Ant-Man And The Wasp Review - Marvel's tiniest heroes pack a punch in this struggling scientific sequel
There’s a line in Marvel’s latest superhero blockbuster where leading man Scott Lang states, ‘Do you just add the word quantum in front of everything?’ It’s a tongue-in-cheek moment, of course, because that’s basically what watching Ant-Man and The Wasp (2018) feels like to those among us who don’t possess fancy science degrees. Following up his quirky MCU debut – full of miniaturised men, giant ants and a physics-for-dummies approach – was always going to be tricky for director Peyton Reed. I mean, his sequel is the first one fans have been delivered following the apocalyptic events of Avengers: Infinity War (2018). But instead of delivering another character-driven heist film full of heart, this time around we are given two-hours of technical jargon about quantum tunnels, tardigrades and molecular displacement. And while it’s never quite enough to dissuade a viewer from watching, it’s hard to argue that it’s the sort of movie the MCU needs right now.
Set in a post Captain America: Civil War (2016) but pre-Avengers: Infinity War (2018) world, Ant-Man and the Wasp (2018) follows our pint-sized hero and his former friends Hope van Dyne and Hank Pym, as the trio attempt to bring back a long-lost family member from the quantum realm. Scott is just days away from the end of a two-year house arrest, imposed for his violation of the Sokovia Accords, when he receives a strange message from Hope’s mother and Hank’s wife, Janet van Dyne. Reconnecting with his former associates he finds out that despite her disappearance into the quantum realm 30 years ago, there may be a way to bring Janet back – thanks to the invention of a quantum tunnel. After powering the device up, the team hope to use Scott’s connection to find Janet’s coordinates and mount a rescue mission. But with their revolutionary work highly sought-after, there are plenty of people ready to sabotage our protagonist’s efforts, including a phasing woman known only as ‘ghost’, and a black-market technology dealer. And with the FBI keeping tabs on him, Scott is forced to make the hard decision whether to help his friends or protect his new life.
Having stolen the show in his previous MCU outing, Paul Rudd seems to relish his return here, effortlessly stepping between the comedy, action and familial drama inherent to his character. Meanwhile, Evangeline Lily is finally given a meatier role, transforming into not just ‘the wasp’, but Marvel’s first co-billed leading lady. She is as tough and smart as the boys (sometimes more so) and it’s empowering to see that it is her emotional storyline that holds the picture together. The heroes are joined by veteran actor Michael Douglas, who provides a somewhat softer grumpy old man performance for the sequel, as well as a more grown-up Abby Ryder Fortson, melting hearts once again as the adorable and precocious Cassie Lang. But as with Ant-Man’s first outing it is Michael Pena’s Luis that steals the show with a hilarious expansion on his ‘storytelling scenes’ lending some much needed charm and charisma to the film. Similarly, Tip T.I. Harris and David Dastmalchian return as the fellow ‘Ex-Con’ workers Dave and Kurt, with the latter’s Baba Yaga moments a true masterpiece despite their fleeting nature.
The villains are far less impressive however, with Randall Park’s FBI Agent Jimmy Woo largely providing little more than a chuckle here and there, and Walter Goggins’ Sonny Burch unmemorable, annoying and unnecessary. The true depth comes in relative unknown Hannah John-Kamen’s Ava, a.k.a. Ghost. Desperate for a way to make her pain stop, she has real drive but remains human enough to know there are lines you cannot cross. She’s redeemable in her quest, if not a little misguided, but in a film chock-a-block full of characters, even she gets a little lost in the mix. One character that doesn’t though is the city of San Francisco, with its presence permeating throughout the movie. One chase sequence craftily utilises the city’s most famous street, while another shows the murderous nature of the seagulls from Fisherman’s Wharf. And who could forget how cool it is to see an 85-foot man swimming through the bay and emerging near a ferry in front of the Golden Gate Bridge.
Sadly, there’s a tonal shift of sorts from our last outing, with the movie leaning more towards the ‘lacklustre’ than the ‘inspiring’. You see, what made Ant-Man (2015) such a great Saturday night flick was that it built itself up as a comedy crime caper. The heist elements were fun, as were the brilliantly crafted action sequences, including the now iconic train scene, full of tiny crashes and a giant Thomas the Tank Engine. The joy was in the juxtaposition of the miniaturised world and the normal, not simply the dazzle of special effects. And perhaps that’s why Ant-Man and the Wasp (2018) feels so flat. The action is great, with Hot Wheels cars zooming down streets and a giant Hello Kitty Pez being flung through the air. But there’s fewer cuts to remind us of the extraordinary difference in statures. And for all the fun it delivers, it’s hard to shake the feeling that the scale and scope is simply lacking.
At its heart Ant-Man and the Wasp (2018) is a solid sequel, providing plenty of laughs, action and gorgeous CGI effects. But having to follow on from the events of Marvel’s previous summer blockbuster outing, which broke new ground and plenty of hearts thanks to its cut-throat mentality, means it just does not rise to the MCU’s high standards. It’s a shame too, because it’s easy to see how well-received the film could have been prior to Avengers: Infinity War (2018). But in a post Thanos-snap world, it’s hard to care about anything that isn’t explosive, ground-breaking or 2019’s as-yet-untitled resolution. And while the mid-credits scene sets up the potential importance of the quantum realm for the upcoming instalment, the film itself is little more than a two-hour distraction while fans eagerly await new information.
Rating: 3.5 Drumming Ants out of 5
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