Release Date: July 17th, 2015 (UK)
Genre: Action; Science fiction
Starring: Paul Rudd, Evangeline Lilly, Michael Douglas, Corey Stoll
Superhero movies are more popular than ever. They are financial juggernauts, crowd pleasers, cinema monopolisers. Since 2008, when Marvel gave unabashed life to the genre via Iron Man, venues have been awash with new crusaders donning new suits and old crusaders challenging old enemies. The average annual production rate is at least four outings per year — if we’re only counting those bearing Marvel or DC comic heritage — with only a handful of monetary flops to date.
In some quarters, inevitable suggestions of superhero fatigue are beginning to sound out (not over here, admittedly). Good thing, then, that Phase Two of the Marvel Cinematic Universe is closing with a refreshing injection of sardonicism and locality. Despite the size-adjusting suit and Avengers references, Ant-Man sidesteps many of its predecessors’ elements. A good guy with peculiar powers does set out to stop a bad guy who lives for greed, but everything occurs within a grounded framework. If Ant-Man is a superhero film, it’s not quintessential Marvel.
When Dr. Hank Pym’s (Michael Douglas) game-changing technology is replicated by his former protégé Darren Cross (Corey Stoll), the former S.H.I.E.L.D. employee recruits moral ex-con Scott Lang (Paul Rudd) in an attempt to scupper any mischief. It’s the classic origin plot and, as such, characters engage in quite a lot of backstory explanation. Hank and his daughter Hope, played by Evangeline Lilly, go through the verbal wringer in record time; from a seemingly amiable introduction, the pair quickly develop a fractious relationship which is apologetically resolved before the half-way mark.
As opposed to being the product of many pens — Edgar Wright, Joe Cornish, Adam McKay, and Paul Rudd all have screenplay credits — you get the sense that this overeagerness to explain histories and cement rapports is an origin movie problem. It leaves relationship arcs a little fragile, particularly when the barrage of audible exposition could have been conveyed less abrasively through ocular interactions.
Lilly and Michael Douglas slip into their respective roles with confidence. The former should have more do to, especially in the final act when the action amps up a notch, but her version of Hope van Dyne is smart, tough, composed and fiery. There’s undoubtedly more fleshing out to come. With seventy years under his belt and a frazzled exterior, Douglas is well cast as the ousted scientist with a chip on his shoulder. His early intentions are concrete (“As long as I’m alive, nobody will ever have the formula”) but Pym’s tragic past increasingly urges him to put his daughter ahead of the end goal.
For this is, more than anything, a film about familial care and compassion. Scott Lang’s previous criminal rightdoings — like a modern day Robin Hood, he illegally redistributed a lot of money to a lot of customers — get in the way of him seeing his daughter. There is desperation in Paul Rudd’s eyes, though nothing too melodramatic. He excels, relaying a brazen charm that is only bolstered by his principled thievery. His character could have been a psychopath and it wouldn’t have mattered; we were always going to root for Rudd anyway. The actor rewards that loyalty with one of the most likeable MCU performances so far: awkward and evasive, yet wholly endearing.
The humour is consistent throughout. It is a mellower first half, where Rudd’s pre-costume antics resemble his downbeat comedy roles (such as Role Models or This Is 40). Scott gets fired from his job for being an ex-con but his oddball boss allows him to nab a free Mango Fruit Blast before he leaves. Director Peyton Reed borrows some of Marvel’s wit and meshes that with Apatow-esque flippancy. As the film progresses occasional chuckles make way for frequent guffaws. A naive Michael Peña is tremendously amusing, similarly getting increasingly funnier: “Baaaack it up, back it up slowly,” is one of many comedic highpoints.
But Ant-Man opts for more than just plain wisecracks, poking fun at its genre — and, by definition, Marvel — too with loving cynicism. Edgar Wright, who vacated the directorial seat citing creative differences shortly before the start of filming, is still around in spirit. Any playful sarcasm is almost certainly his, low-key and delightfully devious, and the frequently zany score sounds like something out of his wheelhouse. Two Peña explanation montages have the same swooshy momentum as Simon Pegg’s zombie dodging plans in Shaun of the Dead (apparently those sequences are spawns of Reed and McKay). At one point Ant-Man sprints across a small-scale model city as pursuing bullets send cardboard splinters all over — a mini, tongue-in-cheek jab at the likes of Avengers Assemble and Man of Steel. We’re at a point now where the grandiose madness, the ridiculousness of superhero movies, can be the butt of the joke without consequence.
Far from a genre that lacks superior visual quality, it is still worth noting the brilliant technical work on display during Ant-Man. Our first insect adventure is exceedingly slick and inventive, shot in a way that somehow provokes genuine exhilaration from a tiny man getting stuck in a hoover and scampering away from a rat. The shrinking too provides a new avenue for action-drama; rather than lambasting us with shoot-outs, fun heists from the Mission: Impossible school of versatility prevail. Russell Carpenter’s colourful cinematography is also aided by Dan Lebental and Colby Parker, Jr.’s momentum-driving editing: our hero’s anti-Herculean training montage is funny, believable and moves the plot forward.
Only when someone mentions the Avengers — whose non-appearance is put down to Pym’s wariness of Tony Stark’s techno-autocrat sensibilities, and given Stark’s arc in Avengers: Age of Ultron we are inclined to side with Pym on this one — does it strike you that Ant-Man is part of their universe. The world doesn’t need saving here. Although there are Armageddon implications, the film’s disciplined approach localises any reverberations. Neither format is right or wrong, but the second is less worn out and that’s hugely beneficial. The silliness gets over more because characters are not surrounded by Norse Gods with flying hammers or angry green mutant beings — a scene showing ants juggling sugar cubes would probably get lost in those fantasies, but here it is odd and amusing.
This quasi-minimalist structure also adds weight to the villainous Darren Cross’ suggestion that his Ant-Man copycat suit will solve geopolitical tensions outwith plain sight. The idea reflects notions of surveillance and higher powers undermining their citizens’ privacy. Wright and company flirt with the Snowden effect but the movie probably isn’t as incisive as it wants to be, otherwise it might have made a compelling thematic companion piece to the more confident Captain America: The Winter Solider.
Ant-Man is a genre rebel though, a sneaky outcast doing its own sly thing. The very fact that it is less integral to the overarching MCU saga than any other film up until now is what makes the flick so attractive. Forget its bite-sized impact, this one has left a Hulking impression.
Images copyright (©): Walt Disney Studios Motion Pictures