Directed by Peyton Reed
Starring – Paul Rudd, Evangeline Lilly, Michael Pena
The Plot – In the aftermath of ‘Captain America: Civil War,’ Scott Lang (Rudd) grapples with the consequences of his choices as both a Super Hero and a father. As he struggles to re-balance his home life with his responsibilities as Ant-Man, he’s confronted by Hope van Dyne (Lilly) and Dr. Hank Pym (Michael Douglas) with an urgent new mission. Scott must once again put on the suit and learn to fight alongside The Wasp as the team works together to uncover secrets from their past.
Rated PG-13 for some mild profanity, and scenes of sci-fi action and violence
– Rudd and Lilly, while still leagues away from feeling authentic in a romantic staging, preserve their chemistry with a tag team dynamic that compliments the other one. With Marvel movies, we typically get solo efforts or a group of superheroes, so the elements involved with a man/woman duo can compliment the choreography in action in the same way tag team wrestling does. Along the way, there are plenty of set-ups and knock-downs that each of these characters feed each other, making it difficult for antagonists to look one way without something coming at them in a different direction.
– The visual effects work is leaps and bounds the single greatest aspect of the film, bringing to life childlike imagination and creativity in spades. Ant Man and The Wasp is certainly a film that couldn’t be made ten years ago, and much of that perfection amongst green-screen assistance is something that has come with time, with in-sync color shadowing and precision volume in movements and weight that ease the boundaries of believability. There is one certain problem that I had with a scene involving hot wheels that doesn’t make sense in any way, shape, or form, but it’s just part of the tone set for the film.
– Pacing that literally FLIES by (Get it?). While the run time for the film is nearly two hours, the final conflict wrapped itself up in a way that finished before we as an audience were ever aware that resolution was coming. Not that this happens in a way that is anti-climatic, but rather screenwriters Andrew Barrer and Gabriel Ferrari leave us wanting more by exiting at the highest peak of the intensity mountain.
– Perfect timing. The film doesn’t hold much weight with everything else currently going on in the Infinity War and Thanos, and maybe that’s for the best. Considering so many people were depressed coming out of Infinity War, the necessity for something like Ant Man and The Wasp is that much more appreciated, because of its colorful textures and substantial value in light-hearted thrills. So many people just want to laugh anymore, especially in our own real world, and if Rudd avoiding house arrest while watching Animal House doesn’t do it for you, then nothing will.
– Much of the tone for the film stays grounded, leaving very little to even push forth with a PG-13 rating that even I felt was stretching it a bit. This film’s biggest strength is in its adaptability for all members of the family, especially considering it is the first Marvel property to feature a female presence in the title of the movie. With Wonder Woman kicking so much ass for DC, it was certainly time that Marvel engaged the female fans of its inner circle, and the film does a superb job at leveling the playing field for both characters gifts that they bring to the table. Also, some of my favorite scenes harvested that family element beautifully, with Rudd losing the suit to play dad to his adorably precocious child daughter.
– The marriage of C.G and makeup sets back the clock. As we saw with how Marvel made Robert Downey Jr twenty years younger in Civil War, it too brings a more impressive palate in the designs of Michael Douglas and Michelle Pfeifer for this picture. Not that either have aged terribly. Pfeifer is still a fox, but the scenes relating to their pasts remind us of the prime for some of Hollywood’s once prosperous A-list hitters, proving how scary realistic these transformations feel without ever coming across as hollow.
– It should be obvious that you stay for the credits for one amazing post credits scene, and one that was an extreme waste of time. However, my post-movie cheers goes to a credit sequence that storyboards the movie’s biggest scenes with action figures. It harvests the energy of what it meant to be a kid, dreaming up these superhero scenarios when anything was possible.
– While the humor in dialogue for the film did hit its mark around 80% of the time, there were some examples where this direction did harm for the atmosphere. Considering Reed also directed the first movie, it’s interesting to see how much more he values sitcom comedy in the sequel as compared to the original film. Quite often, there is a desire to supplant a laugh or sight gag in every single scene, making it difficult to feel dramatic tension in the form of urgency . Beyond this, the over-extending use for puns became eye-rolling about midway through the movie.
– The biggest disappointment for me was easily the setting. While the first film entirely took place in the real world, I was hoping that the sequel would establish the rules and atmosphere inside of the Quantum Realm. Sadly, we only invade this outerworld with a mere 30 minutes left in the movie, and even then it is only temporary. I didn’t care for either of the dual antagonists for the movie, and often times it feels like they are created to give each protagonist their own conflict. Instead, I wish the Quantum Realm itself, in all of its mysteries and risks, was the antagonist for the movie. It’s that rare case I feel where a superhero film didn’t require an antagonist, and now makes this series 0 for 3 in terms of compelling villains who offer no kind of depth to their missions.
– When you really think about it, this film is a big game of Hot Potato, and for it to be reduced to something that elementary with as many elements that are boiling around the pot, it’s a bit of a glaring negative that the character development in exposition feels secondary to the prize itself. This is big on the antagonists, but also on someone like Pfeifer’s Motherly character, who with the exception of the opening couple minutes of the movie, goes a long span of time before appearing again. Why even reach for a big name like Pfeifer when the best you have for her is three scenes throughout nearly two hours of film?