling results. His well-tempered techniques help illustrate an uneasy atmosphere that gradually builds through each abnormal occurrence.

Perhaps what surprised me most about “Beau is Afraid” is how comedic the film is. Aster appears self-aware of his film’s bizarre eccentricities, leaning into his pie-in-the-sky obtuseness similar to the vein of an over-the-top “South Park” episode. Thankfully, Aster always keeps a straight face through the mayhem. His ability to let the material speak on its own accord helps make it so effective, allowing the humor to undercut the potential pretentiousness of Aster’s vast ambitions. I still find myself fascinated by his surrealist occurrences, such as a dysfunctional family dining on suppressive sedatives or maniacal characters who linger around the corner of Beau’s life.

Where “Beau is Afraid” will lose some people is the film’s long-winded approach to animosity and despair fueled by parental disconnect. It’s debatable whether Aster’s sprawling vision builds upon its central conceit or just shallowly meanders in the concept. Personally, I can connect to both arguments. Many of Aster’s ingenuous quirks provoked a range of emotional reactions from me, but other narrative detours end up as didactic exercises in tedium. The hit-or-miss execution creates some unevenness across the occasionally bloated three-hour runtime.

Thankfully, “Beau is Afraid” always finds its way across the oft-kilter journey. I give star Joaquin Phoenix significant credit for grounding the material in authentic truths. The naïveté and yearning he injects in Beau embed a childlike vulnerability as the character haphazardly stumbles across a nightmarish wasteland. A talented rogue’s gallery of supporting actors, like Nathan Lane, Richard Kind, Parker Posey, and Patti LuPone as Beau’s devilish mother, also deliver well-tuned performances as exaggerated caricatures.

I can’t help celebrating “Beau is Afraid’s” existence. Aster reaches for the cinematic stars in a film that will linger with viewers long after watching — no matter if you loved it, hated it or land somewhere in between.