Guardians of the Galaxy Vol. 2

The Guardians

Skylord and the band of humanoid misfits in this pulp-fiction sci-fi adventure from Marvel Studios as they are drafted by a powerful alien hierarchy called the Sovereign to guard precious batteries from invaders. When Rocket is caught stealing the sets, the Sovereign dispatch an armada after the Guardians as an act of vengeance. In escaping the all-powerful regime, Peter finds his father.
Naturally, Peter is conflicted with emotions about his estranged father - elated to find him, betrayed that his father had left him and his mother in the first place, hesitant toward this stranger. Now, the first film was clean, crisp and  lively with smart quips from Rocket and Drax.
"It’s the same combination of cartoony action and intergalactic screwball with some ambient production design recalling the photorealist sci-fi imagery of Roger Dean or Chris Foss in a bygone age, creating a visual sense of earnestness to offset the archly retro pop culture gags," writes movie critic Peter Bradshaw of The Guardian . 

Rocket and Baby Root

The combination of cartoony action and screwball quips gets a little sloppy, somewhat disturbing the flow of futuristic serious scenes which fall flat as cheap escapism and thrills that don't deliver. And, as in the first one, the movie is supercharged with 70s and 80s music - yet again dating itself. Early on, the 70s track Brandy (You're A Fine Girl) is blasted throughout the opening scene, and some tongue-in-cheek dialog takes place later as Skylord describes it as "the greatest piece of music ever" to have emerged from Earth as the story rattles along plotless and pointless (a sign that the screenwriters had writer's block).

Yondu

The ensuing  cosmic scuffle brought on by Rocket bring Quill and the gang back into communication with Yondu (Michael Rooker), the hated freeloader who kidnapped Quill all those years ago, and Gamora's sister,  Nebula (played by Karen Gillian). And, introducing the supposed villainous Ego, Kurt Russell's appearance is overplayed as the film tries to build up tension between Ego and Skylord, peaking into the past. We immediately know within moments of the opening scene that there is something unnerving about the buttery, tan, bearded Ego. Russell's monarch character creates a few Freudian dilemmas,  which would've made a more significant impact if it were on paper. But, they are dealt with very flippantly, as in the old Star Wars films.

Nebula 

Consistent with its predecessor, revaluations pertaining to Quill's past buzz around like annoying, uncatchable bees, peaking the interest of the audience, but never really scratching that itch for more.

Ego