PIN-UP TIME: EVANGELINE LILLY

 

PIN-UP TIME: EVANGELINE LILLY

 

PIN-UP TIME: EVANGELINE LILLY

 

PIN-UP TIME: EVANGELINE LILLY

An Alternate Reality/Time Travel Time: I saw Quantumania (Ant-Man 3)...

 

Big-screen, MCU Multiverse fun has resumed in the inner-dimensional (Phase 5) Ant-Man & The Wasp: Quantumania. 

The movie holds its own with previous submissions that have (co)featured Ant-Man (ersatz Giant-Man, when the need calls) and The Wasp, Paul Rudd's Scott Lang and Evangeline Lilly's Hope van Dyne. That means this chapter isn't afraid to fly when it comes to double-whammy humility and twofold determination. 

Directed by Peyton Reid, who ensured the affability of the prior Ant-Man movies, and written by Jeff (Rick and Morty) Loveness, this new outing teams our heroic couple with Kathryn Newton's Cassie, aka Stinger, their conscientious daughter, in a quandary that keeps the deceiving, time-tripping, Kang the Conqueror, Loki's eloquent Jonathan (Creed III) Majors, at the chaotic core, as he seeks to shackle every speck of space (and all related, tributary realities) to eradicate all versions of those who banished him.  

Michael Douglas' Ant-Man Sr., Hank Pym, and Michelle Pfeiffer's Wasp Sr., Janet van Dyne, dominate the throwback gaps (with Janet being most significant, since she knows the Quantum Realm so well). The devoted couple establishes a nice, congruent buzz for our wee, dynamic trio, but so does Corey Stoll's big-headed MODOK (the villain formerly known as Darren Cross/Yellowjacket); Bill Murray's duplicitous Lord Krylar; William Jackson Harper's brow-beaming telepath, Quaz; Katy O'Brien's jaded warrioress, Jentorra; and David Dastmalchian's gooey guide, Veb, who's aligned with other diverse and uncanny, Quantum people.

The fantastic voyage (get it?) zips with zealous zest, staying big even in its small parts, thanks to Reid's deft direction and Loveness' omniscient script, and like the earlier, Ant-Man movies, this one remains a concealed, heist picture, for Kang forces Lang to attain a coveted device to cement his contemptuous conquest.    

 

Despite its galactic grandeur (kaleidoscopic and often garish in a Tron-ish sorta way), Quantumania's twisting vibe never once depletes its wonderment, though it's a tad different this time, giving Lang more serious (i.e. parental) reins to grip. 

The notion of turning tiny to trek into a folded niche holds enormous appeal, enough to justify further exploration in another sequestered sector, beyond the obvious, upcoming Avengers romp, The Kang Dynasty. 

And if we're traveling that route, wouldn't it be nice if the movie's microscopic five met Scott Carey's The Incredible Shrinking Man down the line? It shouldn't be too hard to arrange. The Hulk is Universal-based and Spider-man, Sony/Tristar-sprung, both mingling with other MCU icons (like Paramount's Captain America, Iron Man and Thor), all under the Disney banner (skewed though the brand may be these polarizing days). On this basis, inserting Universal's '50s science-fiction mythology into the saga would click without a hitch, and while the going is good, hire Richard Christian Matheson to develop the story. Now, that could birth the most exciting, inner-space, generational crossover (for)ever conceived!  

I saw Ant-Man and the Wasp...

Like most Marvel Avengers fans, I've been ant-icipating "Ant-Man and the Wasp", since the initial chapter proved so fun and fulfilling. Paul Rudd's performance as Scott Lang in "Captain America: Civil War" furthered that enchantment, giving humor and reasonable, realistic gusto (even if Peter Parker did curb it) to the daunting goal at hand.

Directed by "Ant-Man'"s Peyton Reed and scripted by Andrew Barrer; Gabriel Ferrari; Chris McKenna; Erik Sommers; and Rudd, "Ant-Man and the Wasp" reunites Lang with his primary friends and family: Michael Douglas' Dr. Hank Pym (the original Ant-Man and once S.H.I.E.L.D. agent); Evangeline "Real Steel" Lilly's Hope van Dyne (Pym's daughter and the current Wasp); Michael Pena's comedic Luis; Judy Greer's gleeful Maggie (Lang's ex); Bobby Cannavale's responsible Jim Paxton; and Abby Ryder Fortson's Cassie, Lang's supportive daughter. 

They're joined by Laurence Fishburne's Bill Foster (also a former S.H.I.E.L.D. agent and ex-Goliath Project lead); Michelle "Batman Returns" Pfeiffer's Janet van Dyne (Mrs. Pym and original Wasp); Randall Park's magic-loving Jimmy Woo; and on the villainous side, Walton "Tomb Raider" Goggin's shifty Sonny Burch and Hannah John-Kamen's Ava Foster, the stealthy, white-armored Ghost.

Though the plot is bracketed by Pym's search for his long-lost wife, Ghost (a Marvel male by printed tradition and long ago, an Iron Man foe) is the consuming catalyst, who possesses the perplexing power of passing through solids (a clever concept lifted from Jack H. Harris/Irvin Yeaworth's 1959 classic, "4D Man"). The vixen's terminal goal is to stop her disintegration: a matter indirectly linked to Pym's experimentation. As such, the covert inventor dispatches Ant-Man and the Wasp to settle the escalating, crossover concern.  

The sometimes ungainly but indefatigable Lang makes good use of his dynamic companion through the two-fold mission. Though Wasp doesn't mimic Lang's amazing, colossal size, she can miniaturize and does possess the speedy advantage of wings, which allow her to dart deftly among the trickiest nooks and crannies. But even such wily leverage isn't enough to trip the slippery Ghost, let alone Burch's mobster brawn. 

The emerging problems leave Luis and his buddies, Kurt (Dave Dastmachian) and Dave (T.I.), to aid in the time-sensitive goal. Their efforts and antics liven things up, but none of it ever grows so unrealistic or excessive to obstruct the traction, which is bridged by colorful, scientific exploration.

Nonetheless, a wide range of dry and slapstick humor weaves throughout the plot's phases and due to the participants' credible charm, succeeds. On all counts (and despite their disconcerting circumstances and elusive, high-tech hardware) these are likable, approachable people. Heck, even Ghost is identifiable in her own, tragic way. 

The relationship between Ant-Man and the Wasp is most important, however (the glue that binds the membership), for though the couple can be sometimes contentious (in a Tony Stark/Pepper Potts manner), they're willing to watch/protect each other's backs and therefore, establish a valuable example for others (particularly the audience) to follow. 

Also, that Hope/Lilly projects above-average looks (whether in common or costumed gear) hastens the obliging, sexual tension. In other words, the Wasp more than holds her own with any live-action, comic-book goddess, even if she remains more terrestrial than otherworldly. 

It's refreshing, too, to experience an Avengers film that feels compact (pun intended), and I don't mean in length, but rather in structure and story complexity. Coming off the heels of the layered "Black Panther" and "Infinity War: Part I", this was a sensible move. (A little diversion--again, pun intended--is always welcome, even when relegated to the same, mythological universe.) On the other hand, "Ant-Man and the Wasp" delivers an impressive, transmuting punch within its modest context, explicating terrific teamwork and fantastic feats that not even "Incredibles 2" could achieve. (In fact, one might argue that "Ant-Man and the Wasp" is the film that "Incredibles 2" aspired to be.)

Shed those irrational concerns of superhero fatigue. You'll be mighty pleased with this one and beyond a doubt, buzz away charged for a third entry. But let's hope that in light of Marvel's massive, movie agenda, the lively Lang and his gang don't remain in hiatus too long, but then, with "Infinity War: Part II" right round the bend, why worry?

I saw Ant-Man...

Peyton Reed's "Ant-Man"is the latest in an expanding tapestry of interlocking Avengers films. In fact, it sets forth a new phase for the powerhouse franchise by being both different and yet in tune with previous chapters. 

In actuality, "Ant-Man" (per Edgar Wright, Joe Cornish, Adam McKay and Paul Rudd's script) is an overlap of two superhero legends, incorporating both men who have filled the alias' space over the years. In this respect, the film offers us the scientist who started it all, Hank Pym (Michael Douglas), and Scott Lang (Paul Rudd), a former burglary convict whom Pym helps modify toward greatness. It's Lang who becomes the focus; however, Pym's presence is perpetually felt, which should satisfy those loyal to the superhero's source.

In a broader sense,"Ant-Man" is a heist/caper yarn (the aim: to sabotage high-tech information from a bad guy) and more so, a redemption tale for its two principles. From out this, we learn that Pym hid his impervious, miniaturization suit in fear that it might fall into the wrong hands; Lang, on the other hand, is a once aspiring electrical engineering with a nagging conscience, who discovers the wearable device during a safe-cracking theft, staged as a test by Pym.  

In addition to possessing the remarkable suit, Lang has a supportive team, part of which is formed in advance Pym's entrance. This wannabe SHIELD unit consists of Dave (Tip "T.I." Harris); Kurt (David Dastmalchian) and the happy-go-whistlin' Luis (Michael Pena in an amusing, down-to-earth part). The trio makes an offbeat combination, but jive perfectly with Lang's off-kilter circumstance, lightening the story, which maintains a cheerful tone even when Lang must face the awkward dynamic of his ex, his daughter and her new husband (played by Judy Greer, Abby Rider Fortson and Bobby Cannavale). 

More than any other supporting character, Pym's resourceful daughter, Hope Van Dyne (Evangeline Lilly), keeps the film anchored, establishing herself as essential in the mission's success. (However, for those familiar with the mythology, a nagging question remains: when precisely in the Marvel franchise will she officially suit up as the legendary Wasp?)

Opposing the good guys is Darren Cross (Corey Stoll), a Pym protege, who thirsts for power as the equally miniaturized Yellowjacket. It's through Cross' Hydra-blinded course that Lang becomes an underdog to cheer on, especially when he breaks into Pym's old company with his faithful ant army to spoil Cross' plans. There's also a stunning brawl between Ant-Man and Yellowjacket on a train set, supported by clever cuts that grant awe-inspiring perspectives. 

"Ant-Man" actually excels in all of its diminutive escapades. It's not just a cute "Honey, I Shrunk the Kids" (not that there's anything wrong with that), but to its benefit, recalls such edgier splendors as "Attack of the Puppet People"; "Devil-doll '35"; "Dr. Cyclops"; "Fantastic Voyage"; "The Incredible Shrinking Man" and even such "growth" films as "Amazing Colossal Man" and "Village of the Giants" (the latter two potential blueprints for Giant-Man's entrance, but that's another story for another time).

To strengthen its connections to previous Marvel movies, "Ant-Man" also lets us revisit old friends, including a special appearance by Anthony Mackie's Falcon, which occurs when Ant-Man must "borrow" equipment from the Avengers headquarters. We're also treated to cameos by John Slattery as Howard Stark and Hayley Atwell as Peggy Carter. These popular characters remind us that Ant-Man will be (and has always been) a part of Marvel's legacy, solidifying the movie's essential spot in a growing cinematic universe, set to continue in "Captain America: Civil War". 

On the whole, "Ant-Man" is a great way to spend one's time and a swell way to get the legend (and the men behind the outfit) into the Marvel/Disney landscape. It's where the tiny titan should have been from the start. Better late than never, though, and considering how well this one turned out, perhaps it's a blessing that those who made it had the right vision (and ample time) to bring it to astonishing realization.