Marvel is in dire need of a victory at the moment. After the conclusion of “Endgame,” it was always going to be a challenge to lure audiences back. However, the studio’s Cinematic Universe’s lack of momentum in the post-pandemic era has been noticeable. Although Doctor Strange got things off to a good start, Thor stumbled, and Ant-Man was a disappointment. Add to that the Jonathan Majors scandal and an increasing reliance on nostalgia, and the Marvel brand is starting to falter. Nonetheless, the Multiverse Saga is still in its infancy, and a group of intergalactic outcasts may be able to turn things around.

Guardians of the Galaxy: Vol. 3 is a remarkable achievement for Marvel, showcasing their strongest and most inventive work in recent years. With a captivating blend of surrealism and a refreshing focus on character development, it’s a pleasure to invest in the story’s twists and turns. Despite its place in a franchise, this film feels like a definitive end, especially with director James Gunn leaving for DC to revitalize Superman. Nearly a decade has passed since Gunn first introduced these lesser-known characters to the mainstream, taking a risk that has paid off in spades. While the film maintains its signature fizz pop anarchy, a surprising sense of maturity adds a funerary air to the proceedings.

For example, while Vol. 1 kicked off with the upbeat tune of Blue Swede’s Hooked on a Feeling, Vol. 3 takes a more somber approach with Radiohead’s acoustic rendition of Creep. This sets the tone for the gloomy state of affairs that the Guardians find themselves in. Having been last seen in their Disney+ Holiday Special, the Guardians now wander aimlessly on the reconstructed mining planet of Knowhere, reminiscent of stray dogs in the wilderness. Their leader, Peter Quill’s Star-Lord (played by Chris Pratt), drowns his sorrows in alcohol, consumed by thoughts of his lost love Gamora (played by Zoe Saldaña), who was killed by Thanos during the Infinity War. The fact that a version of Gamora still exists in the multiverse only adds insult to Peter’s emotional injury.

With the arrival of Will Poulter’s Adam Warlock, distraction takes on a glittering sheen of gold. Conceived by the Sovereign High Priestess Ayesha (played brilliantly but underutilized by Elizabeth Debicki), Warlock’s mission is to retrieve Rocket Racoon (voiced by Bradley Cooper) from the Guardians for the nefarious purposes of Chukwudi Iwuji’s High Evolutionary. However, Warlock’s inability to complete the task results in Rocket being critically injured and reveals a dark and disturbing past. While the ensuing flashbacks occasionally interrupt the film’s momentum, they are poignant and impactful. Vol. 3 is not a movie for children, not only because it marks the first Marvel film to feature the F-bomb.

Gunn’s focus is not on gimmickry in this film, despite its presence amidst the fun and games. The true brilliance of the film lies in his development of the characters, surpassing anything Marvel has accomplished in recent years. Each character, regardless of their importance, gets their moment to shine. While Rocket is undoubtedly the star of the show, there is a pleasing subtlety in the arcs of his comrades, some of which have been years in the making. The film’s length is not due to excess, but rather to the building ebb and flow of emotions that hit home.

The film’s visuals and spectacle are also noteworthy, with impressive attention to sensory detail and a dedication to realism. The music choices are spectacular and carefully paired with the action, complemented by a pulpy score from John Murphy. Gunn’s script is full of wicked humor and surreal joy. If this is truly the end of the series, it’s a fantastic way to go out. This film is a much-needed win for Marvel, shining brightly like a neon sign.