Andrew Hates… ANT-MAN

Dir: Peyton Reed, 2015

Recently released from prison, master thief Scott Lang is sought out by retired superhero Dr. Hank Pym and persuaded to wear the Ant-Man suit – a weapons prototype which allows its wearer to shrink in size and increase in strength – in a last-ditch effort to pull off a heist that would protect the secret of the Ant-Man technology from falling into the wrong hands.

This is the twelfth entry in the Marvel Cinematic Universe. The twelfth. Which means we’re a little over halfway through the films that Marvel have authorised to consume our summers from 2008 until 2019 (and most likely onwards). So it’s not surprising that it’s becoming hard to find a new story with fresh characters and atmospheres for us to devote ourselves to while superheroes hurl each other through buildings. It’s nice to have your cake and dunk your face into it too, right?

And yet following on from the Cold War, fearmongering subtext of Captain America: The Winter Soldier and the facetious space-western Guardians of the Galaxy, Ant-Man plays as a recycled Marvel outing salvaged from the scrap metal of the original Iron Man film. Both are tales of much sought-after weaponised outfits that put the ‘war’ in ‘wardrobe’ but Iron Man’s post-9/11 cultural significance dramatically outguns Ant-Man’s post-Avengers superhero canon. In addition to Corey Stoll’s slimy, spoilt brat of an antagonist failing to fill the villainous void that Jeff Bridge’s Obadiah Stane/Iron Monger exudes in Marvel’s first foray.

Putting motifs aside, the blazing comic book exuberance that previous director Edgar Wright would have undoubtedly brought to the front is also clearly lacking, replaced by the hollow, muted voice of Yes Man director Peyton Reed. What was blatantly designed to be the latest in irreverent, sharp-tongued protagonists is instead neutered and transformed into a heavy-handed Robin Hood with a disdain for violence and a string of bad luck to boot.

Perhaps the most perplexing thing about Paul Rudd’s Scott Lang is the utter superfluity of his character. Evangeline Lilly portrays Hope van Dyne, the daughter of Hank Pym, who has the necessary skills, temperament and charisma to follow in her father’s footsteps but is repeatedly swatted away by Pym, noting a secret yet ultimately contrived reason that expresses more of a motivation for Marvel to keep its line of super-males dominant (despite their announcement of the forthcoming Ms Marvel film). Rudd, while no Chris Pratt, is a fun figure to watch exchange quips on-screen but not punches whereas we’ve seen Lilly hold her computer-generated own in Peter Jackson’s Hobbit trilogy.

Where the first hour of the film dwells on the laboured introductions of the characters and plot, the second half is where the faint vestige of Wright’s involvement and the bounce of co-writers Rudd and Adam McKay’s script begins to mesh, culminating in a vastly publicised action sequence involving a train set in a little girl’s bedroom. The ant-sized sequences are compelling enough to occupy adults whilst enchanting children and the gags provide sufficient chuckles to get you through Douglas’ scientific mumbo-jumbo. Unfortunately, this Ant-Man results in a playful placeholder in the MCU that serves its purpose in tiding us over until next summer’s Civil War but could’ve massively benefitted from a step in the Wright direction.

★ ★ ★ ☆ ☆

Watch the trailer here.

Advertisements

Andrew Hates… END OF WATCH

End of Watch

Dir: David Ayer, 2012

Young guns Taylor and Zavala police the mean streets of South Central Los Angeles albeit with smiles on their faces. They suddenly begin to find themselves in over their heads when they uncover traces of a dangerous drug cartel who don’t take kindly to curious cops.

Training Day, Dark Blue, Street Kings. David Ayer is no stranger to penning tales regarding police corruption – which makes his latest outing all the more interesting as he showcases the honour and dedication that exists within the LAPD. Choosing his regular turf of South Central L.A., Ayer’s intention is not storytelling as much as documenting. Filmed on location and reinforced by actors who endured five months of police training, End of Watch is to law enforcement what Cathy Come Home is to social structure.

The film wears the disguise of plenty of buddy-cop movies before it – two cops who stumble onto an investigation that is bigger than they could imagine. The difference with End of Watch is neither an array of explosive developments nor fantastical set-pieces follow suit. The honesty of both the characters and the story drive the film forward, avoiding withdrawals the likes of platitudes or perplexities.

End of Watch’s success hinges on the superb chemistry between Gyllenhaal and Peña, which carries the film from the genre wasteland of found footage to the outskirts of the classic cop caper. The characters may have the qualities of your stereotypical police partners but they aren’t heroes, which only serves to make them more relatable. However, the seldom scenes that don’t involve Gyllenhaal and Peña on duty are more dull than others and the portrayal of the near-voiceless evil that is the dreaded Mexican cartel seems unnecessary for the amount of screen time the antagonists get. Still, these remain the only hiccups in an otherwise cracking effort by Ayer, who shoots End of Watch like an up-close and personal episode of Cops without falling into the visual disarray exhibited in most found footage features.

Ayer’s cinematic style employed in End of Watch separates it from his previous features whilst creating a more emphatic agenda than Ayer has ever before implied. A simple yet effective docu-thriller that is backed up by inspired performances from two flourishing actors.

★ ★ ★ ★ ☆

Watch the trailer here