Ant-Man and the Wasp movie review

ANT-MAN AND THE WASP

Director : Peyton Reed
Cast : Paul Rudd, Evangeline Lilly, Michael Peña, Walton Goggins, Judy Greer, David Dastmalchian, Tip “T.I.” Harris, Bobby Cannavale,, Hannah John-Kamen, Abby Ryder Fortson, Randall Park, Michelle Pfeiffer, Laurence Fishburne, Michael Douglas
Genre : Action/Adventure/Science Fiction/Superhero
Run Time : 118 mins
Opens : 4 July 2018
Rating : PG

Fans of the Marvel Cinematic Universe have had a bit of time to recover from the earth-shattering events of Avengers: Infinity War. Scott Lang/Ant-Man (Paul Rudd) was noticeably missing from that film, and now we learn what he was up to while everyone else was tangling with Thanos.

After Scott made it back from the Quantum Realm at the end of the first Ant-Man film, Dr Hank Pym (Michael Douglas) believes that there’s a chance his wife Janet Van Dyne (Michelle Pfeiffer), who was lost in the Quantum Realm decades ago, might still be alive. Together with his daughter Hope (Evangeline Lilly), Pym tries to locate Janet and rescue her.

Meanwhile, Scott is under house arrest, after getting into big trouble during the events of Captain America: Civil War. Whilst evading FBI agent Jimmy Woo (Randall Park) and trying to be a good dad to Cassie (Abby Ryder Fortson), Scott returns to superheroics. He now fights alongside Hope, who’s inherited the mantle of the Wasp from her mother. They must fend off black market tech dealer Sonny Burch (Walton Goggins) and the enigmatic Ghost (Hannah John-Kamen), who can turn invisible and phase through solid objects. Scott can count on his ex-convict buddies Luis (Michael Peña), Dave (Tip “T.I.” Harris) and Kurt (David Dastmalchian) for help, though how much they actually help is up for debate.

We’ve all seen “fun” used as a descriptor for innumerable MCU movies. There’s no denying that Ant-Man and the Wasp is fun. It’s an unabashedly silly film packed with jokes and some inspired visual gags, and its tone is consistent with that of the first Ant-Man film. While something less intense is welcome in the wake of Infinity War, Ant-Man and the Wasp is often in danger of feeling a touch inconsequential – especially given what an impact Black Panther made earlier this year.

On paper, there’s nothing too wrong with Ant-Man and the Wasp, and it ticks all the boxes. The mission to rescue Janet from the Quantum Realm is a great premise for the sequel and has considerable emotional drive, yet there are times when the film feels no more than perfunctory. The pacing is good, and the movie feels shorter than its 118 minutes, but it seems like it’s scurrying from Point A to Point B. Plenty of jokes land, but some of the humour is a little forced, and Luis and co. feel like they’ve been shoehorned in.

Where Ant-Man and the Wasp excels is in its set-pieces. The film makes inventive use of the mass-shifting conceit, and director Peyton Reed seems to have gotten bolder in staging said set-pieces. The choreography of how the titular heroes work in tandem is dazzling. There’s a kitchen fight in which Wasp dodges a meat mallet, and a car chase down San Francisco’s Lombard Street involving a shrinking van – this could be an homage to The Dead Pool, in which Dirty Harry is pursued through the streets of San Francisco by a radio-controlled toy car. It’s a great example of a comic book film creatively exploiting its characters’ abilities.

This film leans a little more into retro sci-fi with its Fantastic Voyage-esque micro submersible and more appearances from giant ants. Christophe Beck’s score also employs a bit more of a brassy big band sound, evoking spy-fi of yore.

Rudd’s everyman who’s fallen on the wrong side of the tracks continues to be endearing, and the film tries to give Scott some character growth, though there’s not too much to be had. The scenes that Scott shares with his daughter are on the right side of twee. Scott is the regular dude among geniuses, and Rudd plays off Lilly and Douglas well.

Lilly relishes the chance to partake in the superhero action this time around, and the Wasp’s abilities are impressively realised. Hope clearly knows what she’s doing, and there’s a precision to her fighting style and movements that Scott never quite possessed. Hope has been waiting her whole life for this and is in her element, and it’s gratifying to see her fulfil her destiny as the Wasp.

Douglas gets to be a little more active in this one than in the first Ant-Man film, but he’s still mostly there to be crotchety. The relationship between Pym and Janet is sufficiently established. By necessity, Michelle Pfeiffer doesn’t get to be in this one a lot, though it’s hard not to wish she had more screen time.

There’s half a good idea here with Ghost. The appearance and abilities of the character from the comics is used, but everything else about her is created for the film. Ghost is in a constant state of flux, confused and angry, and is a formidable opponent to our heroes. She’s no Thanos or Killmonger, but she’s an adequate villain for this film.

Walton Goggins plays a standard-issue Walton Goggins character, supremely untrustworthy and grinning as he goes after what he wants. Randall Park is funny as the dogged FBI agent who tries to keep Scott under his thumb, and hopefully he goes on to be a badass secret agent like the Jimmy Woo of the comics. Fishburne is reliable as Professor Bill Foster, who had a falling out with Pym when they were colleagues.

Ant-Man and the Wasp is a trifle, but it’s an entertaining, well-made trifle. Not every MCU movie needs to upend the status quo, and Ant-Man and the Wasp is quite comfortable being the silly thing it is. While the movie has welcome tricks up its sleeve with the further integration of mass-shifting into the action sequences, it can sometimes feel like we’re just watching the first one again.

Stick around for a mid-credits scene and a post-credits stinger.

RATING: 3.5 out of 5 Stars

Jedd Jong

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The Hollars

For F*** Magazine

THE HOLLARS

Director : John Krasinski
Cast : Sharlto Copley, John Krasinski, Richard Jenkins, Margo Martindale, Anna Kendrick, Charlie Day, Randall Park, Ashley Dyke, Josh Groban, Mary Elizabeth Winstead
Genre : Comedy/Drama
Run Time : 105 mins
Opens : 22 September 2016
Rating : PG13 (Some Coarse Language)

the-hollars-posterThere are many wonderful things that can unite a family – then there are brain tumours. When struggling artist John Hollar (Krasinski) learns that his mother Sally (Martindale) is diagnosed with a brain tumour, he hurries home from New York to the small middle American town in which he grew up. Dr. Fong (Park) informs the family that the tumour has been growing for 10-15 years, but John’s father Don (Jenkins) has been dismissing and misattributing the symptoms. John’s brother Ron (Copley) and their dad aren’t getting along especially well, with Ron still reeling from his divorce with Stacey (Dyke). Stacey has moved on and is married to youth pastor Dan (Groban), much to the ire of Ron. Jason (Day), the nurse tending to Sally, panics on seeing John return, since John and Jason’s wife Gwen (Winstead) were high school sweethearts. Sensing that the family’s trials are wearing on him, John’s pregnant girlfriend Rebecca (Kendrick) arrives in town to keep him company. Will the Hollars sort out their issues and more importantly, will Sally pull through?

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The Hollars is Krasinski’s second time in the director’s chair, following 2009’s Brief Interviews with Hideous Men. Krasinski directs from a screenplay by James Strouse, who wrote 2005’s Lonesome Jim, also about a struggling New York creative type temporarily moving back into his parents’ house. The Hollars seems tailor-made for Sundance and film festivals of its ilk, right down to the guitar-led score by singer-songwriter Josh Ritter. While there is a warmth and sincerity to it, The Hollars contains too many sitcom-style jokes that are often cringe-worthy in their obviousness. This is a cast that is studded with interesting, talented performers, but they’re often over-acting. The soap opera melodrama that runs through the plot is too mundane to be dramatic, yet too engineered to feel organic. Standard ‘family drama’ ingredients (terminal illness! Divorce! Pregnancy! Financial troubles!) are tossed into the pot, which is given just a quick stir when it needs to simmer.

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This is an ensemble cast that one can’t help but feel bad for, not because the material is embarrassing per se, but because their respective abilities just don’t get the chance to shine through. Copley is more closely identified with the action and sci-fi genres, and while it’s fun to see him stretching outside his wheelhouse, Ron is too much of a caricature to actually connect to. The character is brittle and confrontational, a tragicomic figure whom the audience is meant to laugh at but also sympathise with. It just doesn’t work, but it’s fitfully amusing to listen to Copley wrestle his South African accent to the ground.

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Jenkins is a fine actor capable of understated turns, but his hysterical performance here makes him seem like a pretty bad actor. Yes, it’s perfectly alright for someone to be emotional when their wife of several decades is at death’s door, but a subtler, more measured portrayal would have made Don’s struggles easier to identify with. As Don’s wife Sally, Martindale is eminently loveable, a gentle, sweet matriarch who’s trying desperately to hold the family together even as she’s fighting for her life. The trouble is, because of all the subplots unspooling simultaneously, one occasionally forgets that Sally is in the hospital with a brain tumour awaiting surgery. Losing sight of the story’s primary dramatic impetus isn’t usually a good sign.

As the harried, down-on-his-luck nice guy, Krasinski certainly isn’t playing against type, and he’s able to display a fair amount of the aww shucks charm he’s known for. Kendrick never fails to light up the screen, even though there’s not very much more to Rebecca than “pregnant significant other”. Park is a decent straight man, but it goes without saying that he’s more fun to watch when he’s given more room to be funny.

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Day is one of those actors who can very easily hop over that line between ‘funny’ and ‘annoying’, staying firmly in the latter camp as the shrill Jason. Winstead is entertaining in her brief appearance – alas, she doesn’t get to spend any screen time with fellow Scott Pilgrim alum Kendrick. Groban is quietly amiable as Rev. Dan, but his range as an actor is demonstrably limited and while he’s displayed a surprising knack for comedy in skits for Jimmy Kimmel Live, he’s stuck playing a straight man here.

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The family dysfunction depicted in The Hollars can be quite relatable, but the need to fall back on hackneyed humour (the opening scene features a character urinating into a pitcher in the kitchen) undercuts its potential to be genuinely moving. While several of the performances are enjoyable, others are evidence of miscalculated choices on the part of the actors and director. Above all, it’s covering well-trodden indie comedy-drama territory, and not covering it particularly well.

Summary: Watching The Hollars is like attending a family reunion with well-meaning but awkward and sometimes irritating relatives – but the cooking’s nice, so you grin and bear it.

RATING: 2.5 out of 5 Stars

Jedd Jong