Ant-Man and the Wasp

The world’s only superhero vulnerable to Henry Hoovers is back and teaming up with the Wasp, whose powers, as her name suggests, involve being an affluent white lady.

Scott Lang AKA Ant-Man (Paul Rudd) is under house arrest, which not only means he’s missing out on all the Infinity War action, it also implies that Dec-Man will have to host Vison’s Got Talent alone this year. What we get is a small-scale sideshow to Infinity War; an underwhelming but undemanding antidote to that film’s epic drama.

Pym’s O’Clock.

The story is an improvement on Ant-Man: Lang is swiftly aphydnapped by the Wasp (Evangeline Lilly) and her father Hank Pym (Michael Douglas), to help them locate Pym’s wife (Michelle Pfeiffer), who’s trapped in the quantum realm with nothing but an infinite supply of make-up. Luckily Lost’s Evangeline Lilly knows a thing or two about that. And having been in The Hobbit, is equally familiar with small things.

This sequel has fun playing with the visual and kinetic possibilities of going really small, and then really big, and then really small again. Where the film slows to a snail’s pace is in the banter between Ant-Man and his friend Luis (Michael Peña), which incredibly took a hive mind of 5 writers to come up with, never lifting a single joke between them.

Fortunately there are engaging performances from cinematic sleazebag and pancake maker Michael Douglas, as well as Rudd and Abby Ryder Fortson, who plays Lang’s daughter Cassie. They carry the film like worker ants, along with Laurence Fishburne as Pym’s super-smart former assistant, making the transition from the shitpile formally known as the DCEU to the MCU. Told you he was smart.

Diverting yet inessential, Ant-Man and the Wasp never hovers far from mediocrity, but scratches a certain summertime itch.

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