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    Action in Space

    Guardians of the Galaxy defies end-of-summer movie doldrums

    Alex Bentley
    Aug 1, 2014 | 12:00 am
    Guardians of the Galaxy defies end-of-summer movie doldrums
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    Up until this point, comic book movies have focused on characters that have either proven popular across the board or those with such a history that a movie about them makes sense. That all changes with the arrival of Guardians of the Galaxy, an outer space-set saga that almost defies description.

    Based on a hit-and-miss Marvel Comics series, the core of Guardians is Peter Quill, aka Star-Lord (Chris Pratt), a human who was kidnapped from Earth as a boy for unknown reasons. He’s established himself in the universe as a rogue-for-hire, using his considerable charm and stash of gadgets to complete underhanded tasks.

    Guardians of the Galaxy is a welcome respite from the normal decline we see in movies released in August.

    His latest job has him making off with an orb with mysterious powers that’s desired by almost everyone he runs across, most notably the evil Ronan (Lee Pace). Through a series of unplanned events, Star-Lord finds himself aligned with four other alien beings: the green Gamora (Zoe Saldana); the muscle-bound and tattooed Drax (Dave Bautista); Rocket, a talking raccoon (Bradley Cooper); and tree creature Groot (Vin Diesel).

    As if you couldn’t already tell, the film announces itself as a departure from other Marvel movies with an almost constant lighthearted tone. Aside from the general strangeness of the characters and visuals, snarkiness and sarcasm are littered throughout the dialogue, most notably by Star-Lord and Rocket.

    The film also departs from other Marvel movies in that it has an emotional through-line with Star-Lord’s connection to his mother. He was torn away from her at the worst possible moment, and the story uses a mix-tape she made for him to remind us that there’s more to Star-Lord than meets the eye.

    The story has parallels with Star Wars, with Star-Lord filling in for Luke Skywalker, Gamora as Princess Leia, Rocket and Groot as Han Solo and Chewbecca, and Drax as, well, the comparisons stop there. Star-Lord is a hero almost by default rather than design; neither he nor those he ends up trying to save would necessarily choose him as a leader.

    The only real misstep of the film is the number of side stories and people jammed in. Aside from the main quintet, there are at least three other significant groups director/co-writer James Gunn asks us to care about, something that spreads the film a bit too thin.

    However, because our protagonists have such fun together, it’s easy to forgive a bit of excess in other areas. Pratt, as anyone who watches Parks and Recreation knows, has the comedic part of acting down pat, but he uses his newly buff body to convincingly portray an action hero too.

    Saldana matches him step-for-step, and with this, Star Trek and Avatar, she’s proven herself as the go-to female for sci-fi movies. Both Cooper, who uses a vaguely New York accent, and Diesel are hilarious in their voiceover roles, and Bautista, a WWE wrestler now dabbling in acting, steals his fair share of scenes.

    Although Guardians of the Galaxy can’t claim to being the best film of the summer, it’s a welcome respite from the normal decline we see in movies released in August — and a definite improvement in the quality of Marvel movies overall.

    The main quintet of Guardians of the Galaxy is the definition of a ragtag group.

    Guardians of the Galaxy
    Photo courtesy of Walt Disney Studios Motion Pictures
    The main quintet of Guardians of the Galaxy is the definition of a ragtag group.
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    Movie review

    Over-the-top The Bride! makes other Frankenstein movies seem subtle

    Alex Bentley
    Mar 6, 2026 | 12:15 pm
    Christian Bale and Jessie Buckley in The Bride!
    Photo by Niko Tavernise
    Christian Bale and Jessie Buckley in The Bride!.

    The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

    Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

    After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

    It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

    One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

    Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

    Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

    Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

    ---

    The Bride! is now playing in theaters.

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