Small Heroes And Big Stakes

“Nothing can prepare you for what’s coming.” ~ Ava

“Hiya, champ, how was school today?” ~ Hank Pym

“Thanks to you, we had to run. We’re still running.” ~ Hope Van Dyne

“I do some dumb things, and the people I love the most- they pay the price.” ~ Scott Lang

In 2015, Ant-Man gave the Marvel cinematic universe a different perspective, bringing in characters established in the comics and creating new ones in what was a light hearted sort of heist film. Now director Peyton Reed returns with the lead actors and a formidable new antagonist to another chapter in the small sized hero element of the Marvel world in Ant-Man & The Wasp, set in between Captain America: Civil War and the more recent Avengers Infinity War.

The film picks up threads from the previous film, with the disappearance of Janet Van Dyne (Michelle Pfeiffer) into the microscopic quantum realm while on a mission. Former criminal Scott Lang (Paul Rudd), as Ant-Man had entered and returned from that realm, giving hope to Janet’s husband Hank Pym (Michael Douglas) and daughter Hope (Evangeline Lilly) that it might be possible to find and save Janet. Scott’s participation in the superhuman dust-up that was part of Civil War leads to a parting of the ways, as Scott ends up on house arrest and Hank and Hope go into hiding. Two years later, Scott’s nearly finished his parole term after receiving a cryptic message from the quantum realm, and fate draws him back into the orbit of Hank and Hope, all while other players play into unfolding events.

With the success of the original film, of course there was going to be a sequel. Leading man Rudd is credited as one of the writers, along with four others, usually a sign of trouble when it’s writing by committee, though that’s not the case here. Chris McKenna, Erik Sommers, Andrew Barrer, and Gabriel Ferrari are also credited, and the script that results builds on what’s come before and takes things in new directions. That includes the light hearted humour and earnest charm of Rudd, the family dynamics moving into new directions for the Pym-Van Dyne clan (from estrangement in the first film to a common purpose), and the fantastic elements of microscopic worlds that the premise opens up.

Where the first film was more of a heist and caper film, this blends in part action, part romantic comedy, and for good measure throws in a complex villain who turns out to be a real treat in the way she’s treated. The writing for the characters is what grounds the film, playing to the strengths of the actors and to where they’ve already come from, giving depth and nuance in each case. Most of those are already established characters, while introducing new ones who are familiar to comic readers. The film's stakes aren't as big, perhaps, as that of Infinite War, with its despotic antagonist, but more personal, a rescue mission to save a life, and perhaps more than one life.

Reed’s return to the director’s chair for this second installment brings back the same techniques of the first film. He proved in the first case that he could balance the work of actors on the one hand and the CGI and action on the other, and that continues here. Where the characters are the bedrock of the film, Reed’s work continues to succeed in making use of CGI where it’s needed, and pacing action sequences in a way you can follow. Concepts like rapid shrinking or growth, as well as a character who phases in and out of physical touch, are made use of in the right way.

The cast, both returning and new players, are welcome in their roles. Michael Pena, David Dastmalchian, and Tip “T.I.” Harris return from the first film as Luis, Kurt, and Dave, each of them Scott’s old criminal associates who have gone legitimate, and the characters are part comic relief, part indispensable and unlikely backup in a crunch. Pena’s Luis is a particular motor-mouth who never seems to know when to shut up, which is part of the fun of the character, but Luis is also a strongly loyal sort. Randall Park debuts in the role of FBI agent Jimmy Woo, a fixture in the comics for some time now; he’s given a different role as a fed overseeing Scott’s house arrest, and gives the character a suspicious wariness.

Walton Goggins has made a career of playing dirtbags, most recently in Tomb Raider, and the same applies here as he plays Sonny Burch, also a character drawn out of the comics, where he was a minor villain in the Iron Man books. The character certainly fills the sleazebag role, a dirty dealing black market criminal with more ambition than brains, sniffing around at an opportunity and not considering that he might be in over his head. The character isn’t remotely likable or sympathetic, but the actor certainly plays to that and seems to be having a ball, chewing the scenery as he goes along.

Laurence Fishburne debuts in the Marvel universe (having had played Daily Planet chief Perry White in two of the recent Superman films for DC) as Bill Foster, another figure from the comics. Here Foster is an old associate of Hank Pym, though the two have had a parting of the ways some years earlier and aren’t on the best of terms. Fishburne has the acting chops to go toe to toe with Douglas on a matter of ethical concerns, and that comes across in the film, but he also plays Foster as a man of great intelligence and fortitude, doing something that he feels is the right cause.

Hannah John-Kamen plays the primary antagonist of the film, a young woman with a distinct problem. Ava is her real name, and she has ties to other players in the story as the Ghost. She is a mystery when we first meet her, phasing in and out of reality, her condition unstable at the quantum level. For her, Pym’s technology may be the key to saving her life, so her actions are entirely understandable, and it also makes her sympathetic. Ghost is a longstanding character in the Marvel universe, something of a mix between villain and anti-hero, and the character has been gender-switched here from a man into a woman, but it’s not jarring at all- if anyone could be switched like that, it’s Ghost, whose real name in the comics has never been divulged. The look of the character fits with the comics generally, and the presence- the line between villain and anti-hero- the actress gives her makes her a compelling one, and I’d like to see more of her down the line.

Michelle Pfeiffer also debuts as Janet Van Dyne, the original Wasp from the comics, and from movie continuity, taking over the role that was seen briefly in the first film. She’s not around for a whole lot of the film, generally confined to the second half, but she brings the right touch to Janet- the strong survivor who’s somehow made it through decades of being shrunk down in the microverse (where’s the food down there?), the wife and mother who’s missed her family, and the hero who’s willing to help someone who might not deserve that help. Her take on the character is sympathetic and a welcome addition to the Marvel cinematic universe.

Michael Douglas returns as Hank Pym again, the original Ant-Man who’s spent years trying to make things right. In the first film he reconciled his differences with his daughter, and this time out it’s about finding a way to determine what’s become of his wife. Pym starts out in one place- justifiably irritated with Scott because of Scott’s involvement in the superhuman dispute that’s put his own work in jeopardy. As the film unfolds, the character has to set aside those differences for a greater good, and Douglas gives the character the right tone of exasperated and wary scientist on the one hand and a paternal quality on the other. With the latter, it’s pride in his daughter and a more reluctant pride where Scott’s concerned. Pym might be cranky (and even a bit of a jerk), but there’s a sort of father-son dynamic with Scott, and Douglas plays to that.

Having had teased the notion of Hope Van Dyne as the Wasp in the previous film, this time out the story puts her right in that role, and Hope’s look fits the character. Evangeline Lilly reprises her role as Hope, a new creation for the cinematic universe the first time out (though the comics do now feature a teenaged daughter for Pym named Nadia, created mostly because of the previous film). Where the first film had Hope estranged from her father and reluctant to work with a scoundrel ex-con like Scott, this film finds her at a better place with Hank, and trying to sort out differences with Scott over his decisions (she starts out justifiably angry with him). There’s a playful, romantic spark between Hope and Scott that the actors play off of, but the actress invests her character with strength, resolve, and a fearlessness that makes her come into her own.

Paul Rudd brings back his laconic charm as Scott Lang, the former convict who’s been hard at work trying to better his life. The first film brought him full circle in that respect (with a rather impulsive decision during Captain America Civil War leading to him messing up his life, even if it was with good intentions). We find him still making the effort to do right, even if it’s under house arrest and the only thing he can do right is to be a good father to his daughter Cassie. The film takes him beyond that, requiring him to put his legal status in peril for a greater good; his concern about being a responsible parent happens to also be the same personal quality that makes him want to do right by Pym and Hope. Scott is something of a regular person (which is how Rudd plays him), but he’s the sort who can rise to the occasion when needed, and proves to be resourceful and capable in and of himself.

Ant-Man & The Wasp continues the Marvel cinematic universe in the right way, investing itself in its characters, playing off a lighter tone but still with some dramatic weight. It’s self-contained and yet linked to the greater Marvel universe (as the credits sequences will show), and it’s fun and well-paced. The leading actors have the right degree of chemistry, and their antagonist is a welcome new addition to the Marvel universe, one who manages to elicit our sympathy just enough.

Dodging Disaster And Being A Micro-Hero

Some links before getting started today. Parsnip had a Square Dog Friday and a mix of  photos. Eve had book recommendations. Krisztina had a guest writer with travel tips. Lynn had birds. Ivy had a Friday question. Cheryl had a post. And Mark had a weather story.

Today I've got myself a movie review.

The Marvel cinematic universe has been  around awhile, giving us epic films in a cohesive, connected world. Now that universe goes into a smaller direction with the release of Ant-Man, a film following two lead characters who have both worn the identity in the comics, and who, while very different in backgrounds, have some common ground. It's a lighter film with a good sense of humour that still plays to the strong characterization and history of the characters. Directed by Peyton Reed, who has a background in comedy, the film evokes the irreverent tone of last summer's Guardians Of The Galaxy while moving things into a very small scale indeed.

We first meet our hero Scott Lang (Paul Rudd), a thief with a tendency to break and enter and steal things- not quite your usual protagonist, but he's a charming sort of guy, and we get to like him regardless. His family life is a mess- he's trying to fix up his relationship with his young daughter Cassie, while his ex wife (Judy Greer) is now involved with a cop (Bobby Cannavale)- not the easiest thing for a crook to have to deal with. Scott is just out of prison, having second thoughts about his career choices- there has to be a better way to make a living, though he's still associating with criminals, including his former cellmate Luis (Michael Pena).

Scott crosses paths with Hank Pym (Michael Douglas), a scientist who's become something of a bitter recluse after losing control of his company. Hank can relate to the family difficulties- he's a widower whose relationship with his daughter Hope (Evangeline Lilly) is strained, but he sees something in Scott worth redeeming. He's worried about the use of technology he's invented- Pym particles, which can shrink things down to the small scale- being converted for darker uses. Darren Cross (Corey Stoll), the one time protege who supplanted him, has his own agenda for that technology. Pym asks Scott for his help- which involves suiting up in a special uniform designed to assist the human body adapt to that small scale, with a few other tricks for good measure.

The film has been in the works for years, and Edgar Wright (Shaun Of The Dead) was once tapped to direct, having had co-written a story with Joe Cornish. Wright left the project over creative differences, and screenwriter Adam McKay (along with cast member Rudd) polished the story. McKay's background is also in comedy, as is Reed's- Reed directed films like Yes Man and The Break-Up- the comedic background of both writer and director show itself in the way the film comes across. It establishes the characters and weaves them firmly into the Marvel cinematic universe. And while there is an irreverent, comedic side of things, there's also strong characterization, from the parallel father-daughter strained relationships to the villain who doesn't see himself as such. Reed shows a deft touch as a director- I like the way he stages break and enter scenes, and he can handle action well. He paces the movie well, keeping things moving briskly along.

There's a healthy dose of CGI in the film, but it serves the story well, and doesn't feel like CGI. A lot of that has to do with how Scott interacts with the world at insect level, and certainly the ants he interacts with (and learns to communicate with) feel like they're sharing the same space as him. It also reflects in the sense the audience has that we're down at that same scale- a stream of water, for instance, has the look of a tsunami wave. Gunshots fired into a model city have a catastrophic feel, as well, when one is the size of an insect, and the special effects crews do fine work in conveying that.

I like the production values of the film. Pym's personal lab reflects the man himself, a place of curiousities. It's a contrast with the corporate sleekness of his former company, no longer in his control. That contrast also reflects itself in the two different tech designed uniforms making use of Pym Particles in the film. The Ant-Man uniform has influences from the various comics designs over the years, and has a utilitarian look to it, something you'd expect out of a scientist- efficient and purposeful. The Yellowjacket design that ends up coming into the picture is something else- sleek, aggressive, dangerous, and militaristic. Both designs suit the film well.

The casting was well done. There are the requisite cameos that you would expect. Stan Lee turns up, of course; the Marvel co-founder and writer has been doing a lot of these cameos in films done by Marvel Studios for years, as well as films based on characters from Marvel but produced by other studios. There are also references and nods to the larger cinematic universe- each of which is a treat for those wondering how this would all fit into the larger frame of things. Michael Pena as Luis fronts a group of petty crooks- but these characters aren't the heavies, they're comic relief, and Pena certainly plays to that, garnering some of the laughs along the way.

Corey Stoll has the look of a don't mess with me tough guy mode as an actor, and I've seen him in a number of roles, often playing villains or cops. He's got a hard look to him, and it serves him well as Cross, who comes across as a double dealing underhanded executive. Cross is the sort of villain who doesn't think of himself that way- he doesn't see his lack of ethics for what it is. In his mind he's in the right, and the ends justify the means. That reflects itself in the Yellowjacket design, which expresses his aggressiveness. The shades of gray of the character make him a compelling villain, and it's a good twist on the Yellowjacket concept- in the comics, Yellowjacket is in fact an alternate codename for Hank Pym.

Evangeline Lilly has made quite an impression, from her role on the series Lost to her turn as an elf in two parts of The Hobbit trilogy. I like her take on Hope. The character is smart and can take care of herself- something that certainly shows itself in the film. Ideally she might be the better fit for the uniform as a superhero- but the state of things with her father take things in a different direction. The relationship is so strained that she's taken on the surname of her late mother, and there's a lot of resentment and estrangement between them. Hope's journey as a character in the film is about reconciliation, and Lilly really plays to that as the film goes along. I wouldn't mind seeing the character perhaps take after her mother- the Marvel cinematic universe needs a Wasp.

A lot of changes have been done in terms of bringing Hank Pym from the comics to the big screen. The character is a founding Avenger in the comics, but here he is a scientist with ties to S.H.I.E.L.D. in the past. Where he is brilliant but occasionally mentally unstable in the comics, here he's brilliant but a recluse. And the story has added about thirty years onto his age. The essence of the character remains the same: a gifted, smart man with a strongly grounded sense of ethics. I like how Douglas conveys that in his performance, while bringing across the elements of worry the character feels at having his technology misused, the strain of loss in his life, and the difficulties he has with his daughter. Douglas also adds just the right touch of dry humour here and there. Hank Pym's a wise character- and a very human one, and I got to like him a lot through the film. It's a terrific take on the character.

I got to like Paul Rudd through the film as well. I've only seen him in one previous project of note- a television adaptation of The Great Gatsby- as I have not seen his numerous comedies in the last few years (I have a deep aversion to Judd Apatow as a director- the man's like fingernails on a blackboard to me). Rudd brings a charming, affable quality to the role of Scott Lang, a reluctant hero who grows into the role (a reminder of Peter Quill in last year's Guardians). The character's struggling to be a better person, if only for his daughter's sake, and that's the sort of thing the audience can relate to and root for, and Rudd brings that across in his performance. His initial status as a crook reminds me of George Clooney playing Danny Ocean- a disarming scoundrel with a plan. A reluctant hero he might be, but Lang does rise to the occasion in doing the right thing, and Rudd's portrayal takes the character through that journey.

Ant-Man is a new look at the Marvel cinematic universe that gives the audience fresh ground to cover while maintaining enough connections to the larger continuity. It's got a good sense of humour, likable lead actors who flesh out their characters in the right way, a very human heroine, and an underhanded antagonist with a mean streak. The film is an oddball kind of film- which makes it all the more appealing. I enjoyed it- and I look forward to seeing more of these characters down the line.

Five Armies Sit Down For High Stakes Poker

"If more of us valued home above gold, it would be a merrier world." ~ Thorin

"You have but one question to answer: how shall this day end?" ~ Gandalf

"When faced with death, what can anyone do?" Bilbo Baggins

Peter Jackson brings his trilogy adaptation of The Hobbit to a conclusion in a big way with The Battle Of The Five Armies, a brisk but sprawling epic that closes the book on the saga but points the way forward to The Lord Of The Rings. For those of us who have loved to spend this amount of time in Middle Earth, it's a final chapter (unless Jackson decides to take on something like The Silmarillion down the line) for the saga. The film concentrates on the epic scale of forces moving against each other in Middle Earth, while emphasizing character in the relationships between the main character, weaving in themes of good, evil, ambition, greed, loss, integrity, and decency.

The film picks up right where The Desolation of Smaug, with the vengeful dragon Smaug (voiced by Benedict Cumberbatch)laying waste to Laketown. Bard (Luke Evans) is all that seems to stand in his way, and of course must have his heroic moment. In the aftermath, the dwarves who have made it into the mountain with Bilbo (Martin Freeman) find themselves concerned about their leader Thorin (Richard Armitage), who's showing more signs of the greed that consumed his grandfather and father's mental states in one way or another. Thorin is obsessed with the missing arkenstone, seeking it out, and not quite acting like himself.

Legolas (Orlando Bloom) and Tauriel (Evangeline Lilly) have survived Laketown's decimation to see another day, as have the other dwarves that remained there during the second chapter. We also catch up with Gandalf (Ian McKellan), who was in peril at the hands of the Necromancer, aka Sauron, when we last saw him. Friends in the White Council (including one who will come back to betray him a few decades down the line) intervene forcefully on his behalf. All's still not well, though, in the heart of Middle Earth, as dwarves, elves, men, and orcs all find themselves drawn into battle (this tends to happen on Middle Earth a lot). 

By this point in the game, Peter Jackson knows Middle Earth as well as anyone, having had spent a considerable amount of time adapting various source material into two sprawling trilogies. He has a hand in the screenplay, along with collaborators Phillippa Boyens and Fran Walsh, and Guillermo Del Toro, who had once been attached to direct the follow up adaptation of The Hobbit. In this case, The Battle Of The Five Armies moves along at a brisk pace, more so than the first two chapters of the trilogy. It's a dark chapter, though, particularly in how it conveys the madness that overtakes the mind when greed enters the equation. And it's a poignant, heartbreaking chapter, with not everyone getting out of this alive (this is Middle Earth, after all, and we'd expect people we care about to die). It gives us closure to the story while leading us right back to where we started in 2001 in The Fellowship Of The Rings: the reunion of two old friends.

Jackson and his crew have made Middle Earth come alive yet again through multiple techniques: set, props, and costume detail feel very much of that fantasy realm. The landscapes of New Zealand suit Tolkien's world very well, and that certainly is taken advantage of by Jackson, giving us a familiar location but also one that feels otherworldly and dangerous. The look of dwarves and elves is paid such close detail, and the same applies to the Orcs, all of whom have such unique looks. I can only imagine how long the makeup process for some of them would have taken. The camerawork, of course, is signature Jackson style, able to give us the epic scale of the story, but also emphasizing the individual as he has before. I never get lost in the film; the camerawork by his cinematographers helps that along. I might suggest, however, to see this one in 2D. That's my personal aversion to 3D speaking.

When needed, CGI does what it's supposed to in giving us armies counted in the thousands, or the dire threat of Ringwraiths (after all these years, those things are still creepy) and their master Sauron. Not to mention the scale of destruction of Smaug's revenge unleashed is very impressively rendered by the special effects crew. Another essential member of the crew (at least from my point of view) is composer Howard Shore, who brings us the last score from Middle Earth with a rich variety of themes, touching on the epic and colossal while giving us the intensely personal, poignant, and intimate in his score. He even brings in a cast member from the previous trilogy, Billy Boyd, who played Peregrin Took, to sing over the end credits.

The cast is as before, astounding in their roles. He with the strange name and much sex appeal (otherwise known as Benedict Cumberbatch) once again gets double duty voicing the malevolent dragon Smaug and the Necromancer otherwise known as Sauron. Cumberbatch infuses both voice roles with a menacing undertone of malice. They're very different characters, but there's nothing remotely decent in either, and that's what he plays to. Lee Pace returns as the elvish king Thranduil, father of Legolas, and he gives the role a somewhat unhinged, not terribly likable quality. There's greed in this elf king, and an opportunistic streak, but that's what makes him work so well as a character. 

Luke Evans returns again as Bard, the hero who steps up to the occasion among the residents of Laketown. His portrayal of the part continues to be that of a man of principle, whose first priority is his family, and finding himself placed into a position of responsibility. Evans plays the role with authority, acting decisively and moving forward with great courage. Ian Holm returns in a closing coda as the older Bilbo Baggins, and it's a treat to see him cantankerous yet still full of mischief. Orlando Bloom still looks ageless as Legolas, brought into the trilogy by the screenwriters, and still as deadly a fighter as ever. He plays the role as an elf chafing at the bit, torn between duty to his father and doing what he sees as the right thing to do. Evangeline Lilly is radiant as Tauriel, created for the trilogy but fitting right in. There's a real connection between she and the dwarf Kili (Aidan Turner), and it comes across in how the two bond and banter with each other. 

Christopher Lee returns as Saruman, decades before his betrayal in The Lord Of The Rings, and what strikes me first is how this actor, past ninety now, still handles himself very well physically in action scenes. He gives the wizard a sense of authority and directness- we still get the sense of not wanting to cross this man. There are hints in his performance of what's to come, and Lee seems to relish playing the role. We know not to trust him, but we find him compelling nonetheless. Sylvester McCoy returns as the wizard Radogast again. He's a comic relief sort of character- more than once he earns laughter- and he plays the role of the nature loving magician as somewhat unhinged, but in a good way. Hugo Weaving also returns as the elf king Elrond, once again playing the role with authority and force, and this time getting right into the action. And it's a treat to see Cate Blanchett return as the ethereal Galadriel of the elves, enigmatic in her speech but bold and decisive in her actions. There's a great strength in the character, and Blanchett plays to that in her performance.

As is before, it's hard to keep track of the dwarves- at least their names. With rhyming names all over the place, you need a score card to keep track of them all. However, each actor has a very distinct look, and plays their roles in unique ways that set them all apart in just the right way. Aside from Armitage and Turner returning as Thorin and Kili, the rest of the company return. Ken Stott, James Nesbitt, Dean O'Gormlan, Jed Brophy, John Callen, Adam Brown, Graham McTavish, Mark Hadlow, Peter Hambleton, Stephen Hunter, and William Kirchner all reprise their roles. Ken Stott certainly stands out as Balin, the wisest of the company, a steady presence for Thorin, and he sees the sickness of greed infect his friend. There's a poignancy in the character, and a sadness. Turner's take on Kili is also a standout among the dwarves. He's a charming fellow, and dashing, but there's a longing for home in the character... and a longing for that fetching elf maiden who's caught his eye. Turner has such good chemistry with Evangeline Lilly that we like the two of them together.

It is refreshing to see McKellan back as Gandalf one last time. He fits the role of the wise wizard so well, giving the character the gravitas needed. There's a sharpness to his portrayal, but also a decisiveness and inner strength. His Gandalf is a man of integrity, and that comes across throughout his performance. It has been a great character for the actor to play, and McKellan fits it so well. Richard Armitage has really made himself a reputation playing Thorin through these films. He is a bold leader, courageous even to the point of recklessness. We see here for a time the character take a different turn, consumed by greed that overrules everything- there are shades of the older Bilbo or Smeagol in that greed, or perhaps a bit of Boromir in that lust for his treasure. And yet that dark place he descends into is not the end of him, and Armitage plays the dwarf leader with great authority.

Martin Freeman was the perfect choice for the young Bilbo. We can believe that he'll one day age into Ian Holm, not only physically but in his character. He's been on a journey through these films, and the character has changed throughout. Where he started out as a hobbit happy at home and content in his life, awkward and out of place in a company of dwarves, he's moved beyond that. He's proven himself courageous, resourceful, and bold, a quick thinker and a sharp wit. Freeman's played the role in such a compelling way that we take his side, feel loyal to him. It's a terrific way to cap off the character, and set the stage for where he goes next. 

So is this really the end of the line for Jackson's forays into Middle Earth? If so, it's quite a way to wrap things up... by bringing us back to where we started. There's heartbreak and loss along the way, but also the forging of bonds, the breakthrough of personal strength. And the inherent decency of a hobbit, the unlikeliest hero of all.