Ant-Man and the Wasp: I hope this ends here

I don’t know what it is with Ant-Man movies. They are simply not great.

This movie is less dumb than its prequel, and has some genuinely enjoyable sequences. But ultimately, the movie is just lukewarm. I don’t think it’s because Ant-Man isn’t a serious superhero. I mean, the Guardians of the Galaxy films are light and fun, but never venture into the territory of silliness. The movies are pretty intense, all things considered, and the stakes are sky-high (literally :P). The problem with Ant-Man, in my opinion, is that in trying to make the films light and cool, they fail to make them memorable. I think that is because of two reasons. First, in order for a film to be memorable, it should succeed in engaging the audience. This will happen only if the viewer is as concerned about the stakes in the story as the characters. Second, since this is a superhero movie, the tech/powers that are integral to the movie need to be understandable and believable for the audience. Ant-Man fails on both these counts.

Let us first look at the stakes in Ant-Man and the Wasp. Hank Pym, the physicist who invented the Ant-Man suit wants to go into the quantum realm to find his wife who got lost there many years ago. Keep in mind, this is the twentieth film in the MCU. By now I am used to the fate of the universe being at stake. This film turns that trope around by making the stakes the lives of two women – Pym’s wife in the quantum realm and Ava Starr/Ghost, the daughter of a former associate of Pym’s whose body is disintegrating due to quantum phasing (there is a lot of ‘quantum’ in this film that I will discuss in the next part of the review). So far so good. Not every superhero film needs to be about saving the galaxy from supervillains. But they do need situations and characters the audience can care about. Good movies in the MCU have done that by having the antagonists pose moral quandaries in addition to physical challenges for the protagonists.

In this case, the two antagonists – Sonny, a black-market tech-dealer, and Ghost didn’t do anything of the sort. Instead, the challenge they presented was entirely in the form of chase and action sequences. Ghost had started to make herself credible by stating that her condition was as a result of her father being discredited by Pym, but rather than explore that threat, the film quickly resolved it by establishing her father as a liar and a thief. Even the one person who was helping her, another pissed-off former associate of Pym’s (the guy managed to piss off every single person he interacted with), abruptly changed his tune and began supporting Pym’s mission to find his wife instead of his own goal of harnessing Van Dyne’s energy from the quantum realm to cure Ghost of her affliction. Even Ghost’s affliction loses its seriousness towards the end of the film, when a newly returned Van Dyne can cure her simply by touching her and passing on the quantum energy she supposedly absorbed over the years.

This brings me to my second point. This film explores the quantum realm, an area where physics changes character completely. The problem is that the film overuses the concept and spews out ideas that must impress the audience simply because they have the word ‘quantum’ before them. The film acknowledges this by having Ant-Man say, “Do you guys just put the word ‘quantum’ in front of everything?” Far-fetched quantum mechanics is supposed to explain everything – how Van Dyne managed to survive for years in the quantum realm, how she managed to make an antenna, meet with and plug it on to Ant-Man when he entered the quantum realm, understand that there is healing energy in the quantum realm, harness that energy in her own body… All of this is simply too far-fetched, even for a universe that tells us stories about adventures in outer space.

So, if you’re still wondering why Ant-Man wasn’t called to be a part of the Avengers in Infinity War, you know that the silliness of the series probably had more than a small part to play in it.

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Spider-Man: Homecoming – A Good Balancing Act

This is the first standalone Spider-Man film in the MCU. Spider-Man was previously introduced in Captain America: Civil War where he fought alongside the other Avengers. Before that he was simply a local crimefighter whose superpowers were spider-like abilities to crawl walls, superhuman agility and enhanced mobilities and the ability to shoot high-tensile strength spiderwebs at his enemies. In Civil War, his abilities are further enhanced with the help of a brand-new high-tech suit by Tony Stark. This Spidey film explores the character following his adventures with the Avengers. The film must now contend with two challenges. First, it must prevent Spider-Man from becoming a gimmick. With many of his advanced capabilities coming from Stark’s technology, it is easy for the character to over-rely on technological features and lose his essence. Second, previous movies have seen set the precedent for conflicts that involved saving the universe. A movie that is setting up the “friendly neighbourhood Spider-Man” cannot possibly have stakes that high. At the same time, this film needs to be interesting enough to hold up after a number of awesome films.

Spider-Man: Homecoming is able to overcome both these challenges. Even though Parker has the new and improved Spider-Man suit he got from Tony Stark, the film isn’t about the suit. Despite having every advantage, for instance, Spider-Man’s able to survive and defeat his enemies because of who he is as a fighter on the inside, and not what the suit provides him. He almost drowns in his high-tech gear, but successfully beats Chitauri technology in an old pair of red tights.  Furthermore, it manages to keep the film interesting by using the technologies that have come from the Chitauri in the aftermath of the first Avengers’ movie. The challenges are still formidable – after all, it had taken a team of six Avengers, much older and much more established than Spider-Man to defeat them the last time. But the context is much more local. The film basically uses what is exciting about villains from outer space without having to involve them at all. So, Parker can be the “friendly, neighbourhood Spider-Man” and still be a total bad-ass about it.

There were two other note-worthy things about the form of the film. First, since our protagonist is only 15 years-old, the film needs to feel young. Tom Holland certainly does his part by playing the role to perfection. But beyond that, the film conveys levity and freshness through the use of music. Particularly in the first half of the film, when Spider-Man is established as a superhero, the accompanying music shows that this development is light and fun, rather than serious or epic. But the music doesn’t try to occupy centre-stage like it did in Guardians of the Galaxy (that film did it perfectly, but we don’t want that to become a hack, do we?) It is much subtler, and complements the developments on screen rather than highjacks them.

Second, the film made me think about how movies use flashback. In the scene when Spider-Man has almost been defeated by Vulture, and he must find the strength to get back up and fight, Parker stares at his reflection in a puddle of water that showed his mask as being only a part of his face. As a viewer, I can see that Parker’s dilemma in that moment is about whether he can do what is right when he doesn’t have his suit. This visual is also accompanied by Parker remembering Stark’s words, “If you are nothing without the suit, then you don’t deserve the suit.” In my opinion, this made an otherwise powerful scene too loud. I don’t understand why directors and editors choose to insert scenes or lines we may have previously heard/seen in the film as flashbacks in later scenes. If the film is engaging enough, the audience is already clued in to its tone. Adding extra dialogue is simply unnecessary and leads me to believe that the director considers his/her audience stupid.

In conclusion, Spider-Man: Homecoming can retain all of the charms of being a teenage superhero film while still holding up against the weight of the movies that have preceded this one.