In a world where we can (probably) download images of what Chris Evans ate for lunch during Captain America: Winter Soldier, it probably comes as no surprise that the pre-production problems of Ant-Man are well known. Kinetic director Edgar Wright (The World’s End) had been working on fleshing out the diminutive superhero since closing up shop on Spaced. Cut to 2011 and it’s announced that Wright will be working with Marvel to get Scott Lang out to the public. And then 2014 rocked by and the much-rumoured ‘creative differences’ between wright and Marvel comes to a head when Wright allegedly walks weeks before shooting, unhappy with certain changes. And just as suddenly, Peyton Reed was locked in to take the helm.
Taking into account the history, it wouldn’t have been surprising if the film turned out to be an omni-shambles of design by committee. Instead, Ant-Man manages to do something fresh with what is essentially the tired origin trope. Paul Rudd is Scott Lang, an electrical engineer and common thief. He roommates with three fellow ex-cons and has restricted access to his daughter. Scott wants to be straight, but is convinced to take one last job. Leading him to be taken under the wing of Hank Pym (Michael Douglas), who convinces Scott to work for him and steal a top-secret project from Darren Cross (Corey Stoll), Pym’s protégé who is wandering dangerously close to the dark side. To help Scott with his mission, Pym trains him to be Ant-Man; a diminutive superhero with all the force of a bullet.
Ant-Man is not your usual superhero movie, as the above shows. It’s more akin to a heist movie with Pym and Scott working together to develop and hone his skills as Ant-Man. Along the way, Pym struggles in his relationship with his daughter, Hope (Evangeline Lilly). Hope, infinitely more skilled than Scott, wants to don the Ant-Man suit herself and most of the conflict comes from her trying to understand why her father is so adamant not to allow her. These scenes are surprisingly effective, with the success coming from both actors treating the material truthfully and honestly whilst Rudd bounces around in the background providing the comic relief.
Rumours persist that Wright was unhappy with the rewrite of his and Joe Cornish’s script, wanting to keep his film at arm’s length from the juggernaut that is the Marvel Cinematic Universe. How much of that is true is unknown. However, there are numerous cameos storylines that carry on from Marvel’s properties, including a cameo from Iron Man 2. Unless you’re an avid Marvel fan, none of these will particularly affect your understanding of the narrative and all will have a good time.
Ant-Man’s real issues come from racial profiling that sees all minorities either wise-crackers or safecrackers. It’s not overly offensive, but it is a little problematic. In addition, Judy Greer is entirely wasted as Scott’s ex-wife. Even when her daughter is in danger during a climatic moment of the film, its both her ex and her new husband that do the protecting. If you’re going to use an actor from Arrested Development and Archer, we want more from her than scolding Scott and being scared.
That aside, with excellent effects, witty wordplay and charismatic screen presence by all those involved, Ant-Man manages to punch above it’s own weight. It’s not quite Guardians of the Galaxy, but it’s nowhere near as pedestrian as Thor 2. It’s another win for Marvel.
Early Bird Film Society 