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Several sections of "Ant-Man and the Wasp" are played out in the quantum domain, so there is a lot of gibberish about quantum entanglement, a phenomenon that is too abstract for most of 39 between us. Yet the latest epic of Marvel Comics is a lucid demonstration of non-quantum entanglement. Contrary to the inexplicable "Ant-Man" that appeared three years ago, it takes us joyfully, almost instantly, in its high-tech snaps and spiritual seductions, without ever letting go. Part of the mumbo is really jumbo, as before – technology that miniaturizes Ant-Man can also gianize. The best thing, though, is the modest scale of the film. It is a benevolent epic, devoted to the unscientific principle of dispensing pure old pleasure.
Paul Rudd
is back, successfully, as Scott Lang / aka the superhero of the title, with
Michael Douglas
as the inventionally inventive inventor Dr. Hank Pym, and
Evangeline Lilly,
who is beautiful and strong like Hank's daughter, Hope van Dyne. The hope now has wings (more blasters), and wings with a family history; they make him the wasp of the title. In addition, they make of her a formidable feminine force, a superheroine who flies around her super guy when the occasion demands it.
The whole movie has wings. It's as if everyone, starting with the director,
Peyton Reed,
had been released from bondage – the fundamental inertia – of the previous film. (Part of the explanation could be a new set of writers whose script is credited with no less than five of them:
Chris McKenna,
Erik Sommers,
Mr. Rudd, Andrew Barrer and
Gabriel Ferrari.
The production was designed by
Berger Frankel.
The filmmaker was always superb
Dante Spinotti.
Will hardcore fans adopt it? Maybe not so much, for the same reasons that a wider audience will probably do it. The film gives up all great purpose; it lacks the kind of density that opposes the crowds of characters intimately related to each other in the pell-mell pursuit of cosmic goals. Decades ago, it seemed like every James Bond movie was about James saving the world. Then comic extravagances committed superheroes to save the galaxy. The focus in "Ant-Man and Wasp" is sharper, tighter, the mother of hope, more humane, Janet (
Michelle Pfeiffer
), the original Wasp, and bring it back from the quantum domain, where it languished for 30 years. (Ms. Pfeiffer does not have a lot of time on the screen, but she makes her presence felt powerfully, even royally.)
Save Janet is a task worthy of Ant-Man, but who Scott demands that he release himself the ankle link of the house arrest, in which he was vegetating – with periodic visits of his daughter Cassie, really adorable and thieving scene (
Abby Ryder Fortson
) – as a consequence of the events of "Captain America: Civil War". Large or modest, each Marvel film must maintain its link with Marvel's cinematic universe.
Starting at a leisurely pace, the film finds time for father and mother. -the girl's fun and games during one of these visits. These scenes are a beautiful showcase for the singular quality of Mr. Rudd as a Hollywood star. He is – how to say that without having the air of miniaturizing his call? – remarkably companion, working the knife between the mind and the seriousness. He is also the main beneficiary of smart writing. (Surrounded by technobabriers, Scott asks, "Do you simply put the word" quantum "in front of everything?")
Words matter a lot in this production, which may have the most discursive narrative structure since "Six Degrees ". "Backstories have backstories." In a hilarious set,
Michael Peña & # 39; s
Luis, who is Scott's partner in a low-rent security company, tells a story elaborated at the speed of light under the influence of a serum of truth – there are even some fun things to About knowing it's really a truth serum. tale speaking at his frenetic pace in his voice.
Yet, "Ant-Man and the Wasp" is an action adventure that honors its main imperative. The action is nice, so familiar. The kinetic energy is vast, even sometimes exhausting. (The normal laws of energy do not apply to the rather nasty villain, Ghost, a male in the comics but here a female played by
Hannah John-Kamen.
The power of Ghost is the phasing, the ability to move through the solid matter. Its problem is that it happens often uncontrollably.)
A single size is only suitable for short passages. This is another big and small show with vehicle chases – cars are just the beginning – that use tiny and huge fun effects. Hank's laboratory, which normally occupies a massive building, can shrink to almost nothing, then return to full volume when needed. The previous "Ant-Man" was memorable for the appearance of a huge Thomas the Tank Engine. During a chase in this one, a Brobdingnagian-sized Ant-Man uses a flatbed truck like a scooter. And, as you might expect, a lot of extremely large ants play very small roles. They are not charming, but they make themselves useful.
Writing to Joe Morgenstern at [email protected]
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