Ant-Man and the Wasp (Marvel Studios, 2018)
After ten years of Marvel Cinematic Universe (MCU) films, it’s incredible to believe what Disney and Marvel have accomplished after a decade. Not only have Disney and Marvel produced twenty consecutive films that are commercially and critically successful (every single MCU film has turned a profit and been “Certified Fresh” on Rotten Tomatoes), but they have also created a new form of movie watching—serialized feature storytelling based in genre. The reason MCU films resonate with mass audiences is due to high accessibility through its genre-like design and inclusive nature. MCU films, like television series, consist of episodic-like genre films that lead to a grand finale. For example, Spider-Man: Homecoming (Jon Watts, 2017), Captain America: Winter Soldier (Joe Russo and Anthony Russo, 2014), and Ant-Man (Peyton Reed, 2015), all work as standalone episodes that represent and explore the best that genre has to offer. Spider-Man: Homecoming is a teen movie, Captain America: Winter Soldier a spy movie, and Ant-Man a heist movie. This storytelling technique allows for easily digestible films that all moviegoers can rally behind and enjoy. This form of entertainment not only produces big-budget, grandiose, character-driven films (such as Iron Man (Jon Favreau, 2008), Thor (Kenneth Branagh, 2011) and Captain America: The First Avenger (Joe Johnston, 2011)), but also allows for more local, small-scale storylines based around less known niche characters such as Dr. Strange, Ant-Man, and the Guardians of the Galaxy. In turn, these standalone films (or episodes) build to a grand (season) finale where all these characters and storylines come together in the Avengers films. After the heartbreaking finale of Avengers: Infinity War (Joe Russo and Anthony Russo, 2018) three months ago, the twentieth MCU film, Ant-Man and the Wasp (Peyton Reed, 2018) was released on July 6, 2018. Ant-Man and the Wasp offers a good palate cleanser to the high-stakes juggernaut that was Avengers: Infinity War by providing a less ambitious and generally entertaining film packed with laughs, action, and fun. Overall, Ant-Man and the Wasp delivers another good MCU film; however, issues regarding flat characters, lack of emotional resonance, and inconsistent tone prevent Ant-Man and the Wasp from being as memorable or consistent as past MCU films.
Ant-Man and the Wasp takes place before Avengers: Infinity War as Scott Lang (Paul Rudd) is placed on house arrest after teaming up with Captain America in Captain America: Civil War (Joe Russo and Anthony Russo, 2016) and breaking the international law of the Sokovia Accord (a law that requires all superhero-like individuals to disclose their identity and powers for regulation). As Scott grows impatient and bored by his isolation at home, he suddenly has a dream about Janet Van Dyne (Michelle Pfeiffer) being trapped in the quantum realm. Scott once again joins Dr. Hank Pym (Michael Douglas) and his daughter Hope Van Dyne (Evangeline Lilly) to build a gateway to the quantum realm in search of Hope’s mother Janet. After a botched transaction by black market dealer Sonny Burch (Walton Goggins) and a confrontation with the phase-shifting Ghost (Hannah John-Kamen), Scott, Hope, and Dr. Pym, as well as returning favorite Luis (Michael Pena), all work together to stop Ghost from using the Pym Lab to absorb Janet’s quantum energy, killing Janet in the process.
Ant-Man and the Wasp (Marvel Studios, 2018)
Overall, Ant-Man and the Wasp is a fun and entertaining roller coaster ride full of great action and laughs. Ant-Man and the Wasp’s biggest assets are its unique action set pieces, witty dialogue, and joke delivery. Specifically, witnessing how different objects are manipulated in size (by use of Pym Particles) during choreographed fight scenes and car chases is not just visually amusing but also adds a sense of nuance to the action. For example, seeing Dr. Pym’s van change from normal size to small size and vice versa during a car chase scene is incredibly satisfying and keeps the action fresh and unique. Whether it’s watching the van flip a car when brought back to normal size or the van shrink to avoid a collision, the use of size manipulation in these scenes adds visual depth and originality to otherwise basic action sequences. Additionally, the use of humor in Ant-Man and the Wasp provides tongue-in-cheek vibes to a film that doesn’t take itself too seriously (a much-needed breath of fresh air after the high-stakes Avengers: Infinity War). Specifically, Michael Pena’s Luis is a standout here just like in the original film. Pena’s delivery of Luis’s jokes and quips are not just superb but also ultimately serves as a stand-up act in its own right. From Luis commenting on how the serum Burch’s men are using is truth serum to how he would like to own a superhero suit, even one that doesn’t have powers, there’s a lot of comedy for the audience to enjoy and laugh at.
Unfortunately, as funny as the film is, the humor and action do tend to get in the way of the film’s more emotional and serious scenes, leaving the film feeling emotionally sterile and tonally inconsistent. This is most apparent in the character Ghost as her personality and character arc feel out of place, seeming way too serious and dramatic in a dominantly comedic film. For example, Ghost is often depicted in emotional scenes with Dr. Bill Foster (Laurence Fishburne) as she tries to control her pain and suffering from exposure to quantum energy years ago. Though these scenes should spark empathy for Ghost’s character, these scenes are often deflated by jokes made by Scott or other characters. For example, in an early scene in the film where Ghost and Dr. Foster explain Ghost’s traumatic past to Dr. Pym, Hope, and Scott, Scott’s phone goes off suddenly, changing the tone of the scene from one of emotion and vulnerability, to one that is comedic and humorous — setting off a string of high-caliber action sequences. The timing of the joke not only deflates any emotional resonance in the scene, but also makes Ghost come off as whiny, flat, too serious, and annoying, especially when compared with the more fun, whimsical characters—causing her characterization and development to suffer. Ant-Man and the Wasp is often too focused on ramping up the action and comedy rather than letting the scenes naturally play out and gain depth. This juxtaposition of extreme seriousness and emotion with extreme comedy jars the audience into a state of disconnection rather than a state of emotional affect.
Ant-Man and the Wasp (Marvel Studios, 2018)
This emotional sterility is further exemplified in Scott’s character as his jokes and demeanor get in the way of the more interesting relationship between Dr. Pym and Hope. In the background of Ant-Man and the Wasp is a story about the sympathetic reunion of family. Janet has been trapped in the quantum realm for years while Hope and Dr. Pym have searched adamantly to find a way to save her and reunite their family. Unfortunately, the film never truly focuses on or explores the relationship, grief, and tribulations of Hope and Dr. Pym as father and daughter dealing with their absent (and potentially dead) mother/wife. Instead, Ant-Man and the Wasp uses Scott as a narrative device to help Janet and put the events of the film into motion. Consequently, the film is focused on Scott rather than Dr. Pym and Hope, causing the film to take on a more comedic, action-driven tone rather than one based in love, affection, and authenticity between Dr. Pym and Hope. This is most visually depicted when Scott often interrupts scenes of affection between Hope and Dr. Pym by interjecting a quick quip or commentary into an otherwise heartwarming moment. For example, in a scene that involves Janet talking to Hope and Dr. Pym, Janet uses Scott’s body as a host to speak from the quantum realm. Though this scene is hilarious, as Scott embodies a feminine form, the film once again decides to base its more emotional scenes with an overlay of comedy. This comedic overlay, though, doesn’t fully accentuate and express the family relationship between Dr. Pym, Hope, and Janet, as the scene feels emotionally truncated by Scott– depicting Scott’s significance as cheap, unneeded, and forced. This narrative design renders Scott annoying throughout most of the film, and Ant-Man and the Wasp misses out on the opportunity to build emotional and deep characters that represent more local and relatable heroes than the extraordinary and popular characters of the MCU — leaving the audience wanting more.
Though not as strong as other MCU films, Ant-Man and the Wasp provides a flawed yet fun and entertaining film with some great action sequences and well-written humor. Unfortunately, the film never truly achieves cohesiveness due to the film’s flat characters, inconsistent tone, and lack of emotional resonance and depth. Ant-Man and the Wasp is, overall, a good tongue-in-cheek film that rests nicely alongside past MCU films but does not quite achieve enough originality or nuance to stand out.
7.5/10
Author Biography
Jason Husak is a University of Alberta film studies graduate who currently resides in Edmonton, Canada. He hopes to pursue his passion for film by doing a graduate degree in film studies at the University of Toronto. For more in-depth film reviews, discussion, and analyses, you can follow Jason on his personal Twitter and Instagram or his film and entertainment podcast Boring People, Bad Opinions on podcast and social media services.
Film Details
Ant-Man and the Wasp (2018)
USA
Director Peyton Reed
Runtime 118 minutes
