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Is there such a thing as too many superhero movies, or is a reasonable cadence around four or five per year? Looking back, it’s interesting to remember a time when the genre was scarce. Back then, superhero entertainment largely consisted of Superman: The Movie and the Hulk TV series. There was also a rather cheesy Spider-Man TV series that held nostalgic appeal, but doesn’t hold up well today. Animated offerings were available, but the quality was often lacking. Then, in 2008, Iron Man premiered, ushering in a decade of near-constant superhero film releases. These films not only featured familiar heroes but also introduced a range of lesser-known characters. Prior to the previous film, my knowledge of Ant-Man was limited. The initial announcement of Edgar Wright as writer and director generated considerable excitement. However, his departure due to creative differences with Marvel, and the subsequent appointment of Payton Reed, led to some uncertainty. Ultimately, the film proved to be surprisingly strong and remains a standout within the Marvel Cinematic Universe. Consequently, expectations were high for the sequel.
Scott Lang (Paul Rudd) is under house arrest for violating his parole by assisting Captain America during the events of Civil War. He is confined by an ankle monitor with only three days remaining before his freedom is restored. One night, he experiences a peculiar vision related to his subatomic experience at the end of the first film. He contacts Hank Pym (Michael Douglas), with whom he hasn’t communicated since the theft of the Ant-Man suit and the subsequent escapade in Europe. It quickly becomes apparent that his final days of confinement will be anything but uneventful.
The film’s plot presents a paradox, serving as both its strength and its weakness. The narrative is ambitious, potentially leaving viewers unfamiliar with the first Ant-Man film at a disadvantage. While the story provides some context, a complete understanding requires prior viewing. To avoid spoilers, I will refrain from divulging specific plot details that are best experienced firsthand. However, I will note that the film lacks a clearly defined central antagonist. Several characters vie for the same McGuffin (a plot device that drives the narrative forward), but a singular, compelling villain is absent. In the previous film, the antagonist’s identity and the associated threat were unambiguous. Here, the moral landscape is more nuanced.
The humor remains a significant strength. The film employs rapid-fire wit and subverts established tropes in inventive ways, generating genuine amusement. The action sequences are cleverly designed, effectively utilizing the size-shifting mechanics in engaging ways that avoid simple repetition of the first film’s gags. However, the screenwriters have seemingly disregarded the established physics regarding density and weight while miniaturized or enlarged. This leads to some inconsistencies; vehicles may exhibit the weight of toys one moment, only to plow through objects the next; and buildings can be casually carried as if they were shopping bags. These moments, while inventive and entertaining, lack realism. However, the audience’s investment in the established world allows for these inconsistencies to be readily forgiven.
Paul Rudd might not be the quintessential superhero at first glance. While Tobey Maguire also defied expectations when cast as Spider-Man, Rudd embodies the role of Ant-Man with exceptional skill. He possesses the necessary humor, charisma, and physique to convincingly portray a superhero. His performance is exemplary.
Evangeline Lilly, introduced in the first film, assumes a more prominent role in this installment, solidifying her presence within the Marvel Universe as the superhero Wasp. Lilly’s breakthrough role in Lost paved the way for a successful and enjoyable career.
Michael Douglas delivers a similarly excellent performance as Hank Pym, the former Ant-Man, portraying him as a somewhat unsympathetic figure (though arguably more sympathetic than his comic book counterpart). Douglas’s portrayal is perfectly nuanced. He is given more screen time in this film, and in typical Marvel fashion, a younger version of his character is featured at the beginning. The advancements in de-aging technology are truly remarkable.
Turning to the film’s “villains,” we first encounter Ghost, played by Hannah John-Kamen, previously seen in Ready Player One. She delivers a solid performance as Ava, a phase-shifting character seeking a solution to her impending removal from reality. However, as previously mentioned, she doesn’t fully embody the role of an antagonist, despite being positioned as such. Her motivations are understandable, and while she creates complications for the heroes, they never appear to be in genuine mortal danger.
Then there is the shady businessman Sonny Burch, portrayed by Walton Goggins. Goggins is entertaining and humorous but never projects a sense of genuine menace. While his character is threatening, a scene where Wasp lies prone in front of his vehicle demonstrates his reluctance to inflict serious harm, as he politely swerves to avoid her.
The supporting characters from the previous film, led by Micheal Peña, return, providing amusement but teetering on the edge of becoming irritating.
Special mention should be given to Abby Ryder Fortson, who plays Scott Lang’s daughter, Cassie. Her interactions with Paul Rudd are genuinely heartwarming, and their on-screen relationship feels authentic.
In summary, this film offers a highly enjoyable cinematic experience, serving as a worthy sequel to the original. The elements that resonated in the first film are preserved in this installment. As previously stated, the absence of a compelling villain is a notable drawback. However, the inventive action sequences and humorous moments, such as the Pez dispenser crushing vehicles and the ants playing drums, readily compensate for this deficiency. Furthermore, I have deliberately omitted mentioning two significant roles to preserve an element of surprise for those who have yet to see the film…
