Ant-Man, the newest opus from Marvel Films, had a troubled birth. Originally envisioned as a tale entirely disconnected with the bigger Marvel cinematic universe, auteur Edgar Wright (Shaun of the Dead, etc) increasingly bumped up against TPTB at Marvel and eventually fled the project (with some, like fellow creator Joss Whedon protesting openly). Even though oncoming director Peyton Reed, a talented, sharp director known for Bring It On as well as the star, comic actor Paul Rudd (Scott Lang, the Ant-Man) did some adjustments, the ghost of Edgar Wright remains in the film's feel and sensibilities. Which is good, because Wright is one of my favorite directors, and his stylistic and storytelling hooks are unmistakable. Such wrangling behind the scenes has destroyed many a project, though, and that was the fear, that the persistent "creative differences" would claim one more victim and score the first real wound to the Marvel Cinematic U.
However, with consistently good reviews, word of mouth and a certified fresh rating from Rotten Tomatoes, Ant-Man has seemingly defied the odds and managed to turn in both a good movie in its own right and add another chapter and dimension to the Marvel Movie Universe that people will be happy to refer back to. Its 58+million box office take in its opening weekend is considered relatively modest for a Marvel film, though still respectable. Having taken number one at the box office, however, in addition to doing equally well overseas, from its troubled origins with a very obscure character to what appears to be the rumblings of great word of mouth, Ant-Man, for it's hero's short stature, will probably have some really long legs.
Again, I have to admit that these films are talking to both the fanboy comic guy in me as well as the kid, because I know these characters in depth and have been following them since my age was in the single digits. I'm quite familiar with the tiny, giant adventures of Hank Pym (played in the film by Michael Douglas), Scott Lang (Paul Rudd) and all the various ants brought on board the film. In fact, I eagerly awaited the Marvel cinematic universe getting to these characters. I wondered how they were going to touch on it, as the Marvel originals do touch on some dark topics and convoluted ties to Marvel esoterica (Hank Pym is brilliant, but was also at times unstable, abusing his wife, Janet Van Dyne and unwise projects like the creation of Ultron, he had a mad scientist aspect to him). Most of this, they slyly referenced or deftly breezed over, leaving it for later reference as circumstances permit. But one essential element they had to address is Janet Van Dyne, Janet Pym, the "air headed heiress", the Wasp. In the film, she is shown briefly, and is explained as missing and presumed dead, having gone "quantum" in one heroic instance of miniaturization. She left Hank with a daughter, Hope, who strongly favors the comic depictions of her mother. At first, the relationship between Hank and Hope is shown as strained, with lots of unresolved baggage.
In comes Scott Lang, engineer and ex-con who needs a break. Hank is willing to give him that break, a mission to secure his "Pym Particle" technology, which is what makes his miniaturization powers possible. In a series of training montages where Hank and Hope teach Scott how to punch, talk to ants and use the miniaturization technology, Scott runs through keyholes, teaches ants to juggle pennies and briefly tangles with one of the Avengers in the build up to the break in at Pym's old corporate HQ and confrontation with Hank's former protoge' turned megalomaniac, Darren Cross and the Yellowjacket suit.
It is a heist film with superheroic hijinks. It is a peek into another obscure character and one of the other mysterious otherrealms of the Marvel universe, in this case, the Microverse. It is a film that manages to be better, much better, than it probably has a right to be.
Geektastic. Go see it.
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