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
Deadpool 2 Review - Ready your chimichangas and dubstep because you're in for a rollicking round two
After unleashing the first R-Rated anti-hero picture to rave reviews and an unexpectedly large box-office, the idea of a sequel to Deadpool (2016) was less of a question and more of an obvious answer. Because while it would undoubtedly be a cash-grab for the studio, it would also satiate fans of what has come to be a rather unique genre. DC is dark, the MCU is friendly fun, and the X-Men are somewhere between. But until two years ago we were yet to see a foul-mouthed caped crusader ready and willing to push the boundaries in the name of comedy and action. And thank God they did, because audiences were delivered a rip-roaring time and some of the best meta fourth-wall breaks on film. But could a second coming really live up to the hype and the grandeur of the original? Well, for the most part yes, taking down as many other superhero movies and their clichés as it can in the process.
Where part one was billed as a violent, irreverent and unexpectedly romantic comedy, Deadpool 2 (2018) instead serves itself up as a ‘family’ film. Provided your idea of a Friday night kid-flick includes characters dropping the c-bomb, action sequences with severed body parts and multiple, tragic on-screen deaths. To be fair, it’s quite heart-warming too, as our anti-hero Wade Wilson is forced to come to terms with a personal tragedy. After wallowing in self-pity (and indulging in some of the coke he had previously hidden around Blind Al’s place), the Merc with the Mouth is hoping to get out of the game, and life, completely. Cue everyone’s favourite silver giant Colossus, waiting in the wings to convince our protagonist he could be a useful (trainee) member of the X-Men. And when a young mutant with pyrotechnic abilities gets a bit out of control it’s the perfect opportunity for Deadpool to try his hand being a good guy. As you’d expect things don’t quite go to plan, with Josh Brolin’s Cable entering the scene and the rest of the narrative including jail-breaks, truck-convoy chases and even a bit of time travel.
Amid the ‘lazy-writing’ of what is a largely predictive plotline, we are also introduced to the looming X-Force, a bunch of new characters tipped to take over from Deadpool in Sony’s superhero future. Just hold off on getting too attached though, it is still Deadpool’s movie and I wasn’t joking – the body count here is huge. Among the standouts is Domino, whose abilities revolve around being lucky. Think Final Destination (2000) style stuff but in a good way – like a handy get out of death free card. Everyone’s average dad Peter, who became a fan favourite from his appearance in the trailers, also gets his moment to shine despite having no superpowers whatsoever, proving that Deadpool 2 (2018) really does just play by its own rules. Oh, and Negasonic Teenage Warhead is as awesome as ever, generating atomic blasts and finding her first love. As is the wildly imaginative and glorious soundtrack including Celine Dion, Cher and Dolly Parton.
The humour is strong with the sequel, tapping into the meta and finding fresh ways to reinvent what made the first film so entertaining. But don’t be fooled – writers Rhett Reese, Paul Wernick and Ryan Reynolds know their niche and play hard to it. It’s a shame too, because despite the sarcastic comedy and laugh-out-loud lines littered throughout, it constantly feels like they are playing it safe (the one exception being an early scene that sets the tone for the flick). Deadpool 2 (2018) is still a superhero showdown and one that perhaps requires more homework than all the others combined, with quips about parents named Martha and mutant related cameos that only those with a litany of prior knowledge could get. Then again, like the MCU, audiences know going in that this isn’t a standalone piece, so brush up or suck it up. Creating depth past the jokes is something the film strangely succeeds in too though, placing the emphasis on heart as much as humour. Overwhelmed by grief, Deadpool is no mere one-directional character, and neither are his foes and friends.
Reynolds, in a role he was clearly born to play, relishes his return to the title character, zinging one-liners left, right and centre. But under the suit there is a vulnerability that’s a step-up from the last film, with the audience never truly certain of his intentions. Meanwhile, scene-stealers Karan Soni and Leslie Uggams, who play Dopinder and Blind Al respectively, are given meatier roles here, gloriously holding their own against ‘God’s perfect idiot’. The same goes for new additions Zazie Beetz as lucky-lady Domino and Julian Dennison as Russell a.k.a. Firefist, who add flair and fun to the controlled chaos. As for Cable himself, Brolin appears much more relaxed and energised here than his recent turn as Thanos in Marvel’s other cinematic universe, something the Merc with a Mouth is happy to remind us of. And thankfully he is given a deeper backstory (or perhaps, just a more redeemable one), not quite villain or hero, but sitting comfortably in the middle alongside Deadpool. It’s a relief to see characters that aren’t perfect and are just happy to be along for the ride, however cliched it can get at times.
Like all good superhero films though, you must wait until the end for the most important moments. And here, that also mean the funniest, with the after-credits scenes tackling Reynolds own history of bad decisions – ala Green Lantern (2011) and X-Men Origins: Wolverine (2009). And for a film featuring the most outrageous Basic Instinct (1992) reference ever that’s saying something. Ultimately, if you are up for an entertaining, self-aware, comical and yet excruciatingly violent movie then you will probably walk away with a smile on your face. If not, you need to ask yourself why you are watching this film in the first place? As for future instalments, there’s certainly plenty of potential and more than a little ‘foreshadowing’ going on to make us think Deadpool: The Franchise may never really die, just like it’s hero.
Rating: 4 moments out of 5 (to be a superhero)
Avengers: Infinity War Review - It's all about the end in Marvel's most ambitious and affecting film yet
Ten years. Eighteen films. Billions of dollars at the box office. And it’s all been leading to this – the megalithic Avengers: Infinity War (2018) – a.k.a. rumble in the jungle (universe style). My god were we unprepared. What started as an idea – a bid for global domination of superhero films – has finally come full circle, with Marvel Studios bringing together their best and brightest for one cataclysmic showdown. And whether you call it a gamble, an obsession, or just downright crazy, at the end of the day it’s a damn masterpiece. Something well, well worth the wait. Back for their third outing, the dynamic directing duo of Joe and Anthony Russo have, in the simplest terms, become the heroes they’ve put on screen – people pushed to their limits, heartbroken and ready to lose everything. And boy, in hindsight, how we wish we could go back to simpler times, when the problems were little more than a Chitauri invasion and homicidal robots.
It’s hard to provide an overview of Avengers: Infinity War (2018) that would do it justice, especially when so much of what makes it great is being able to go in it with as little information (and spoilers) as possible. But I’ll give it a shot. Picking up in the aftermath of Thanos vs. The Asgardians, just moments into the blockbuster we are finally given our first proper glimpse into the power and brutality of the MCU’s biggest baddie. The stakes have never been higher, the dread in full force. And once the ball starts rolling there’s barely a chance to breathe, as the Russo brothers toss us back and forth between multiple storylines and planets (Earth, Knowhere, Titan, to name just a few). On home turf, The Black Order (i.e. Thanos’ supervillain entourage, including Ebony Maw, Cull Obsidian, Corvus Glaive and Midnight Proxima) are on a mission to secure the time and mind stones, leading to the slow - but sure - reunion of our favourite outcast Avengers. Meanwhile, out in space the Guardians and their new-found refugee Thor, are tasked with tracking down the purple antagonist and forging a weapon to destroy him. When everything fails to go to plan though (as these things often do), we’re left with not just an all-out confrontation, but a biblical and unforgiving final act.
With approximately (I say that because it’s difficult to keep track) 38 characters to fit into one film, it’s tough to imagine a picture where no-one is overlooked. But despite the cramped roll-call, Avengers: Infinity War (2018) succeeds where few films have before – carefully crafting a chance for everyone to shine. And the actors jump at the chance, bringing A-game performances full of energy, charisma and laugh-out-loud one-liners. The key, perhaps, is splitting the group into smaller factions, with their stories maintaining the picture’s frenetic pace and drive. It’s such a steady crew though that stand-outs are few and far between. Some would point to Thor, who follows on from a rollicking third outing by stepping up to the plate with both muscle and might. While others may favour Iron Man, who has upgraded to some of the coolest tech since the Hulkbuster suit and shared it with his Spidey-protégé. Eager to match wits with Downey Junior, Doctor Strange is as sarcastic as ever too, while in a pleasant change of pace Bruce Banner finally gets a foot over his green alter ego, who hilariously spends most of the film refusing to come out and play.
But for all their efforts, this isn’t really our heroes’ film, instead playing like an origin tale to Thanos’ crusade. Part logically-driven dictator and part towering destructive force, the purple monster is driven by the desire to rid the universe of half its inhabitants. To him, it’s a simple equation of resources, like a parent choosing between having one child whose belly was always full, and two who were always half-hungry. Mad, undoubtedly, but a plan entrenched in warped humanitarian ideals and his own twisted sense of a saviour-complex. Big and brash, Thanos is the adversary we’ve been waiting for, providing the first real challenge the universe has come up against. It’s hard not to feel every swipe, blast and pummel from his gargantuan form, and behind the mask, Josh Brolin appears to relish the motion-capture role, bringing swagger and relentless authority every time a stone is acquired, or a hero ousted.
While the characters are fully fleshed out, answers seem to be something less nuanced in the MCU. And for those of you wondering about the film’s two biggest mysteries you may be left feeling a little deflated. See, it’s hard not to class them among the worst parts of the film. Number one is the absence of our favourite, quippy bird-man, Hawkeye, (as well as the lovable Ant-Man) whose MIA statuses are answered with little more than a throwaway line. It’s frustrating to say the least, especially given Clint’s loyalty, and even more so when you remember we will have to wait months for any true hints. Meanwhile, although the secret of the missing soul stone’s location is finally disclosed in the film’s bold two-and-a-half-hour run-time, it will likely leave few fans appeased. The big reveal feels lacklustre and rushed, relying heavily on emotion that hasn’t had the time to build.
But the greatest dilemma is in splitting such a movie in two, with the overhanging arc here feeling a lot like a guillotine over our heads. You’ve never seen a cliff-hanger like this, and probably never left a theatre in quite so dismal a mood. But while it’s a staggering blow to the gut (especially with a full year to wait until the next instalment), there’s an incredible power in how Marvel can take an unfinished story and still make it poignant and profound. In how they have crafted a cherished and adored universe over the course of more than a decade, to simply blow the hell out of it. The tag-line that no-one is safe is painfully accurate, and the studio has gone to great lengths to make sure we know it. So, what does this mean for the future of our intrepid caped crusaders? Well, maybe if you’ve been looking for hints like I have, it may lie in Doctor Strange’s words and the notion that time will tell.
Rating: 5 Infinity Stones out of 6
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