Ant-Man and the Wasp (2018)

2018 #247
Peyton Reed | 118 mins | Blu-ray (3D) | 2.39:1 + 1.90:1 | USA / English | 12 / PG-13

Ant-Man and the Wasp

After the huge (in every respect) Avengers: Infinity War, the comically-minded Ant-Man and the Wasp feels like a palate cleanser for the MCU; a bit of light entertainment to help smooth the long gap between the Avengers film’s devastating cliffhanger and 2019’s double whammy of Captain Marvel (trailer today!) and Avengers 4 (trailer Wednesday!) Some people didn’t take too kindly to the ‘abrupt’ tonal swing (they’re completely separate movies, so that’s a pretty daft complaint to have, frankly), but I thought this sequel was a ton of fun.

It actually takes place before Infinity War anyhow: Scott Lang (Paul Rudd), aka Ant-Man, is finally coming to the end of two years of house arrest, his punishment for being involved in the events of Civil War. He’s also been forbidden from contacting the inventor of the Ant-Man suit, Dr Hank Pym (Michael Douglas), or his daughter, Hope Van Dyne (Evangeline Lilly), who are wanted fugitives; but when Scott has a vision of Hank’s wife and Hope’s mother, Janet (Michelle Pfeiffer), from his trip to the Quantum Realm (see the first Ant-Man), he becomes involved in Hope and Hank’s attempt to travel their and rescue Janet. Along the way they also have to deal with black market dealer Sonny Burch (Walton Goggins), who wants to monetise the tech he’s been helping them build, and a mysterious masked figure known as Ghost (Hannah John-Kamen), who can phase through solid objects and is trying to steal said new tech.

The Wasp and Ant-Man

Got all that? I haven’t even touched on some of the other subplots that get thrown in for good measure. For something that’s clearly been designed as a light romp, Ant-Man and the Wasp certainly has a lot of plot going on. That might be part of what keeps it romp-y, mind: with so much to get through, there’s always something happening, it’s always pushing forward. It arguably gets a bit bogged down having to line everything up in the middle, with some scenes that lean a little heavily on exposition, but it always finds time for a gag or two. Personally, I’ll let quite a lot slide if I’m having fun, and this keeps the fun quotient high throughout.

Entertainment is definitely the name of the game here, and to that end director Peyton Reed and the five credited screenwriters (including star Paul Rudd) set out to tickle various emotional responses. The most obvious one is, as mentioned, the funny — there are laugh-out-loud moments here, as well as a never-ending barrage of one-liners and comedic business. But it also takes time to be emotive and heartfelt. Scott’s relationship with his daughter (a charming and likeable performance by young Abby Ryder Fortson) is a major character point, and a key touchstone for a definite parent/child theme across the movie. What we might actually ‘learn’ about parent/child relationships from all this, I don’t know, but it feeds some surprisingly heartwarming material at times.

But which is the parent and which is the child?

Thirdly, there are thrills in the shape of multiple fantastic action sequences. Hope dons the Wasp suit — all the powers of Ant-Man, plus wings and blasters — shrinking and growing at speed to kick plenty of ass, though Ghost’s ability to just phase through objects presents a unique challenge. There’s a heist sequence, too, recalling the overall theme of the first movie… though as it’s in a primary school and occurs while Scott’s suit is malfunctioning, it’s played more for laughs. Well, so’s almost everything in this movie, but it works. Best of them all is the extended car chase finale, with the good guys’ size-changing vehicles used for some highly inventive antics, plus all sorts of other goings-on in a race with multiple pursuers. I’ve seen some criticise this part for going on too long, but I thought it was just right, and is a strong contender to be remembered as an all-timer chase sequence.

Often when I watch stuff in 3D nowadays I don’t actually mention it in my reviews — I still enjoy the experience more often than not (some stuff underwhelms, naturally), but I know most people don’t have the option and, frankly, it’s rarely essential. Well, the 3D probably isn’t essential here either, but it is superb, really adding to the scale and impact of the big scenes — when things are switching sizes all over the place, that’s no bad thing. Plus it’s clearly effective in just regular moments, too: the film’s opening shot is just of a house, but the dimensionality is still palpable. Top work by whoever did the post-conversion.

Plus, the 3D Blu-ray comes with the benefit of the film’s shifting IMAX ratio, where the frame expands upwards from 2.39:1 to 1.90:1 for certain scenes. This is commonplace for Marvel films nowadays, which means sometimes it seems to occur just for the sake of it, but Reed has put the effort in to make great use of the larger image. Okay, it’s no surprise that it’s used for the action scenes (including opening up for a whole half-hour-or-so at the film’s climax), but he’s mindful of the transitions between ratios and the effect that can have — at least twice the actual moment the film moves from one ratio to another is as effective as the bigger image itself. Some people hate shifting aspect ratios on Blu-rays, I know, but I love ’em, and this is a great example of why.

Ant-Man will return... but will anybody else?

In the year of Black Panther and Infinity War, the relatively frothy Ant-Man and the Wasp was always destined to be “the other one”. But just because it’s not Big or Meaningful doesn’t mean it has no merit. Far from it. Whether you want to view it as a palate cleansing instalment of the MCU or as a standalone adventure, I think it’s pitched almost perfectly as a fun, entertaining ride of a movie.

The first Ant-Man is, to date, the only MCU film to make it onto one of my year-end best-of lists. The way things have gone in 2018, I won’t be surprised if this sequel is the fourth.

4 out of 5

Ant-Man and the Wasp is out on DVD and Blu-ray (regular, 3D, and 4K UHD flavours) in the UK today.

2015 In Retrospect

2015 was, as I’m sure you’ve gathered, the largest ever year of 100 Films — or 200 Films in a Year, as it’s currently known. For 2015 only, I think, because I have no intention of trying to replicate that feat next year (see here for more on that topic).

How better to finally wrap up a year than with a look at the best and worst, right? As always, my picks are not culled from films freshly released in 2015, but from this list of my personal viewing. (For what it’s worth, that list includes 22 releases from 2015, as well as 37 from 2014, some of which others would count as 2015 titles… and some of them have indeed made my best-of list.)

You can also vote for your favourites from my pick, and find out which 50 most noteworthy new films I didn’t see. There might be a few surprise along the way, too.

So without further ado…



The Five Worst Films I Saw For the First Time in 2015

In alphabetical order…

Avengers Confidential: Black Widow & Punisher
Marvel may dominate the live-action superhero arena right now, but DC has the edge in animation — and work like this is going to do nothing to change that. An uninteresting story that’s blandly told in every regard, this is a total waste of time.

Blitz
There are a lot of very, very good actors in this Jason Statham vehicle, but it’s a terrible film that’s even below standard for the star, let alone his supporting cast. So bad it feels like a spoof, there is no good reason for anyone to watch this movie.

Jack the Giant Slayer
X-Men’s Bryan Singer is the latest filmmaker to take a fairytale and give it the Lord of the Rings treatment. That formula doesn’t work here, unfortunately. The result is a flat, cheap-looking, overlong bore. Another waste of good talent.

Parabellum
Alfred Hitchcock once said that “movies are real life with the boring parts cut out.” I guess this isn’t a movie, then, because it’s not real life and it’s boring as can be. My least enjoyable viewing experience this year.

Runner Runner
Again, talented stars (Ben Affleck, Gemma Arterton) slum it in a poorly-constructed thriller with no thrills. That it’s from the director of The Lincoln Lawyer, an excellent thriller that made my top ten a couple of years ago, only makes matters worse.



The Ten 20 Best Films I Saw For the First Time in 2015

Given the extraordinary personal achievement in my viewing this year — doubling my titular goal — I’ve decided to also double my year-end top ten. It seemed appropriate.

Obviously I haven’t done such a percentage-related increase (or reduction) of my list before now, but then no previous year has seen quite so remarkable a change in my viewing total. In other (smaller) years, these additional films may well have made the cut, so this is a way of giving them their due. (Besides which, my list is numbered, so you can ignore #20 to #11 if you want.)

Final point: although this list isn’t limited to 2015 releases, there are six included, so I’ve noted their ‘2015 rank’ too.

2015 #6 After all the behind-the-scenes kerfuffle, Ant-Man probably had the lowest audience expectations for any Marvel Studios movie since Iron Man. Perhaps that’s what allowed it to become the mostly purely entertaining Marvel movie since Iron Man, too.

The Mission series here reconfigures itself as the modern equivalent to classic Bond, washing down espionage thrills with gadgets and humour. The result is fantastically enjoyable, and only so low on this list because of a certain other film a bit higher up…

John Cusack and Minnie Driver have never been more likeable as a guy and the prom date he jilted, brought back together by their high school reunion. Oh, and he’s now a hitman, in town on a job. Consitently funny, this is first-rate action-comedy entertainment.

An idiosyncratic crime drama from writer-director Jim Jarmusch, Ghost Dog stands alongside the otherwise-peerless Léon as a hitman movie that may not deliver enough action thrills for some, but is seeped in distinctive qualities of its own.

Martin Scorsese’s best-regarded works may hew towards the mainstream-intellectual, but here he sets his sights on genre material — specifically, a psychological mystery thriller — and produces a corker. Heavily Gothic in tone, it’s the first of several such films on this list.

A British-made India-set ‘Western’, this beautifully shot Boy’s Own adventure is rollicking old-fashioned entertainment from start to finish. It’s buoyed further by a cast of top-drawer British character actors, topped off with Kenneth More and Lauren Bacall. Magnificent.

One of the most acclaimed films of all time — if we’re talking “the history of cinema”, it’s certainly more important than anything else on this list. Almost 90 years old, it remains surprisingly accessible to modern eyes. An exceptionally affecting experience.

2015 #5 In a year overloaded with spy thrillers, this Bond pastiche stood out by, a) getting in early (it was released last January in the UK), and b) being a helluva lot of fun. Thematically questionable it may be, but the filmmaking verve is a joy to behold.

2015 #4 2015’s highest grossing film, this sequel/reboot of the beloved franchise has proved somewhat divisive. It certainly has flaws in characters and plot, but director Colin Trevorrow has bottled genuine Spielbergian awe and wonder, and that counts for a lot.

If this were only a top ten, I’d’ve slipped this in higher up, as much to recommend it as anything. In many respects it’s a familiar mismatched-people-fall-in-love rom-com (hence why its position dropped), but the uncommon melancholic tone makes it feel unique.

I’d wager it’s impossible to describe a Wes Anderson film without recourse to words like “quirky” and “unique”, both wholly apt epithets for The Grand Budapest Hotel, naturally. Others include hilarious, clever, inventive, controlled, and delightful. The last may be the most appropriate of all: this is a film full of delights, from the performances, to the dialogue, to the locations, to the design, to the camerawork. Anderson is the kind of filmmaker who has a cult following, which can sometimes be a bad omen. Based on this evidence, his fandom might just have the right idea.

2015 #3 There has been an awakening — have you felt it? Well, of course you have. Everyone outside of China has. Half of them twice. The J.J. Abrams-led return to a galaxy far, far away may have received a mixed reception, due to it essentially being the cinematic equivalent of a greatest-hits cover album, dealing in nostalgia more than it does originality… but it’s clearly been made by fans with an eye to crafting something that’s both enjoyable and recognisably Star Wars-y — two balls the prequel trilogy less dropped, more hurled to the ground. It’s a thrilling adventure with likeable new characters and, in my opinion, interesting new villains. There’s scope for the makers of Episodes VIII and IX to produce something even better off the back of this, and that’s exciting.

Terry Gilliam’s 1984 for 1985 is set in a dystopian Britain almost as bad as our current one, where mindless, faceless bureaucracy rules the day. It’s the kind of film where a typo can lead to a man’s death; where Jonathan Pryce fantasises about being a sword-wielding angel fighting a giant silver samurai; and where Robert De Niro turns up as a terrorist plumber. You know, if Wes Anderson is “quirky” and “unique”, I don’t think we’ve yet invented words to describe Terry Gilliam…

I promised you more Gothic and here it is. Director Chan-wook Park places 7th on my top ten for the second year in a row with this dark psychological thriller about a reclusive teenage girl who meets her uncle for the first time when he comes to stay following her father’s death. He’s charming, but mysterious — what are the secrets that everyone seems to know but her? Dripping with style and atmosphere, Stoker is a feast for the eyes and ears; a beguiling, sensuous, classically Gothic thriller.

2015 #2 Director George Miller returns to the Mad Max series after a 30-year hiatus for the stand-out action movie of… well, “the year” seems to undersell it. Once upon a time he was bold enough to make a chase the entire third act of a film; now, the chase is the entire movie. This is action filmmaking elevated to a genuine art form — literally, if the award season buzz is anything to go by. While the done-for-real stunts are busy boggling your mind, there slips by a story that’s surprisingly rich in theme and character. It gives added weight to a type of storytelling that could only be achieved on film — there’s a reason Miller started with a storyboard and only bothered to write a screenplay when the studio insisted.

A third dose of Gothic now, this time with a heavier dose of the “horror” element that’s so often attached to the term. Gemma Arterton and Saoirse Ronan are mother-and-daughter vampires on the run, hiding out in a seedy seaside town, where Ronan tries to lead some kind of normal life as a perma-teen while her mother’s busy doing what she’s always done: whoring. These vampires aren’t glamorous or sparkly, but damaged and discarded. Byzantium is not a very popular film, but its tarnished charms and fatalistic stylings, powered by two strong central performances and atmospheric direction, made me love it.

Selecting these 20 films was tough, then putting them in order was just as hard, but one thing was a lock from the start: these are my top four films I saw in 2015. The only question was the order they went in, which on another day may have been completely different — any one of them could’ve been #1. This little-seen documentary (Channel 4 premiered it in the middle of the night a few months ago, although it’s available on YouTube) takes us to a small, poor town in India where the locals make their own movies, and they’re a roaring success. It’s an inspirational film about living your dreams even when the world won’t let you, though undercurrents of reality stop it from becoming too tweely self-congratulatory. I’m not overstating it when I say I believe this is an absolute must-see for any lover of film, and probably a good many people besides.

I feel like I’m being in some way Awkward with many of this year’s choices, because there’s a notable strand of films that aren’t particularly well regarded by viewers en masse (see: #11, #7, #5, now #3). Well, I’m not being awkward, dear reader: I loved all of them, and I loved this one most of all. Like several of those others, it crafts a unique mood with lashings of style, in this case inspired by ’80s movies and music. Dan Stevens is a mysterious ex-soldier who enters a family’s life and brings a load of trouble in his wake, but is he (anti-)hero or villain? Even by the end, you might not be sure. Witty, exciting, stylish, idiosyncratic, this is one guest I want to stay forever. (Sorry — it seems I can’t end any piece about this film without a terrible pun.)

34 years before Fury Road, there was The Road Warrior. A post-apocalyptic Australian Western, it sees Mel Gibson’s titular drifter drafted into defending an oil-rich community from a violent gang of fetish-attired marauders. While the film has much to offer throughout, the real joy is the third act: a balls-to-the-wall multi-vehicle chase, as Max and co attempt to escape in a heavily-armoured oil tanker and the gang give chase in a fleet of vehicles. Maybe it’s not as slick or extravagant as Fury Road, but it was done without a lick of CGI (for all Fury Road’s “done for real” claims, there’s an awful lot of computer work across that movie) and that added tangibility gives it the edge for me. Not to mention that it did it first — without Mad Max 2, we wouldn’t even have Fury Road.

2015 #1 Not as life-affirming as Supermen of Malegaon. Not as stylish as The Guest. Not as groundbreaking as Mad Max 2. Certainly not as ‘significant’ as a host of films further down this list. But from the moment the familiar beats of the famous theme tune begin to pulse over the company idents at the top of the movie, Rogue Nation engages you in a perfectly-crafted entertainment. It delivers sequence after sequence of finely-tuned action-thriller excitement, both from Tom Cruise’s crazy stuntwork and writer-director Christopher McQuarrie’s Hitchcockian control of espionage scenes. The plot may only be solid rather than any great shakes, but it’s supported by likeable heroes, a menacing villain, and well-pitched humour. It’s all topped off with Rebecca Ferguson, who could hold her own in a stand-off with Daisy Ridley and Charlize Theron for 2015’s most kick-ass heroine. Mission perfected.


As ever, I welcome your opinion on my top ten — not just in the comments section, but also in the form of a lovely poll. Multiple selections are allowed, so feel free to pick several favourites.

And if you feel I’ve made an unforgivable omission, I welcome your scathing criticisms in the comments.


Despite doubling the size of my selection, this was still a really, really tough year for picking favourites. Competition was harder than ever, not just because I watched 200 films (47% more than even my next biggest year) but because I made a conscious effort to watch fewer time-killers and more things I’d really been intending to see. As a result, films that I enjoyed immensely or admired intensely fell by the wayside, leaving several big guns to duke it out for the limited slots.

As if doubling my top ten wasn’t enough, the tightly-fought race got stuck for a while at 30 titles. The closest to making it in was my 1,000th film, Mark Cousin’s epic 15-hour documentary The Story of Film: An Odyssey (so epic that my review draft is still in the form of 4,300 words of notes). It hurt to leave it out, but something had to go. The remainder of those 30 (which I guess would be #22 to #30, then) were, in alphabetical order, The Babadook, Gone Girl, High Noon, Looper, Paddington, Scanners, Spectre, Stranger by the Lake, and Wings. In most other years, any of those could’ve found themselves comfortably in my top ten.

I can’t end this without mentioning the 38 films that earned themselves 5-star ratings this year. 17 of them made it into the top 20 — I won’t list those again, so you can go find the three four-star imposters for yourself (clue: they’re right at the end… or start, in the order I’ve written it). The remaining 21 five-starers were Argo, The Babadook, Boyhood, Boyz n the Hood, Dreams of a Life, Filmed in Supermarionation, Fury, The General, The Girl with the Dragon Tattoo, Gone Girl, High Noon, Interstellar, Looper, The Philadelphia Story, sex, lies, and videotape, Shallow Grave, The Story of Film: An Odyssey, Stranger by the Lake, Whiplash, Wings, and The Wrestler. Reading through those again, there are several I feel should’ve been in my top 30… or 20… but what would I take out in their place? This year’s been too good, clearly.

Finally, on the same topic, there was one five-starer from each of my additional kinds of reviews (I love it when that happens — so neat). They were: non-list review 2001: A Space Odyssey, extended cut X-Men: Days of Future Past – The Rogue Cut, and short Feast.


Naturally, there were a considerable number of notable releases this year that I’ve yet to see. In my annual tradition, here’s an alphabetical list of 50 films — chosen for a variety of reasons, from box office success to critical acclaim via simple notoriety — that were released in 2015 and that I’ve not seen.

As is so often the case, it’s a funny old mix, because there were some films that seemed too ‘significant’ to leave out. This is why, despite recording my progress with these in my statistics every year, I’ll never, ever see 100% of them. For a current example, Minions is the 5th highest grossing film of 2015, so on the list it goes; but I didn’t really like Despicable Me and haven’t watched Despicable Me 2, so what are the chances I’ll ever decide to spend some of my time on Minions? Pretty darn slim, I reckon.

Anyway, the 50 I’ve chosen to highlight — some of which I do very much want to see — are…

Amy
Beasts of No Nation
The Big Short
Black Mass
Blackhat
Bridge of Spies
Brooklyn
Carol
Chappie
Cinderella
Creed
Crimson Peak
The Danish Girl
Everest
Ex Machina
Fantastic Four
Fifty Shades of Grey
Furious 7
The Good Dinosaur
The Hateful Eight
Home
Hotel Transylvania 2
The Hunger Games: Mockingjay – Part 2
In the Heart of the Sea
It Follows
Joy
Legend
Macbeth
The Man from U.N.C.L.E.
The Martian
Me and Earl and the Dying Girl
Minions
Pan
Pixels
The Revenant
Room
San Andreas
The Second Best Exotic Marigold Hotel
Sicario
Snoopy and Charlie Brown…
Spotlight
Spy
Steve Jobs
Straight Outta Compton
Suffragette
Taken 3
Ted 2
Testament of Youth
The Visit
The Walk


And so, after all that verbosity, the largest ever year of 100 Films comes to an end.

Apart from the 21 reviews I still have to post, of course. (In that respect, 2014 isn’t even finished yet.) But no matter, it will be done.

For now, all that remains is for me to thank you for reading, to wish you all the best with your own film-watching endeavours (having spent several days shut away in my own world of statistics and lists, I’ve a few people’s posts to catch up on!), and to say “see you soon” for 2016 — the 10th year of 100 Films! I have some stuff planned…

Ant-Man (2015)

2015 #181
Peyton Reed | 117 mins | Blu-ray | 1.85:1 | USA / English | 12 / PG-13

The final film in ‘Phase Two’ of the Marvel Cinematic Universe is perhaps the most fun Marvel movie since Iron Man kicked off the whole shebang seven years ago.

It’s the story of a burglar, Scott Lang (Paul “he’ll always be Mike from Friends to me” Rudd), who is enlisted by ageing genius Hank Pym (Michael Douglas) to pilfer something from Pym’s old company, now controlled by his former protégé and villain-in-waiting Darren Cross (Corey Stoll). Pym discovered/created something called the Pym Particle, which changes the distance between atoms and allows objects and people to shrink or increase in size. He hid his dangerous technology from the world, but now Cross has developed his own version and is seeking to sell a weaponised version to the highest bidder — which naturally includes some very nefarious characters.

Marvel are currently fond of mixing “superhero” with “another genre” to produce their movies — which makes sense, given the standard two-or-three superhero narratives were already becoming played out by the time Iron Man came along, never mind in the raft of movies Marvel Studios have released since. Here, “superhero” is mixed with “heist movie”; more specifically, “heist comedy”. It’s superheroes by way of Ocean’s Eleven, basically. In the key position, you’ve got Lang in the Ant-Man suit, able to shrink, infiltrate places, and control ants to help him; but then he’s got a whole support team: Pym planning and overseeing; Pym’s daughter, Hope (Evangeline Lilly), the inside woman; and a gaggle of Lang’s criminal friends (Michael Peña, David Dastmalchian, Tip ‘T.I.’ Harris), brought in to help them hack security ‘n’ that.

Nonetheless, some have criticised the film for not being especially original. I mean, originality’s good ‘n’ all, but c’mon, what do you expect when you sit down to a superhero movie from the primary purveyor of superhero movies? Ant-Man may blend elements from a few other genres into the superhero mix, but, yeah, it’s a superhero movie that, at times, plays like a superhero movie — just like everything else Marvel Studios has produced (with the possible exception of Guardians of the Galaxy). If that’s not your thing, fine, but there’s nothing so spectacularly rote or generic about Ant-Man when compared to the rest of Marvel’s output that it deserves to be singled out. In fact, if anything, it has a higher dose of originality than its peers. And it doesn’t climax with a giant flying thing crashing to Earth, the first Marvel movie you can say that about for years.

Where the film really succeeds, however, is in being — as noted — fun. Sometimes the structure is a little wonky, sometimes the dialogue is a little off, sometimes it’s a little heavy on the exposition, sometimes this and sometimes that, but it never stops moving at a decent clip, is never too far away from a good laugh, and offers some strong action sequences too. The very nature of the titular heroes’ powers offers us something new. Okay, there have been plenty of shrinking movies before, but not like his. Macro photography and CGI have been used to great effect to bring us into his world, and the fact he can shrink and grow at will adds a real kick to fight scenes.

It remains tough to talk about Ant-Man without referencing The Edgar Wright Situation. I mean, you could ignore it, but then it becomes the elephant in the room. If you somehow missed it: writer-director Edgar Wright pitched Ant-Man to Marvel as a movie before Marvel Studios even existed, back in 2003, and had been developing it on and off ever since. The ideas he brought to the table — an action-adventure-comedy style, being a special effects extravaganza but with a lighthearted tone — influenced how the studio approached Iron Man and, consequently, the whole MCU. Nonetheless, Ant-Man wound up positioned as the 12th film in the studio’s slate, finally going into production after a decade of prep. Wright had a script almost finalised, he’d cast the film, a release date was set… and then he left due to “creative differences”. And the internet was on his side because Edgar Wright has made Spaced and Shaun of the Dead and Hot Fuzz and Marvel are a studio and studios are always wrong.

The full extent of what these creative differences were hasn’t emerged yet, because it wasn’t that long ago (inevitably, they will one day), but it must’ve been pretty major to walk away from a project you’d been working on for so long and were so close to finally realising. Some reports say Wright wanted the film to be completely standalone, with absolutely no ties to the wider Marvel universe. I kind of hope there’s more to it than that, because while the final version of Ant-Man isn’t completely standalone, it’s one of Marvel’s less connected efforts. Okay, it references S.H.I.E.L.D., Hydra, and the Avengers, and there are cameo appearances by characters from other parts of the universe (including Lang having to fight an Avenger), but its story doesn’t feed directly from a previous MCU film, nor does it make setting up another one an inherent part of the plot. In short, it’s nicely connected — it’s definitely part of the universe — but you don’t need to know a great deal to enjoy it on its own.

After Wright left, the screenplay was rewritten by a host of scribes (far more than the two extra writers ultimately credited). Other things they’re responsible for include bulking up the supporting characters, especially Hope, which works pretty well, and Lang’s friend Luis (Michael Peña), which we should all be thankful for: Peña’s Luis is one of the best things in the movie, an enthusiastic motormouth who’s consistently entertaining whenever he’s on screen. He’s the standout from an ensemble that is generally strong, with Rudd proving a likeable lead and Douglas committing to the material in a way you wouldn’t necessarily expect an older actor to with ‘just a comic book movie’.

Would Edgar Wright’s Ant-Man have been better than Peyton Reed’s? We’ll never know. Well, one day we’ll have a good guess, because one day what changed will all come out. Wright still has a story and co-writer credit, so obviously a lot of his material survived. Nonetheless, the movie we’ve ended up with doesn’t feel like a compromised, homogenised, studio-controlled disaster. Chances are Wright could’ve brought greater visual and storytelling flair to proceedings, but Reed doesn’t do a bad job, especially when it comes to sequences in miniature. The final fight takes place on a children’s playset, doesn’t involve giant things falling epically out of the sky (is it the only Phase Two film to avoid that trope?), and is one of the best climaxes in the entire Marvel canon. Sometimes less really is more. Especially when “less” includes Thomas the Tank Engine. Whoever thought you’d see Thomas the Tank Engine in a Marvel movie?

I hope Ant-Man will be an important touchstone in what Marvel Studios do going forward. It proves smaller-scale adventures can work — not in the sense that it’s about a hero who shrinks to a few centimetres tall, but in that it’s a story focused on a couple of characters trying to steal something from a building and defeat one guy, not about saving an entire city or an entire planet. That doesn’t mean it’s a story that doesn’t have stakes, they’re just different stakes. It’s a refreshing change of pace at this point. It’s also pretty much standalone, with nice nods to the shared universe but without being dependent on other films (either before or to come) for its story. Guardians of the Galaxy did that too, but how many other recent Marvel movies is it true of? Even the highly-praised Winter Soldier is a long, long way from being immune to that fault.

Still, I doubt many people are going to call Ant-Man their favourite Marvel movie, although I think it might be the most pure fun I’ve had watching an MCU film since… well, ever. And I like fun.

4 out of 5

Ant-Man is available on DVD and Blu-ray in the UK now, and in the US from next week.

It placed 20th on my list of The 20 Best Films I Saw For the First Time in 2015, which can be read in full here.

This review is part of the 100 Films Advent Calendar 2015. Read more here.

The Relatively Lacklustre Monthly Update for November 2015

It’s a busy old time on 100 Films as December starts: the advent calendar has begun, including its first review, with the second imminent, and this round-up of last month too. So let’s get cracking:


#173 Horns (2013)
#174 Force Majeure (2014), aka Turist
#175 The Thief of Bagdad (1924)
#176 Beverly Hills Cop (1984)
#177 The Lone Ranger (2013)
#178 Come Drink with Me (1966), aka Dà Zuì Xiá
#179 Inside Out (2015)
#179a Riley’s First Date? (2015)
#179b Lava (2014)
#180 Tank Girl (1995)
#180a The Hobbit: The Battle of the Five Armies – Extended Edition (2014/2015)
#181 Ant-Man (2015)
#182 Paddington (2014)


  • No WDYMYHS film this month. A whole third of them are left as I head into December. It’s not impossible to catch that up, but this isn’t how it’s meant to work.
  • You may’ve noticed the number of posted reviews slow down this month. Two reasons: 1) I finally exhausted my rolling backlog of ready-to-post reviews and have been tardy extending it again; 2) most of what I have been writing are stockpiled for the advent calendar. Oops.


This month was never going to be a record-breaker. After the extreme lengths I went to in the last two, and with some time-filling TV series arriving, it felt almost liberating to know I didn’t have to try as hard in November. A little too liberating, maybe, because I nearly ballsed it up…

Normally this analysis section is a list of the month’s achievements; at least, it has been so far this year. However, there’s very little to report in that field this month: 10 all-new feature films watched is the lowest of 2015. In fact, it’s the lowest-totalling month since July 2014. It’s also the first month this year not to beat its equivalent from the year before (November 2014 reached 13). Nonetheless, it beats the November average of 7.43 (raising it slightly to 7.75 in the process), and manages to maintain my ten-per-month goal (just). That makes it the 18th straight month to have ten or more films — only one month to go and I’ll have achieved an entire calendar year of it.

Before we look to the future, what has November’s relative shortfall done for 2015’s monthly average? Well, after the double whammy of best-ever-months in September and October skyrocketed the average to 17.2, November being the year’s worst month pulls it back down to 16.5. Still a good number, and higher than it was for most of the year, which just shows how extraordinary that September/October double was.

So with just a single month to go, where might 2015’s total lie? No lower than #192, that’s for sure. “For sure” in this case meaning “because if it doesn’t I’ll have failed my ten-per-month goal at the final hurdle and be inconsolable with self-disappointment.” Can I go even further, though? The December average is 10.86, so eleven new films would nudge me that little further to… #193, obviously. If I return to my last-year-beating ways, I’d watch 16 films and make it to #198; though if I can go that little further again and match the 2015 average — 16.5, remember, which rounds up to 17 — then I’ll get to #199.

None of which are #200, the magic number I considered last month. Damn close, though. Maybe… with a little stretch… who knows?



It’s the last hurrah of my repostathon! Everything I’m likely to bother reposting from previous iterations of this blog is now on WordPress.

To round things off, then, a pair of year-end summaries each for Years 1 to 4, aka 2007, 2008, 2009, and 2010. (Although the rest of 2011 was part of the repostathon, the year-end summaries were some of the first things I posted on WordPress.)



The 6th Monthly Arbitrary Awards

Favourite Film of the Month
It’s a little bit of a flat month for these first two categories. Well, that’s a mite unfair: I certainly enjoyed every film I watched this month, but nothing was a mind-blowing best-of-year-contender stand-out success. The nearest to such an achievement, however, was probably the sweet, loveable, joyous, ever-so-British Paddington.

Least Favourite Film of the Month
As I said above, I enjoyed every film I watched this month. Every last one. Well, situations like that are why this category is called “least favourite” rather than “worst”. Although it won’t be the lowest star rating awarded from this month’s viewing, the ‘victor’ here is Inside Out, because it underwhelmed me after all the hype.

Best Longwinded Storyteller
Oi, Peter Jackson — hands off! You can’t have this for The Hobbit! No, this goes to another verbose yarn-weaver: Michael Peña’s Luis from Ant-Man, whose stories may be just as filled with lengthy and pointless asides, but at least they’re highly amusing.

Best Action Climax on a Train
Most months, Ant-Man’s amusing tussle aboard a Thomas the Tank Engine playset would be a clear winner here. Did you ever think you’d see Thomas the Tank in a major Hollywood blockbuster? Thank you, Edgar Wright. But sadly it is not to be victorious, because by jiminy does the finale of The Lone Ranger justify the existence of the entire movie.

The Audience Award for Most-Viewed New Post of the Month
I’ve mentioned before how participating in a blogathon can often sway this category (understandably), and so it was to be in November: swashing his buckle all the way to the top of the pile was Douglas Fairbanks in The Thief of Bagdad.


Busy busy busy, as I race towards my definitely-record-breaking final tally.