Little Big Man: Review of Ant-Man And The Wasp

Ant-Man and the Wasp

Director: Peyton Reed

By Alex Watson

Set right before Infinity War, Ant-Man And The Wasp is a Marvel movie that deals with family affairs than global destruction. While it might not be as strong as the first outing, there is still fun to be had with this tiny crusader. The sheer charm of Paul Rudd easily elevates this picture and we often forget what a good everyman character Scott Lang really is. However, a slightly flat story lets down what could have been an impressive sequel.

Two years after aiding Captain America, Scott Lang is under house arrest. Attempting to live a normal life with his daughter while also running a security business with friend Luis (Michael Pena). After a strange occurrence, Scott finds himself thrust back into lives of Hank Pym (Michael Douglas) and Hope (Evangeline Lilly) once more. Things are then complicated by the arrival of a vengeful stranger Ghost (Hannah John-Kamen) who seems to have a serious vendetta against Pym.

Ant-Man And The Wasp is a picture that has a good carefree feel to it. Director Peyton Reed once again lets this picture feel most at home during any number of creative action set pieces. The real problem comes from the story's motivation and the lack of a main villain doesn't set up any crucial showdown. We first see Scott living his bored slacker lifestyle and just counting the days until he can remove his ankle monitor. His speed drumming and home adventures with his daughter does make this picture have a breezy feel early on. After his trip to the Quantum Realm, Hank has taken a leaf out of his comrade's book and along with Hope they have developed a Quantum Tunnel to attempt reaching his long-lost wife Janet (Michelle Pfeiffer). To achieve success, they inevitably need Scott's help. This reunion is a far from happy one as the duo are still upset at Scott for going rogue two days prior.

As a character, Ghost that feels drastically underwritten- as we learn her backstory, her intentions are perfectly understandable. But we never get a true chance to get to know her as spends 90 per cent of her time doing kicks and running through walls. There are also a number of side characters who feel like last-minute additions. We all love Laurence Fishburne but as Bill Foster- Hank Pym's old nemesis he feels completely wasted. Likewise with Walton Goggins- who always make the perfect movie asshole! His southern snake Sonny Burch is a calculating and potentially slippery villain who unfortunately is given precious little to do outside of being a dick. The relationship and banter between Scott, Hank and Hope are really what makes this picture sparkle. Now treated as an outsider, Scott has to win back the trust of his former friends. Hank throughout wins verbal duals by sounding almost like a perturbed father scolding his kid.

Thankfully, the fun element of Ant-Man And The Wasp does not disappoint. An exciting car chase throughout San Fransisco is the high point as cars shrinking, biggen and crash all in good measure. Plus we get a gigantic Hello Kitty Pez dispenser flying through the air- although Thomas is still the clear pop culture winner. Part of the joy of this movie is how they balance the various shrinking gimmicks- such as Hank's building that can be shrunken to the size of a suitcase. This is by far the most enjoyable Marvel character so far because Scott is just a man who wants to make things right. The Wasp by far has the most enjoyable onscreen and finally allowed to let loose by flying, blasting and fisticuffs- she narrowly outranks our hero in terms of ability.

Paul Rudd is again the beating heart of the Ant-Man franchise and few heroes are as identifiable as him. Making full use of this heroes lovable loser persona, Scott is once more on the backfoot in life. You have to feel that in any other hands but Rudd's there would be far less heart shown onscreen. Evangeline Lilly gives the picture its tough feel and as Hope she once more a woman afraid to trust our hero. In the more tender moments, Lilly is also unafraid to show the more vulnerable side to this character which gives it a surprisingly deep feel. Michael Douglas is again champ of the supporting honours and his Hank Pym is a dry-humoured yet constantly quick thinking leader. Hannah John-Kamen was an interesting choice for Ghost but doesn't get near enough material to make an impact.

Compared to the more heavyweight Marvel outings this one might not be in that division. But in terms of light entertainment, this be just the right size.

The Littlest Rebel: Review of Ant-Man

Ant-Man

Director: Peyton Reed

By Alex Watson

Once more the Marvel universe reminds us just how entertaining and original their creations can be and Peyton Reed's adaptation of Ant-Man is another slum dunk. After spending time in development hell since 2006 (which saw original director Edgar Wright depart), the wait has been a worthwhile one and this year we have this summer's finest blockbuster so far. After the big and slightly overblown spectacle that has become Marvel's trademark, Reed cleverly mixes through formula's and delivers something delightfully new.

Scott Lang (Paul Rudd) is a former technician turned thief who has recently been released from jail. Hoping to turn over a new leaf, he finds his chances limited as an ex-con. Out of the blue, things take a drastic turn when he is recruited by inventor Hank Pym (Michael Douglas). Through this meeting, Pym convinces him to take on his old persona, Ant-Man. A superhero who can shrink to miniscule size and communicate with Ants. Seizing his chance to go straight, Scott faces competition from Hank's protege turned nemesis, Darren Cross (Corey Stoll).

Ant-Man is a gleeful throw back to old days when Marvel movies were just pure fun. An unlikely choice for director, Reed makes this movie part comedy, part action thriller and part heist movie. Together combined with a great leading turn makes for an engaging new hero. Scott Lang isn't the most original character this universe has created, but he is certainly one of the most likeable. At the centre he holds the movie together well as the shrinking hero alongside the world weary Pym and his dismissive yet intrigued daughter. Scott is a man whom life turned sour upon him simply doing the right thing (albeit overblown) and he was forced to turn to cat burgling to get by. In short, he is a man simply trying to get back to who he was and provide for his daughter. Over the course of two hours he is both a sincere straight man and wonderful comic relief that makes us pray for a sequel to come soon.

Story wise there is nothing really ground breaking, Hank and Hope's relationship is on a continual knife edge due her mother's unexplained death. Overlooked in her father's eyes, Hope both resents yet admires Scott for having her father's trust. Villain Darren Cross is a former student who is close to replicating Hank's precious formula for devious means which could have devastating effect. Hank knows the only way to stop things is to steal back his own technology. This section produces a new fresh look at how heists can be thrilling and watching Scott command his ant arm through water mains, cracks in the wall and all in between makes for excellent viewing. Reed here shows great vision and awareness that one may not have guessed from his previous comedic work Yes Man or Bring It On.

Thankfully Ant-Man goes against the Marvel default ending set in the air and instead delivers something all together more memorable. Together we see miniature sized Cross and Scott do battle in a briefcase (hilarious set to Plainsong by The Cure), a backyard during a barbeque and most memorable on the train tracks of a model train set. An unusually comic feel is brought over when you see a giant Thomas The Tank Engine come rushing forward, which looks big and imposing to our heroes. Moments later we see it gently drop to the side with a quiet flop. One of this summers more memorable and original finale's, this tiny hero is the everyman with powers we can all do with. If anyone was fearing the universe becoming boring and predictable, then one is a movie that changes the game.

Paul Rudd was a surprise choice for many, but he is more than up to the task. Bring across his great ordinary guy charm, Rudd convinces well as Scott Lang. Fans of his former work will known he has always been a capable leading man, but it now also seems he is comfortable anchoring a new franchise all together. In a underused but memorable supporting turn, Michael Douglas does well as the troubled Hank Pym. Used to his work being sought after for evil means, Hank is both worried father figure and fierce protector of his work and subjects. Also look out for the standard Avengers cameo, this one might surprise you a little.

Ant-Man proves that there is indeed room in the Avengers empire for the little guys (literally in Scott's case) and we now have one hero that could well breathe fresh life into this franchise. For summer's most fun and silly experience, look right here.

Under a Blazing Sun: Review of The Reach

TIFF EXCLUSIVE

The Reach

Director: Jean-Baptiste Leonetti

by Alex Watson


Imagine if you will, being stuck in the most unforgiving terrain on earth! You have no shelter and literally you are having to run and survive. Movies such as The Grey, Walkabout and Life of Pi showed us both the hardship and the psychological trauma that comes with such a journey. Yesterday (through some fortunate coincidences) I managed I secure a ticket for the World Premier of Jean-Baptiste Leonetti' film The Reach at the Princess of Wales Theatre! Set in the Mojave desert, this thriller has temperatures that are set to rise.

Ben (Jeremy Irvine) is hired to accompany rich and arrogant business man John Madec (Michael Douglas) on a hunting trip in the Mojave Desert.  Whilst they are there, John accidentally kills a local man while blindsided by the sun. Although horrified, Ben is forced to assist in deposing of the body when Madec blackmails him. But when he reneges on the deal, Madec becomes enraged and sets out to murder him by making Ben wander the unforgiven terrain exposed to the burning heat!

Despite a few neat moments, The Reach is a dull and pretty predictable thriller by Leonetti. Beautifully shot by Russell Carpenter against the scorching landscape of the Mojave Desert, this one element does succeed in making the unforgiving terrain as the ultimate enemy of the picture. Leonetti's thriller starts out interestingly enough, as we open on a scared and burned Irvine running frantically through the desert. When Madec is introduced, instantly he gives off a negative vibe with his expensive looking jeep which a variety of quirky bells and whistles. But although he looks the part, Madec is essentially just a gun touting version of Gordon Gekko!

When the cat and mouse game begins, the picture begins to develop a flat and uninviting taste. There is no real hint or menace or plausible threat in the interactions between the two men. When the big incident happens, Ben barely puts up a fight and then seems to willingly wander into the desert. After a while, Madec foiling Ben at every turn with his super vehicle becomes frustrating! Leonetti tries his hardest to raise this thriller to a competent level, but his direction in this one just feels very wayward and not helped by some painful comical dialogue by Stephen Susco, "Fool me once, shame on you! Fool me twice, I KILL YOU!!!!"

Also the logic gets confused very early on in The Reach and viewers may find themselves sniggering in disbelief at any number of incomprehensible scenarios. For example, at point Ben whilst navigating a hidden cave, just so happens to stumble into the living quarter of a man he used to know! These moments would seem more plausible if the movie had more going for it, but in this case they just come over as very poor story planning. Also things are not helped by a terminally silly ending which even the most open minded person will have trouble swallowing.

Michael Douglas tries to finds his joy where he can as John Madec, but even he cannot find a rhythm to succeed in this moment. His character is one with a variety of tricks (including a loud speaker) but he is not able to command any real intimidation and instead comes off as a smug rich man getting his kicks. Jeremy Irvine is equally stranded in a thankless role as Ben. His character is not giving a quality that endears him to the audience and although a talented young man, Irvine spends majority of his time just running around revealing his torso!

The Reach is a movie that may have a name attached, but it is unlikely to get a wide distribution outside of festival screenings. Leonetti shows some visual flair but his weak direction cannot take the film where it needs to be. Though this may come in handy as a survival guide for those wanting to trek through the desert.