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The ant man relies on sobriety and humor for his return to the screen
The opinion of the "World" – to see
Newcomer in the transposition on screen of the super-heroic Marvel universe, the ant-man was revealed to us in 2015, under the guise of actor Paul Rudd, in a film already signed Peyton Reed. Scott Lang (Rudd), a friendly burglar, donated the atomic suit invented by Professor Hank Pym (Michael Douglas), allowing his owner to vary his size at his leisure and control the ants' people. We found the character, in 2016, in Captain America: Civil War before he returned today in Ant-Man and Wasp under house arrest and dealing, in good daddy cake, his daughter, Cbadie.
But Hank Pym is not long in contacting him for a new mission: find his wife, Janet Van Dyne (ex-catwoman Michelle Pfeiffer), prisoner for years of the quantum universe. To do this, Ant-Man steals, along with the daughter of Hank and Janet, the beautiful Hope Van Dyne (Evangeline Lilly), aka "The Wasp", whose spicy charms do not leave unaffected. For those who still follow this proliferating imbroglio that becomes more complex with each new Marvel film, some new obstacles will have to be taken into account. Mainly, "The Phantom", a dreadfully disintegrated girl who has a personal account to settle with the proud Hank Pym. As a secondary, a band of evil and evil villains, traffickers of new technologies.
Realism and comedy
This constellation of characters, universe and parallel actions leads to a well-orchestrated climax, where their telescopic editing Cleverly make mayonnaise. Notwithstanding a beautiful chase on earth and a beautiful Vernian stray in the quantum world, it is not so much the action that makes the virtue of this film as the desire to subordinate it to much softer values. Humor, for example, with regular but unsuccessful runs, the FBI at Scott's home (always back in time), or the crisp performance of Michel Peña in the role of his cowardly Mexican partner and logorrheic.
Ant-Man could also be defined as the frankness of decay in the Marvelian universe. Less violence. Less superpowers. Less destructive monstrosity. Less cosmic grandiloquence. Fewer hyperbolic villains. On the other hand, more realism, more attention to the actors, more comedy, more DIY kitsch way sci-fi of the 1980s, more worry of the family home. That's, if you like, Disney who takes revenge on Marvel, creating a super-heroic segment for the defense of family and ecology.
Disney is taking revenge on Marvel, creating a super-heroic segment for the defense of the family and ecology
It is not up to the couple of miniaturized heroes who are in their own way a champion of the decline, far from the race for gigantism that dominates the genre. Let us not forget that Ant-Man, unloved by its creator, Jack Kirby, who eventually lost interest, was a sacrificed superhero, who experienced a sporadic existence, between death and reincarnations successive. We can see, behind all this, the practical intelligence, sensitive to the times, which governs the trying, but apparently inexhaustible super-heroic production machine. It consists of looking everywhere for possible subject matter to broaden the public's spectrum, and hence that of success.
American film by Peyton Reed. With Paul Rudd, Evangeline Lilly, Michael Peña, Michael Pfeiffer, Michael Douglas (1:58). On the Web: newsroom.disney.fr/ant-man.html and www.marvel.com/antman
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