Dr. Hank Pym (Michael Douglas) is an unparalleled technological scientist that discovered a group of particles with the ability to change the distance between atoms, effectively able to shrink and grow objects at will. After safeguarding the technology from those that wanted to weaponise it in the 1980s, Pym gave control of his company to Darren Cross (Corey Stoll), his protégé, who know has a sinister interest in re-developing the technology. Pym's daughter, Hope van Dyne (Evangeline Lilly) has a broken relationship with her father, but nonetheless turns to him when she becomes worried about Darren's actions.
Scott Lang (Paul Rudd) is a former burglar who can't throw punches, and has just been released from jail. Taking up residence with a former cellmate, Luis (Michael Peña), he hopes to foster a new relationship with his daughter, increasingly difficult thanks to his ex-wife and her new partner. Soon Scott is on the look out for another score to pay child support, and burglarises the home of a wealthy old man with meticulous precision. However all he finds is a dusty old suit. Scott is soon hired by Dr. Pym, planning a heist that will save the world.
Scott Lang (Paul Rudd) is a former burglar who can't throw punches, and has just been released from jail. Taking up residence with a former cellmate, Luis (Michael Peña), he hopes to foster a new relationship with his daughter, increasingly difficult thanks to his ex-wife and her new partner. Soon Scott is on the look out for another score to pay child support, and burglarises the home of a wealthy old man with meticulous precision. However all he finds is a dusty old suit. Scott is soon hired by Dr. Pym, planning a heist that will save the world.
There's no doubt that Ant-Man follows the typical Marvel construction: out-there technology, a self-referential universe, CGI, CGI and also CGI. Where the film diverges is the heist sub-plot that dominates the second half of the film. You can detect the penmanship of co-author Wright, whose other work holds similar crime/heist-centric elements, particularly in Spaced and The Cornetto Trilogy. Ant-Man also scales down on the barraging action and takes some time-out for decent character development - not commonly found in Marvel films - however this also leads to relentless exposition and too many over-emotional scenes that try to get a rise out of the audience. Also tedious is the compulsory attempts to address the cross-franchise Marvel connections. "We'd better call the Avengers", we get it, they all exist within the same universe, enough already! Stop trying to set-up future cross-overs and self-advertise to us!
Some held concerns that given the...uhh....somewhat trivial nature of Pym's technology, Ant-Man would try not to take itself too seriously and resort to an all-out joke fest similar to Iron Man 3 - which I happen to like, but is not that popular amongst the fans - Well you can rest easy, because it manages to strike a good balance between situational humour and plot development, and the comedy works well with Rudd's usual style. Whilst the action sequences rely heavily on computer generated visuals, the unique qualities of the Ant-man story allow for some equally unique sequences, including a run-in with a newly-enormous bathtub early in the film.
Unfortunately though, there's nothing new or interesting about most of the other visuals, which are stock Marvel and ultimately monotonous, especially when it could have been so much more. It's impossible to ignore the departure of Edgar Wright from the project, who reportedly left due to differences in vision between the Hot Fuzz director and the studio. His attempt at Ant-Man would have most likely been a standout film in the Marvel cinematic universe, where instead we get largely the same recycled formula that the studio knows can produce the revenue. It's a sad situation, but we can be thankful that his influence appears to have made it into the film in some ways, no matter how small they may be.
Ant-Man is not a great film by any stretch of the imagination. However it does manage to pull away from the pack somewhat, which is crucial if we want to see Marvel develop any unique content in the ever-expanding Hollywood superhero bubble.
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