Honestly, by the time the credits rolled on James Gunn’s trilogy-capper, I was a mess. It wasn't just the music or the high-stakes space battles. It was the realization that Guardians of the Galaxy Vol. 3 managed to do something most superhero movies fail at lately: it felt human. Even with a talking raccoon.
The movie isn't just a goodbye. It’s a messy, loud, and deeply uncomfortable look at trauma. Most big-budget sequels try to go "bigger" by raising the stakes to universal destruction, but Gunn went smaller. He went internal. He decided that the fate of Rocket Raccoon mattered more than the fate of the multiverse. And he was right.
Rocket Raccoon was always the protagonist
If you look back at the original 2014 film, Rocket is a sidekick. He's the comic relief with a big gun. But Guardians of the Galaxy Vol. 3 flips the script entirely. It reframes the whole trilogy as Rocket’s story. We finally see the High Evolutionary’s lab—a sterile, horrifying nightmare where Subject 89P13 was "made."
The flashbacks are brutal. There’s no sugar-coating the animal experimentation. Seeing Lylla, Teefs, and Floor—Rocket's first friends—gives the character a depth that makes his previous cynicism finally click. He wasn't just a jerk for the sake of being a jerk; he was a creature built on the idea that he was "less than." The High Evolutionary, played with a terrifying, spit-flecked intensity by Chukwudi Iwuji, doesn't want to create life. He wants to "fix" it. He’s the ultimate narcissist.
It’s rare to see a villain in a comic book movie who is so purely, irredeemably loathsome. No tragic backstory. No "I have a point" motivation like Thanos. He’s just a guy with a god complex who hates imperfection.
The Adam Warlock problem
A lot of people walked out of the theater feeling a bit mixed about Adam Warlock. Will Poulter is great, don't get me wrong. But after years of teasing his arrival since the post-credits of Vol. 2, some fans expected a cosmic powerhouse who would rewrite the MCU. Instead, we got a "child."
A powerful child, sure, but a confused one.
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Gunn chose to make Adam a foil to the Guardians. Like Rocket, he’s a creation of someone else’s ego (Ayesha and the Sovereign). He’s powerful but lacks any sense of self. While some found his inclusion a bit clunky, it actually fits the theme of the movie perfectly. Every character in Guardians of the Galaxy Vol. 3 is trying to figure out who they are when they aren't being told what to do by a "creator" or a "leader."
Star-Lord’s slow realization
Peter Quill is a disaster for most of this movie. He’s drunk, he’s grieving a version of Gamora who literally doesn't know him, and he’s making bad calls. Chris Pratt plays the "sad sack" version of Star-Lord better than he gets credit for. The dynamic with the "new" Gamora (Zoe Saldaña) is fascinating because it refuses to give the audience the easy win.
They don't fall back in love.
She stays with the Ravagers. He goes back to Earth.
It’s a mature choice. In most movies, she would have had a "memory spark" and they would have kissed as the sun set. But here, she’s a different person. Forcing her into the old Gamora's shoes would have been another form of the High Evolutionary’s perfectionism. The movie argues that you have to love people for who they are, not who you want them to be.
The music isn't just a gimmick anymore
We have to talk about the soundtrack. The "Awesome Mix" concept was a bit of a novelty in the first movie. By Guardians of the Galaxy Vol. 3, it becomes a narrative tool. Moving from the 70s and 80s into the 90s and 2000s reflects Peter growing up.
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Using "Creep" by Radiohead (the acoustic version) at the start sets a tone that is worlds away from the "Hooked on a Feeling" energy of the first film. It’s lonely. It’s self-loathing. Then you have the climactic use of "Dog Days Are Over" by Florence + The Machine. It’s one of the most cathartic dance scenes in cinema history because it feels earned. They aren't just celebrating a win; they are celebrating the end of their own collective misery.
Why the "Chosen Family" trope actually worked here
Usually, when a movie beats you over the head with the "family" theme (looking at you, Fast & Furious), it feels hollow. But the Guardians are a group of outcasts who genuinely annoy each other. The bickering between Nebula and Mantis feels like real sibling rivalry. Nebula, specifically, has one of the best character arcs in the entire MCU. Going from a literal killing machine to the person who is the emotional backbone of Knowhere is a massive leap that feels totally organic.
When Drax starts dancing at the end, and Nebula watches him, you realize he wasn't just a "destroyer." He was a dad. He lost his daughter, and in the end, he found a way to be a father again to the kids rescued from the High Evolutionary’s ship. It’s quiet. It’s beautiful.
Addressing the "Marvel Fatigue"
Let's be real. The MCU has had a rough patch. Between the CGI bloat and the feeling that every movie is just a two-hour trailer for the next one, audiences were getting tired. Guardians of the Galaxy Vol. 3 felt like an island.
It didn't care about Kang. It didn't care about the Multiverse. It didn't care about setting up ten different Disney+ shows. It was just a movie about a group of friends trying to save their buddy. That's why it resonated. James Gunn’s move to DC was a huge loss for Marvel because he understands that spectacle means nothing if you don't care about the person behind the mask (or the fur).
What you can actually take away from the movie
If you’re looking for the "point" of the film beyond the explosions, it’s about the necessity of moving on. Every single Guardian ends the movie in a different place than they started.
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- Peter Quill finally goes to Earth to face his grandfather and his past.
- Mantis goes off on her own to find out what she wants, not what others need from her.
- Rocket finally accepts his identity and leads the new team.
- Nebula and Drax stay behind to build a society.
It’s an ending that acknowledges that families change. People leave. And that’s okay.
Practical insights for your next rewatch
To truly appreciate the craft James Gunn put into this, keep an eye on the color palettes. The High Evolutionary’s world is sterile—lots of whites, purples, and harsh lighting. Contrast that with Knowhere, which is dirty, vibrant, and messy. The movie visually pits "perfection" against "humanity."
Also, pay attention to the hallway fight scene set to "No Sleep Till Brooklyn." It’s a single-take (stitched together) masterpiece of choreography. Each Guardian uses their specific power set in a way that complements the others. It’s the visual representation of them finally being a perfectly in-sync team just as they are about to break up.
If you're wondering where the franchise goes from here, the legendary Star-Lord is slated to return, but the Guardians as we knew them are done. This was the "perfect" ending because it wasn't perfect at all. It was messy, emotional, and final.
Next Steps for Fans:
- Watch the Holiday Special first: If you skipped the Guardians of the Galaxy Holiday Special on Disney+, you missed crucial context for Mantis and Peter's relationship and how they acquired Knowhere.
- Listen to the soundtrack in order: The tracklist is chronologically significant to Rocket and Peter’s emotional states throughout the film.
- Compare the first and last lines: Look at how Rocket’s dialogue shifts from the first film to the final "I’m Rocket Raccoon" moment in Vol. 3. It’s a complete identity shift.
- Track Nebula's physical changes: Notice how her "upgrades" move from being weapons of war to tools for helping others as the movie progresses.