Entertainment

Review: All creatures great and small in ‘Guardians 3’

Published

3 years ago

May 2, 2023

When Peter “Star-Lord” Quill, while inspecting a murky extraterrestrial region, pressed play on Redbone’s “Come and Get Your Love” in the first “Guardians of the Galaxy,” it would have been hard to imagine that James Gunn’s space opera would ultimately lead to something as sincere, poignant and kinda cornball as the trilogy-ending “Guardians of the Galaxy Vol. 3.”

But as Gunn has showed over over the course of these increasingly soupy sci-fi spectacles, the genetically spliced DNA of his chaotic, cartoonish cosmic vision is a double helix of opposites. Breezy ’70s rock papers over extreme violence. Cynical exteriors cloak sentimental emotions. A ragtag group of outcasts, more so than even the cast of “Fast and the Furious,” talk a lot about “family” and “friends.” Against the odds, “Come and get your love” has turned out to be a legit invitation.

“Vol. 3” is a messy, overstuffed finale. But you rarely question whether Gunn’s heart is in it. Sometimes it spoils some of that effect by trying too hard to juxtapose tonal extremes, and show off its brash juggling act. Yet whatever this sweet, surreal sci-fi shamble is that Gunn has created, everyone here seems to believe ardently in it. And for even a movie that sends a golden-hued Will Poulter shooting through space to the tune of Heart’s “Crazy on You,” that earnest belief goes a long way.

The song, though, that kicks off “Guardians of the Galaxy Vol. 3” is not an upbeat one. Radiohead’s “Creep” casts a sour mood over the Guardians, who we find in a lethargic state of disarray in the spaceport Knowhere following their 2017 “Empire Strikes Back”-esque second chapter.

Whether “Guardians of the Galaxy” is best suited to strike these solemn notes, or reach for such last-chapter poignancy in “Vol. 3” is debatable. I’ve always liked these films at their most cartoonish. Donning a degree of self-importance is probably the most Marvel thing about this “Guardians.” Gunn’s films — which, unlike most of the comic-book studio’s releases, are both written and directed by him — have always stood out for their distinct lack of Marvel house style. “Guardians 3,” unfortunately, has contracted a touch of “Endgame” grandiosity.

The group — including Star-Lord (Chris Pratt), Drax the Destroyer (Dave Bautista), Nebula (Karen Gillan) and Groot (voiced by Vin Diesel) — is quickly sent into emergency mode. Adam Warlock (Poulter), an artificial being created by the High Priestess Ayesha (Elizabeth Debicki), comes careening into their lair, leaving Rocket (voiced by Bradley Cooper and played in motion capture by Sean Gunn) on his deathbed. To save Rocket, a cybernetically enhanced raccoon, the Guardians must hurriedly resuscitate him with his original programming.

This means traveling to the lab he was created in years before by the High Evolutionary (a sensational Chukwudi Iwuji, an all-time Marvel villain), a Doctor Moreau sort who’s been toiling to craft a “perfect” race of hybrid creatures to populate a copy of planet Earth. As the Guardians seek to infiltrate his realm, “Vol. 3” repeatedly flashes back to Rocket’s experience with the High Evolutionary: his transformation from raccoon, his joyful experience with other experimental creations and his harrowing escape.

It’s telling that in this “Guardians” swan song that Gunn centers Rocket and less so Quill, whose father-son drama dominated “Vol. 2.” (Here, he’s mostly in save-my-friend mode when not wrestling with the heartbreak of this version of Zoe Saldaña’s Gamora. Thanks to some “Avengers” events, she no longer even knows him.)

These are foremost epics of orphandom about distinctly un-superhuman characters. Mother and father figures float in and out, while the Guardians attract one forlorn figure after another. In “Vol. 3,” it’s both comical and even a little stirring just how far empathy reaches for all of God’s — and Marvel’s — creatures. Gunn has taken a woebegone B-team or C-team of comic book oddballs and cast them into a cosmic tapestry of weirdos and misfits, ranging wildly in size, shape, color and dancing ability.

In “Vol. 3,” Gunn really lets the freak flag fly, putting the Guardians in battle with not just the High Evolutionary but the notion of perfection. It’s not a coincidence that this “Guardians” film arrives, finally, in the suburbs — or at least some slightly warped version of it.

Gunn, a B-movie director at heart, fills these films with more sinewy than sleek worlds, full of florid beauty and opulent grotesquerie. (“Vol. 3,” more than the last two films, reminded me of “The Fifth Element,” a good thing.) It’s often clear that his ambitions are sometimes just a bit too much; this, like his DC film “The Suicide Squad,” “Vol. 3” could have used a firmer editor to corral some of Gunn’s impulse for excess.

This installment, of course, nearly didn’t happen after Gunn’s firing years ago. And partially because of that forced hiatus, he’s now ruling an even larger, more mainstream superhero cosmos at DC. That surely has something to do with the sense of parting that permeates the final act of “Guardians 3.” After so many speeches about friendship and togetherness, “Vol. 3” ends curiously elegiacally, and with one last dance.

“Guardians of the Galaxy Vol. 3,” a Walt Disney Co. release, is rated PG-13 by the Motion Picture Association for intense sequences of violence and action, strong language, suggestive/drug references and thematic elements. Running time: 159 minutes. Three stars out of four.

Entertainment

‘SPAMALOT’ Joins Dr. Phillips Center’s 2026-27 Broadway in Orlando Season

Published

3 days ago

August 10, 2026

FNN NEWS

Tony Award-winning musical will play Walt Disney Theater Nov. 3-5, 2026

ORLANDO, Fla. (FNN NEWS) — Dr. Phillips Center for the Performing Arts is expanding its 2026-27 Broadway in Orlando season with the addition of SPAMALOT, the Tony Award-winning Best Musical, scheduled for Nov. 3-5, 2026, at Walt Disney Theater.

Inspired by the classic comedy Monty Python and the Holy Grail, SPAMALOT brings Monty Python’s distinctly British humor to the stage through a comedic adventure following King Arthur and his quest for the Holy Grail.

The production comes to Orlando following a celebrated 2023 Broadway revival at the St. James Theatre, directed and choreographed by Josh Rhodes.

Monty Python Comedy Comes to Orlando

Described as “lovingly ripped” from Monty Python and the Holy Grail, the musical features British royalty, flying cows, dancing girls, shrubbery and the Lady of the Lake.

The 14-time Tony Award-nominated musical features well-known numbers including “Always Look on the Bright Side of Life,” “The Song That Goes Like This” and “Find Your Grail.”

SPAMALOT features a book and lyrics by Eric Idle, with music by John Du Prez and Idle.

Cast Announced for Orlando Production

The cast features Major Attaway, whose credits include Aladdin, as King Arthur; Sean Bell (Harmony) as Sir Robin; Chris Collins-Pisano (Forbidden Broadway) as Sir Lancelot; Ellis C. Dawson III (Hamilton) as Sir Bedevere; Leo Roberts (Les Misérables) as Sir Galahad; Amanda Robles as the Lady of the Lake; Blake Segal (Mary Poppins) as Patsy; and Steven Telsey (The Book of Mormon) as the Historian and Prince Herbert.

The company also includes Lindsay Lee Alhady, Delaney Benson, Jack Brewer, Connor Coughlin, L’ogan J’ones, Graham Keen, Claire Kennard, Ben Lanham, Nathaniel Mahone, Maddie Mossner, Emilie Renier, Mark Tran Russ and Meridien Terrell.

Creative Team

The production’s creative team includes scenic and projection designer Paul Tate dePoo III, costume designer Jen Caprio, lighting designer Cory Pattak, sound designers Kai Harada and Haley Parcher, and wig designer Tom Watson.

John Bell serves as music supervisor, with Jonathan Gorst as musical director and conductor.

Derek Kolluri is associate director, Michael Fatica is associate choreographer and casting is by Geoff Josselson, CSA. RCI Theatricals serves as general manager, and Jeffrey Finn is the producer.

Tickets on Sale Now

Single tickets for SPAMALOT are on sale now through Dr. Phillips Center.

Performances: Nov. 3-5, 2026
Venue: Walt Disney Theater at Dr. Phillips Center for the Performing Arts
Location: Orlando, Florida

Tickets and additional information are available through the Dr. Phillips Center website.

Central Florida News

Dr. Phillips Center Generates $227.6 Million Annual Economic Impact, Supports Nearly 2,500 Central Florida Jobs

Published

2 weeks ago

July 30, 2026

FNN NEWS

ORLANDO, Fla. (FNN NEWS) — The Dr. Phillips Center for the Performing Arts generated $227.6 million in annual economic impact, supporting 2,483 jobs and producing $13.2 million in state and local tax revenue, according to a newly released independent study by Tourism Economics.

The analysis, conducted by Tourism Economics, an Oxford Economics company specializing in economic impact and tourism research, measured the direct, indirect and induced economic activity generated by the arts center’s operations, performances, visitors and related spending throughout Central Florida.

The findings underscore the Dr. Phillips Center’s role as both a premier performing arts destination and a major contributor to the region’s economy.

“For more than a decade, we’ve seen firsthand how the arts inspire people, bring communities together and create lasting value,” said Kathy Ramsberger, president and CEO of Dr. Phillips Center for the Performing Arts. “This study confirms that our impact reaches far beyond our stages—supporting thousands of jobs, driving business growth, attracting visitors from around the world and helping position Central Florida as a more vibrant, competitive and connected region.”

Economic Impact by the Numbers

According to the Tourism Economics report, the Dr. Phillips Center generated:

$227.6 million in annual economic output
2,483 jobs supported across Central Florida
$70.8 million in total labor income in Orange County
$13.2 million in state and local tax revenue
$73.1 million in off-site spending by event attendees, performers and production crews
61,600 hotel room nights generated annually

The study highlights the ripple effect created by visitors attending performances, benefiting nearby hotels, restaurants, retailers and other local businesses.

A Global Destination for Arts and Entertainment

Now in its 11th year, the Dr. Phillips Center welcomes more than 910,000 guests annually, attracting visitors from all 50 states and more than 80 countries.

Since opening in 2014, the venue has hosted:

More than 6.2 million guests
More than 6,200 performances and events
Programming presented 99% of the year
Venue occupancy rates ranging from 82% to 97%

The center has become one of the world’s busiest performing arts destinations while helping position downtown Orlando as a leading hub for arts, culture and entertainment.

Community Investment Beyond the Stage

In addition to its economic impact, the Dr. Phillips Center continues investing in arts education, community outreach and cultural programming throughout Central Florida.

According to the organization, it has:

Served 935,920 students and community participants
Supported and hosted 202 regional arts organizations
Received support from 24,085 donors
Benefited from $256 million in philanthropic contributions since its inception

Through partnerships with schools, nonprofit organizations, community groups and touring productions, the center continues to expand access to the performing arts while strengthening the region’s cultural and economic vitality.

Looking Ahead

Eleven years after opening, the Dr. Phillips Center continues to demonstrate that investment in arts and culture produces measurable returns through tourism, employment, education and community engagement.

As Central Florida continues to grow, the independent analysis reinforces the performing arts center’s importance as both a cultural landmark and an economic engine for the region.

Additional information about the economic impact study is available through the Dr. Phillips Center for the Performing Arts.

Entertainment

Blue Man Group Orlando Launches $25 Kids Ticket Offer at ICON Park Through Dec. 31

Published

1 month ago

July 6, 2026

FNN NEWS

ORLANDO, Fla. (FNN NEWS) — Families can enjoy Blue Man Group Orlando for less this summer and fall thanks to a new ticket promotion that allows children to attend performances for $25 with the purchase of a full-priced adult ticket.

The limited-time offer is available for online purchases through Dec. 31, 2026, making one of Orlando’s newest live entertainment attractions more affordable for families.

Special Kids Ticket Offer

Under the promotion, guests who purchase a full-priced adult ticket may purchase a children’s ticket for $25.

The offer is valid for performances:

Monday through Thursday
Fridays at 5 p.m.

The promotion is not valid for:

Saturday performances
Sunday performances
Fridays at 8 p.m.

New Orlando Production at ICON Park

Blue Man Group opened its new resident production at ICON Park in May inside a custom-built theater located along Orlando’s International Drive entertainment district.

The production blends music, comedy, technology and audience participation, while featuring many of the signature moments fans expect from Blue Man Group alongside new material created exclusively for the Orlando production.

Global Entertainment Phenomenon

Since debuting in 1991 at New York’s Astor Place Theatre, Blue Man Group has entertained more than 50 million people worldwide through resident productions and international tours.

The show continues to expand with performances in Orlando, Las Vegas, touring productions across North America and an upcoming tour in Japan.

Blue Man Group is owned and operated by Cirque du Soleil Entertainment Group.