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Marvel Studios loves to oversize everything – its heroes, blowups, runtimes, wards, market share and so on. In his world of hyper-muscular giant tailors, the super-hero Ant-Man (Paul Rudd) has revealed an anomaly because even when he passes from anthill to giant, he remains a habitual guy, l & # 39; 39, one of the little characters in life. That's always the case in "Ant-Man and the Wasp," an engaging gaffe who resists bludgeoning you with bigness and instead installs for good vibes and jokes. Look! High in the sky! It's a bird! It's a plane! [Squints.] This is a surprisingly pleasant summer game!
Known as Scott Lang when he's not on duty, Ant-Man had a difficult start, especially compared to Marvel's current constellation of film heroes. As stated in "Ant-Man", his first independent film, he is an electrical engineer turned robber become superhero, without mythology, without natural power, without dramatic story told in the infinite. (Although Marvel relies on recycling, this may well be the case.) Above all, Ant-Man has a cool suit that allows him to reduce his size while having a superhuman strength and allows him to communicate with insects that obey him. . Sometimes he takes a ride on the back of a flying ant. It's a life.
This time, it is also fast, bright and airy, having already given up on the details of the story of the back. These were largely forgettable and implied that Scott steals the Ant-Man suit from his original owner, Dr. Hank Pym (Michael Douglas, back, smeared and amused), one of those awesome scientists who stirs the good guys and the bad problems in the Marvel world. Dr. Pym has a complicated story and a missing woman, Janet van Dyne (the reliable Mr.V. Michelle Pfeiffer), who factors in the story with their daughter, Hope (Evangeline Lilly, finding her groove). Hope has meanwhile a much improved haircut and, as the title announces, a much wider role as Wasp, the ideal partner of Ant-Man.
The sequel has the same director, Peyton Reed, a new. (The writers are Mr. Rudd, Chris McKenna, Erik Sommers, Andrew Barrer and Gabriel Ferrari.) Like everyone who has returned to work, Mr. Reed seems much happier to be here than last time, -because he is more responsible for having to present a Marvel movie brand or has managed to loosen the yoke of the company. Whatever happens, Mr. Reed, a veteran of comedy ("Bring It On"), manipulates new material, without constraint, with a generally light touch, so that for once a Marvel movie feels shorter than its running time (in this 118 minutes).
This lightness extends through "Ant-Man and Wasp", affecting not only what the characters say and do but how they interact. In too many superhero movies and especially suites, the characters do not talk to each other as much as to advance the story between big blocks of action. One kablooey brings another, and from time to time, as if to remind us of the pretty faces that accompany the costumes, the superheroes huddle together. They plot and they make jokes and then that's just a shot, boom, repeat. The hypothesis seems to be that because the public knows the franchise, it is not necessary to incorporate anything significant – something like life – that could distinguish or deepen its characters.
In part because Ant-Man is a modest champion. he needs a personality and not just powers to maintain the interest, especially for a sequel. The filmmakers give enough to Mr. Rudd to work: Scott has friends, worries, a pulse. He also has an equal and romantic sparring partner in Hope, and a kid who does not hurt your teeth (Abby Ryder Fortson as Cassie). Mr. Rudd could have rubbed his cute smile and natural allure, but he filled the character up successfully, giving Scott a relaxed suppleness – and a tongue-in-cheek that swings between innocence and stupidity – that keeps his heroism anchored and human.
It's funny how little things, like personality, can raise a movie. "Ant-Man and the Wasp" presents kinetic action sequences, but what makes it great is that Mr. Reed found how to maintain intimacy and privacy. # 39; playfulness of the film, even when the bodies and cars fly. He wants (needs) to impress you with special effects. But he seems even more attached to the absurdity of Ant-Man this time, to the dread and laughter that accompany this eminently skeptical superhero. Mr. Reed persuasively embraces Alice in Wonderland of History and also makes it a seamless piece with action sequences, as in a spiritual cooking fight that would make people laugh Claes Oldenburg .
As with many movies of this type, history is the least. There are villains, a few lines of action, the usual cliffhangers, some escapades and tirades of family melodrama. There is an office building that Dr. Pym shrinks to the waist and rolls, and a car chase through the streets of San Francisco that unfortunately does not involve Mr. Douglas, star of the television series of years. 1970 " The Streets Michael Peña, Randall Park, Walton Goggins, Judy Greer and Bobby Cannavale, among others, who, with talent and timing, help make things happen.Rudd and Mrs. Lilly go slowly, funny buggy [19659009] Ant-Man and Wasp
Filed PG-13 for light action film violence and reckless driving Duration: 1 hour 58 minutes.
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