But one detail that excited many was the tease for future films featuring the Wasp, Ant-Man's longtime partner, being able to dominate the scene right alongside her charming teammate. Three years later, you have many of the original team, including director Peyton Reed, to finally deliver on that potential with Ant-Man and the Wasp, which comes to cap off Marvel's mega-successful 2018 (not counting the peripheral Venom spin-off). Of course, one wouldn't expect it to reach the heights of Black Panther or Infinity War, so it's best to take it as a nice, inoffensive cleanser. And that's precisely what it is, ending Marvel's year with neither a bang nor whimper, but a pleasing growl.
Scott Lang (Paul Rudd) is close to the end of his FBI mandated house arrest, for the part he played in Civil War, having not spoken to Hope van Dyne (Evangeline Lilly) or Hank Pym (Michael Douglas) since then. But soon the three do team up, when it seems Lang can aid them in rediscovering Janet van Dyne (Michelle Pfeiffer), Hank's wife and Hope's mother who went missing in the subspace Quantum World. But during their search, they find themselves in the direct path of phasing assassin Ghost (Hannah John-Kamen), as well as the greedy eye of criminal businessman Sonny Burch (Walton Goggins), as Lang becomes Ant-Man once more, joined alongside Hope as the newest incarnation of the Wasp.
Coming off of the grim closing of Infinity War, this was in theory the perfect counter-programming to refresh us, placing its extensive emphasis on light fun and a consistent stream of humor. Maybe I was expecting too much, but while it certainly delivered on that light entertaining fun, while I was watching it, I wasn't digging it as much as I was hoping to. I find my problems with this film were eerily similar to those that I found within Spider-Man: Homecoming, starting first and foremost in regards to the presentation style, crafted by a total of five credited writers (including Rudd himself), that each put their own spin into the script.
Much like Homecoming, I thought it to be quite a (for lack of a better word) small entry in Marvel's lineup, but chaotic in how it handled that scaled back scope. The film starts off strongly enough, establishing some of the same goofy and endearing charm that made the original such a fun ride, but when the first act fades out, suddenly the film starts unraveling into numerous wayward directions. With how many characters have to be given prominence, the film is untidy in how it cuts between each of them, because unity isn't exactly this film's friend. Perhaps due to the many cooks tossing ingredients in, we get these seedlings and pinches of potentially interesting ideas, as well as the potential for character alliances and personal stakes that the film sets up with no payoff, making these side details feel like throw away nuggets. As a result, by the time the third act finally wheels around, these plot strands are forced to form into a disparate whole, because the film couldn't manage to streamline those narratives, so you always find yourself waiting for the film to cut back to those elements you do actually care about.
And sadly, this carried over into the villains, which is a shame since Marvel has had two knockouts this year with Killmonger and Thanos. The closest the film gets to a full-fledged villain is Ghost, an assassin whose very molecular structure is always shifting, allowing her to phase through objects, but that affliction causes her great pain. To be fair, this is compelling material, superbly emphasized by Hannah John-Kamen's venomous yet tragic performance, but Ghost is somewhat undermined by the film - intentionally or not - making her feel more like a side villain than the main antagonist, especially when the film sidelines her and she has to fight for attention. Attention hogged by an enjoyable but cartoonish Walton Goggins, that randomly interjects throughout the film, often proving more a hindrance with not much reason to be there.
But that's nothing compared to the entire conflict of the film, relegating Michelle Pfeiffer to a plot device. If her name weren't all over the marketing campaign, I wouldn't even tell you she was in the movie, because she's practically a cameo. To her credit, when she is on screen, Pfeiffer does show some shades of an intriguing character, and possibly a strong emotional center, but she really is more MacGuffin than character, the film so peripherally establishing any semblance of a personality for her. Only compounding this is that what little we do see of her, and what the Quantum World is capable of, highlights the possibility of a much more compelling narrative than we receive. Untapped potential really is a common theme of this film.
And even the humor isn't always on point. True to the Marvel name, there are countless gags peppering every corner of this script, to often uneven results. The film is more often amusing than definitively hilarious, less interested in several big gags and more in favor of many smaller gags, as is typical of Rudd's style. Not to say there aren't some great gags here, often revolving around the quirkier points of the Ant-Man job, a recurring ant that lives out Scott's daily house routine, and especially for the return of Michael Pena's Luiz, who steals the show in just about every scene he shows up in. But there are just as easily some groaners as well, and it's here where Marvel's reliance on humor - after noticing the effects of Guardians 2 and Ragnarok - did start to feel laid on too thick for me, and hoping it could cut back just a tad.
But while many of these things did nag at me, one advantage that Ant-Man and the Wasp does make up for it is purely in character, which is particularly plentiful here. Much like the first film, the sequel finds itself carried squarely on the shoulders and charisma of Paul Rudd. What's striking about this follow-up, is that while Rudd is still the capable comedic star, and an atypical but strong action lead, there's a much greater heart he brings to the events of the film this time around. No longer is he a mere dishonest thief, but now striving to work and live as a legitimate businessman, and devoting more time and attention to his daughter (an adorable Abby Ryder Fortson). Perhaps it's through that that he's become closer to his old mentor Hank, given how special a bond both men share with their daughters, that carries over into a naturally protective attachment to Hope during combat.
But that's not to say that Hope can't hold her own, as the Wasp becomes the stellar breakout of the show. Marvel has struggled so far in giving female heroes their own spotlight, Wasp the first step to be followed by Captain Marvel next March, and the emergence of this character doesn't disappoint, making her stamp on the film clearly felt as early as a slick restaurant brawl scene, stretching the full capabilities of her precision and strength to their limits. It's practically a godsend for Evangeline Lilly as well, who has greatly struggled in finding decent lead roles since the ending of Lost, with even The Hobbit's Tauriel a superfluous blemish. Her dual role of Hope and the Wasp offers her a tremendous range to express herself as a performer, an opportunity not lost on her as she firmly seizes the role with both hands, doing a superb juggling act showcasing the extant of her soul and physicality.
The key word for Ant-Man and the Wasp is fun. Lean, refreshing fun. Purely on its entertainment value, the film delivers, but does so at the cost of a unified story, as it overstuffs itself to a breaking point from its struggle to pick a lane and stick with it. Not that Marvel's films are always so rich or deep in thought, but they have always remained airtight, and the waywardness of this newest entry takes a toll on it unfortunately. But if those popcorn thrills and laughs are all you really need or desire, this is more than suitable to fit your mood. And so, as the post-credits clips roll by, and another year in Marvel's history passes... how on earth are they gonna follow THAT?! Tune in next year for another exciting installment of the Marvel Cinematic Universe...
*** / *****
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