“Ant-Man and the Wasp: Quantumania,” now playing on theatres, kicks off Marvel’s phase five with a talky sci fi story, heavy on the scientific blather. Instead of “Quantumania,” a more appropriate subtitle could have been: More Fun Than Physics Class!
“It’s a pretty good world,” says Scott Lang (Paul Rudd), a.k.a. Ant-Man. He’s a member of the Avengers, gifted with the power of size manipulation and some funny dialogue. “I’m glad I saved it.” Basking in the glow of his heroic contributions to mankind, he’s written a book titled “Look Out for the Little Guy,” and shamelessly drinks in the praise of his friends and fans.
His family, however, thinks he is resting on his laurels, and, in secret, are still working on ways to help the planet. His romantic partner Hope van Dyne, a.k.a. Wasp (Evangeline Lilly), daughter Cassie (Kathryn Newton) and the original Ant-Man Hank Pym (Michael Douglas), have created a sort of satellite for deep space, except it connects them to the Quantum Realm, a subatomic level where the realities of space and time don’t exist.
Having spent 30 years trapped in the subatomic world, Hope’s mother Janet (Michelle Pfeiffer) is horrified by their experiments. “Do you know how dangerous the Quantum Realm is? Turn it off now.”
Of course, Cassie and Co learn too late that the connection to the Quantum Realm goes both ways, and they are all sucked into the satellite and transported to the strange world, a place that looks like a Yes album cover from 1973 come to life.
Separated into two groups, Scott and Cassie are captured by freedom fighters led by Jentorra (Katy O’Brian), while Hope, Hank and Janet are cut loose, on the run from Janet’s old nemesis, a destroyer of worlds called Kang the Conqueror (Jonathan Majors).
Kang needs the Pym Particles, the subatomic particles developed by Hank which can increase or reduce mass as well as density and strength, to exit the Quantum Realm and travel through time and bring havoc to the real world.
Only Ant-Man and his ragtag gang can stop him and his interdimensional threat, but only if they can navigate the Quantum Realm and come together as a group.
There is a lightness of touch to “Quantumania.” Rudd’s charisma sees to that, and he provides some genuinely funny moments in the film. Majors brings the secret sauce as a great cartoon villain, but the talky script and messy action scenes suck away much of the fun.
You may be thinking, “But Michael Douglas talks to a giant ant. How can that be bad?” True enough, it is something I never would have expected to see, and I got a kick out of it, but for every nifty moment like that, there is sea of exposition, as if the filmmakers don’t trust the audience to understand what is happening unless it is spelled out for them.
The loud, CGI-overload climax fills the screen but doesn’t grab the imagination. There are cool creatures and action enough for any two movies, but it all feels thrown at the screen, willy-nilly. There is a lot of it, but none of it is memorable or particularly original.
“Ant-Man and the Wasp: Quantumania” is a let-down, a movie that feels more like an introduction to the next batch of MCU movies than a standalone.
“Do you guys put the word quantum in front of everything?”
That’s the question Paul Rudd, playing Scott Lang / Ant-Man, asks in the new Marvel movie “Ant-Man and The Wasp.” Having seen the film I wonder why he didn’t speak up earlier, like when the screenwriters were scribbling about quantum physics, quantum realm, quantum void, quantum this and quantum that. These movies are supposed to be about a smart alecy guy who can shrink himself down to the size of an ant to solve crimes, not the Heisenberg principle.
The movie begins as Lang has just three days left on his house arrest following the events of “Captain America: Civil War.” Trapped in his apartment he has a strange dream. He sees Janet van Dyne (Michelle Pfeiffer), wife of scientist Hank Pym (Michael Douglas), mother of Lilly van Dyne a.k.a. Wasp (Evangeline Lilly), trapped in the quantum wormhole she disappeared into three decades before. Meanwhile Hank and Lilly are perfecting a method to rescue their loved one from the quantum hike she now calls home. Trouble is, they can’t do it alone. They need any information that may be trapped in Rudd’s head and money from a grubby bad guy. Time is of the essence as Ghost (Hannah John-Kamen), a spectral presence who can walk through walls, also seeks out Janet’s quantum power to heal her cellular disorder.
From the kitschy sounding title to the size-shifting characters to the scientific mumbo jumbo that takes up much of the screen time, “Ant-Man and The Wasp” is a throwback to drive-in movies of the 1950s. It’s been updated with better special effects and more authentic sounding science jargon, but make no mistake, for better and for worse, this has just as much in common with flickers like “Attack of the 50 Foot Woman” and “Them!” as it does with the Avengers. Like the 50s b-movies that were undoubtedly an influence, this is a loud-n-proud genre film but like many of the Avengers films that are part of the Ant-Man family, it is marred by excess. Too many characters, too many story shards—a rescue mission, two sets of baddies chasing down the quantum technology, a romantic subplot, a family film angle—too much exposition to much quantum theory.
There is a funny scene about an hour into the movie where Michael Peña, playing Lang’s former cellmate and current business partner, recaps the story so far. It takes two minutes, is laugh-out-loud funny and completely negates the need for much of the exposition—people in this movie love to ask things like, “What have you done?”—that comes before it. Move that to the beginning of the film and they could have saved pages of dialogue and juiced up the film’s fun factor by at least fifty percent.
“Ant-Man and The Wasp” does plough some new ground—it is the first time a female superhero’s name is in the title of an MCU film—but feels scattershot in its execution.
“If you had told the ten-year-old me that I would be doing what I’m doing now my head would have exploded,” says Peyton Reed, director of the latest Marvel superhero movie Ant-Man.
The director, best known for making comedies like Yes Man and The Break Up, says he grew up obsessed with comics and movies.
“I read comics and got a Super 8 film camera when I was thirteen and started shooting film from a young age. My after school life was divided up between my jobs. I had a paper route and I mowed lawns to make money to buy comic books and buy Super 8 film to shoot movies.”
Marvel comics played a major part in his comic book consumption.
“The thing I loved about Marvel was Stan Lee’s storytelling techniques and his editorial attitude. Those Marvel comics had a clear sensibility. They were really of the moment and had this attitude that was equal parts cocky and self-effacing. I loved it. They created these heroes who all had real world problems. Spider-Man was Spider-Man, but he could never get the girl in high school and he had to figure out how to make enough money to pay his rent.
“I actually told Stan Lee this when he did his cameo in our movie. I said I grew up reading the comics and my mom was an English teacher and I became an English major and I learned so many vocabulary words form Marvel comics. He wrote in this very flowery style. If someone was disappearing into the microverse he’d write, ‘Slowly and inexorably he disappeared into the ether.’ I’d run to the dictionary. What does inexorably mean? What is ether? It was hugely educational for me.”
Reed admits his small-but-mighty superhero, Ant-Man, played by Paul Rudd, has “really absurd powers.” His ability to shrink and control ants don’t seem as impressive as Thor’s Hammer or Hulk’s rage but, Reed says, “there is an inherent comedic component to the idea of Ant-Man which we also really embraced.
“I think one of the biggest things that helped was having Paul Rudd at the center of it because Paul manages to do something in this movie that I think is really interesting. He really does relate to these weird situations in the same way you or I would. He definitely acknowledges the absurdity of the situation but then goes ahead and fully commits to that situation.”
At the end of the year don’t be surprised to see ”Ant-Man,” the latest Marvel superhero franchise starter, take the top spot on the Canadian Entomologist Magazine’s Top Films of the Year but numbers 2 through 10 as well. It not only features a man who can shrink to the size of an insect, but a supporting cast featuring colony after colony of ants. Bugheads are going to love it, and I suspect, so will fans of the Marvel Universe.
The origin story of “Ant-Man” begins with Dr. Hank Pym (Michael Douglas). He’s not a mad scientist, but he’s certainly angry. At the height of the Cold War his creation, the Pym Particle, was a breakthrough but he refused to allow its miniaturization properties to be used as a weapon. “As long as I am alive,” he says, “nobody will ever get the formula!”
Cut to present day. Pym’s Particle is still a secret from everyone, including his daughter Hope (Evangeline Lilly) and former protégé Darren Cross (“The Strain’s” Corey Stoll). Cross is now in charge of Pym’s company and has worked to develop the technology with an eye toward selling it to the highest bidder, a.k.a., HYDRA.
In the hopes of stopping Cross, Pym and his daughter recruit cat burglar Scott Lang (Paul Rudd) to don the incredible shrinking ant suit and use his particular set of skills to break into Cross’s laboratory and destroy the miniaturization technology. If he is successful he can save the world, if he isn’t, he will be crushed like a bug underfoot.
Surely the silliest, and most definitely the smallest of all Marvel superheroes “Ant-Man” nonetheless has the same sort of swagger as the first “Iron Man” movie. It’s an origin story that uses humour to smooth over some of the rough bits of exposition. For instance, it’s self aware enough to follow a revelation of Pym’s complicated plan with a throwaway line from Rudd. “That sounds like a job for the Avengers.” It gets a laugh and stops the film from taking itself far too seriously.
As Lang Rudd has the same off-the-cuff charm that Downey brought to Tony Stark and the movie is the better for it. To pull off the story of a man who flies on the back of winged ants and is small enough to get sucked up by a vacuum cleaner you need someone with a spring in his step and a permanent wink and Rudd has both, finding just the right tone in scene after scene to make this work.
Michael Peña brings full on comic relief as Lang’s motor-mouthed friend, Lily adds strength to a character who could be spun off to her own franchise and Douglas has old school gravitas to burn, but make no mistake, this is Rudd’s movie, whether he is running through the grass with a herd of ants or slyly trying to seduce Hope.
Entomophobics may have nightmares following the film, with memories of a dog-sized ant scurrying around their dreams, but for the rest of us, “Ant-Man” is a fun, larger than life summer diversion.
