Reviewer: Philip Price
Director: Peyton Reed
Stars: Abby Ryder Fortson, Bobby Cannavale, Evangeline Lilly, Hannah John-Kamen, Judy Greer, Laurence Fishburne, Michael Douglas, Michael Peńa, Michelle Pfeiffer, Paul Rudd, Randall Park, T.I. Harris,Walton Goggins
Released: August 2nd, 2018 (UK)
I heard a bug hit the windshield on my way home from the theater after seeing Ant-Man and the Wasp and genuinely felt bad about it. If that tells you anything about how well this movie will hit you. That isn’t to say this superior sequel to 2015’s Ant-Man is something of an emotional roller coaster that evokes real sympathy for characters that get minor in the most minor of Marvel Cinematic Universe (MCU) movies, but in some ways…it kind of does. In its earnest portrayal of these characters we come to easily invest in each of their plight’s largely (isn’t that ironic?) because they are dealing in stakes that are so personal and thus small when compared to that of the end of the world. Is it kind of ingenious? Yeah, a little bit considering Doctor Strange goes to another dimension to stop a blob called Dormammu from engulfing the earth and all things considered that should terrify me far more than if Paul Rudd’s Scott Lang survives his last few days under house arrest, but it didn’t and I would rather watch Ant-Man and the Wasp a hundred times over than sit through Doctor Strange again. The best part of that? Doctor Strange isn’t a bad movie by any stretch of the imagination. Rather, Strange is simply a generic and forgettable one in the scheme of the last decade of MCU films whereas director Peyton Reed (Ant-Man) and writers Chris McKenna, Erik Sommers, Andrew Barrer, Gabriel Ferrari, as well as Rudd himself lend their movie a more memorable signature by allowing it to indulge in its inherent goofiness while simultaneously proving this isn’t as cheesy an affair as it has to be. I mean, the basis of a super hero being a super hero because he shrinks down to the size of an insect and can then communicate with said insect is a premise wholly owed to whatever drug-induced haze Stan Lee, Larry Lieber, and Jack Kirby were in at the time (1962 to be exact) which isn’t a bold claim considering Lee’s cameo here hints at how crazy the sixties were, but the fact is despite their powers being corny and their abilities being used more so for their own agendas than maybe any other heroes in the MCU Reed is still able to execute and exhibit these technologies and the capabilities they enable in ways that are effective and dare I say it…even kind of cool. There are less than a handful of big action sequences here, but that doesn’t matter because everything about Ant-Man and the Wasp is enjoyable, but more each of those few action sequences are crafted in ways where it feels every facet of who these characters are and the world they exist within is being utilized in creative and fun ways. This kind of passion for the material also assists with the level of compassion we, the audience, feels toward the characters and thus the level of investment we pledge to what is admittedly a less vital piece of the MCU puzzle. That Ant-Man and the Wasp challenges this precedent set by the first film is enough to solidify its worthiness among the ranks as well as its quality outside of them.
Paul Rudd is a genius. I’m just going to flat-out say it. The man, who had a breakout role at twenty-six, but didn’t really see his career take off in a leading man kind of way until over a decade later and only then-after another decade of going through the broad comedy circus-realized and decided the shtick was up in so many words decided to slyly change directions without changing much about his approach; Rudd’s last theatrically released comedy in which he was the leading man was 2013’s Admission co-starring Tina Fey and that only grossed a domestic and worldwide total of just over $18 million on a budget of $13 million. Sure, the guy was in Anchorman 2 a few months later and that was a huge success, but if you’re wondering why you haven’t seen America’s favorite comedic actor on the poster of any upcoming movies at the multiplex that’s because movies like They Came Together and The Fundamentals of Caring don’t make money anymore even when someone with as likable a face as Rudd’s is on the poster. And so, how does one continue to do what they love as well as what they’re exceedingly good at while still turning a profit in a cultural landscape that is more selective than ever about what they’re willing to fork over their hard-earned cash on at the theater? Well, that would seemingly be to pick the goofiest super hero Marvel Studios was willing to place a bet on, get a guarantee you could put your own polish on the screenplay, and turn in the same kind of performance you would were you making a movie about a cat burglar trying to turn his life around for his daughter while at the same time falling for the daughter of your new boss. In short, Rudd has taken what he does best in his best out and out comedies like Role Models and I Love You, Man and applied that to the only profitable game in town: super hero movies. On top of this, Rudd is in fact a comedic genius, so that doesn’t hurt either and in fact allows both its predecessor and Ant-Man and the Wasp to possess this playful, quite sincere tone that is often too far removed from being the main objective of these tentpole, super hero flicks. In Ant-Man and the Wasp it would be easy to mistake the emotional crux of the movie for that of the overriding quest to rescue Hank Pym’s (Michael Douglas) wife and Hope Van Dyne’s (Evangeline Lilly) long lost mother, Janet Van Dyne (Michelle Pfeiffer), and you wouldn’t be far off given it is this objective that spurs much of the action and that sends our protagonists spiraling into a bevy of undesirable circumstances, but you’d also be fooling yourself if you said the thing you weren’t most concerned about throughout the entirety of Ant-Man and the Wasp was that of whether or not Lang would successfully complete his house arrest stint and be able to return to life as usual with his daughter, Cassie (Abby Ryder Fortson). This is all I could concentrate on the longer Lang was pulled away from where he should have been and it is this connection, this feeling of concern that speaks to how well Rudd is able to convey what he chooses to convey-especially when he knows it will be given an audience to connect with.
So, why is Lang on house arrest in the first place you ask? Well, that would be due to the events of Captain America: Civil Warwhere they seemed to write off Lang’s character as much as Kevin Feige writes off the Ant-Man movies. Lang was credited as being a man always on the opposite side of the law and so, why would he have any hesitation in supporting Captain America despite the fact his entire first solo movie was about him doing whatever it took to be able to be a part of his daughter’s life. Luckily, Ant-Man and the Wasp is here to undo all of that confusion as Lang’s two-year house arrest is the result of a deal with the government that conveniently places the San Francisco-based super hero out of the picture for the past five Marvel movies. This also explains why we didn’t see Ant-Man join in on the action a little over two months ago when Thanos finally came to earth in Infinity War, but I digress. If you’ve seen the latest Avengers film, and I’m assuming most of you have if you’re reading this review or interested in Ant-Man and the Wasp in any capacity, you’ll no doubt be wondering whether or not this latest MCU feature takes place before or after the events of that pivotal entry to which the answer is an easily presumed before. As disappointing as this may be to some given the more interesting dynamics that could have come into play were this sequel to take place in the midst of the chaos Thanos brought to the universe it might then be something of a relief or rather a surprise to learn that the events depicted in Ant-Man and the Wasp unravel over the course of a mere seventy-two hours. With three days left on his sentence Rudd’s Lang is keen on doing whatever it takes to remain right where he needs to be as he is getting regular visits from Cassie and is on good terms with ex-wife, Maggie (Judy Greer), and her new husband (Bobby Cannavale). Lang has also struck up a seemingly solid small business with pals Luis (the hilarious Michael Peña), Kurt (David Dastmalchian), and Dave (Tip ‘T.I.’ Harris) as the former thieves now design and install professional security systems. While things are going well in most aspects of Scott’s life aside from being confined to a confining premises he is not on good terms with either Hank nor Hope who are on the run due to Scott’s involvement with the Avengers squabble over the Sokovia Accords and the fact he used their tech in the fight. Hank seems most angry over the fact Scott would so carelessly use his tech in a fight they had no business being near whereas Hope seems more disappointed in the fact she wasn’t invited to the party. Things between the estranged parties must be resolved quickly though, as Scott begins experiencing strange connections with the thought to be long-lost Janet after Hank and Hope open a new portal to the Quantum Realm with a tunnel device they’ve been working on in hopes of rescuing their wife and mother. Add into this equation Walton Goggins’ Sonny Burch, a man who deals in black market tech with ties to the FBI, and Hannah John-Kamen’s Ghost/Ava who can phase through just about anything and is after the same tech Hank and Hope are desperately in need of that Burch just so happens to be withholding and what one has is a lot of balls in the air that somehow turn into more points than they do failed attempts.
Speaking to the cultural landscape in which Ant-Man and the Wasp has been born into, it is a time when we take for granted the fact sequels are now often times improvements over what came before them rather than only being opportunities to pull a little more cash out of a property that was more successful than anticipated the first time around. With this cinematic universe mentality as honed by Feige and his minions there is vision to where these different series of movies could potentially go and Reed, Rudd, and their writers room seem to have taken the most advantage of this in recent MCU memory as they implement a number of different ideas that seemed to be little more than intentions for the world they were building in the first film. For example, the line continues to blur between strictly good and strictly bad and while John-Kamen’s Ghost isn’t nearly as memorable as some of the more recent MCU villains she isn’t exactly the villain of the piece one might expect her to be either. In this way, Ant-Man and the Wasp veers away from formula in favor of something a little more layered and complex. The MCU has done a fine job of doing this in a number of their films lately, Spider-Man: Homecoming is the first to come to mind, but in the confrontations with Ghost Hank, Hope, and Scott find themselves fighting over a piece of equipment not for nefarious reasons of taking over the world or blowing up a something for the purposes of making a statement, but rather both parties have personal investments in how this tech might assist them in accomplishing the goals for those aforementioned personal agendas. We not only feel a sympathy for Ava as we come to peel back the layers of who she is beyond her abilities, but we hope for a resolution that sees her become as successful in her mission as our heroes are in theirs. It’s a weird line to walk, but one that will ultimately be to the benefit of the universe as a whole given the biggest issue with the first two phases of the MCU was its lack of compelling antagonists.
All things considered, there are certainly shortcomings with the film such as the Pfeiffer’s storyline being underdeveloped and Goggins being as wasted here as he was in Tomb Raider earlier this year, but the function his character serves in the plot as that of a point of all-around maliciousness helps balance the scale and ease the transition to grayer pastures. And while this installment feels more substantial than its predecessor it seems the Ant-Man films will by default always feel a little more slight than everything else in the MCU; of course, this also likely has much to do with the fact it is following the bleakest entry in the MCU to date. To this extent and to the extent I should mention Laurence Fishburne is in this movie it should be noted that Hank does in fact seem to have made a large number of enemies in his time with S.H.I.E.L.D. and as CEO of PYM Technologies. This may or may not inform future sequels, but one thing that certainly will is the evolving relationship between Scott and Hope as Lilly celebrates her coming out party as the titular Wasp in a fashion that can only be summed up as gloriously fulfilling. This is a big deal and one that should probably have a bigger word count dedicated to it than it’s getting, but the biggest compliment one can pay the inclusion of Wasp this time around is that it feels like a completely natural and logical next step never mind the fact it is a vital one for equal representation of powerful women in the super hero cinematic landscape. As mentioned earlier, there are less than a handful of large action set-pieces here, but Reed makes the most of each by meticulously detailing how both Ant-Man’s and The Wasp’s powers might best be utilized and effectively conveyed by using the environment they find themselves getting small in; an early scene where Lilly’s Hope is fighting a bunch of cronies in a restaurant kitchen is a perfect example of such as the casual environment quickly becomes a death trap. This is also a scene that exemplifies how effortlessly badass and how much more capable the Wasp is as a super hero than her counterpart. Needless to say, there is a lot to love about Ant-Man and the Wasp as it underpins all of its top notch action and comedy (thanks again, Mr. Peña) with a heart that is best exemplified by the love between a father and a daughter (and in contrast, a mother and daughter). It also somehow ends up being more kid and family-friendly than Incredibles II which is of note even if it will require multiple viewings to figure out how exactly they pulled that one off. There is a fair amount of talk about misdirection in Ant-Man and the Wasp too, which is to say that while this venture may in fact itself be a form of deception in which to focus our attention away from what we just witnessed unfold in the far more grave Infinity War it’s hard to imagine a more entertaining or satisfying sleight of hand that Marvel could have pulled.
Released: 21st September 2018 (UK)
Directed By: Gaspar Noé
Starring: Sofia Boutella, Romain Guillermic, Souheila Yacoub, Kiddy Smile, Claude Gajan Maull and Giselle Palmer
Reviewed By: Dion Wyn
Birth and death are extraordinary experiences. Life is a fleeting pleasure.
Master provocateur Gaspar Noé has been warping our fragile little minds for over 20 years. After the vast disappointment of Love 3D in 2015, he finally returned to Cannes this year. Where he won best picture at Director’s Fortnight; with his latest feature Climax. The win truly has reinvigorated interest and buzz of Noe’s work. The big question is does it actually live to the hype? Climax is set in the mid 1990’s, 20 French urban dancers join together for a three-day rehearsal in a closed-down boarding school located at the heart of a forest to share one last dance. They then make one last party around a large sangria bowl. Quickly, the atmosphere becomes charged and a strange madness will seize them the whole night. If it seems obvious to them that they have been drugged, they neither know by who nor why. And it’s soon impossible for them to resist to their neuroses and psychoses, numbed by the hypnotic and the increasing electric rhythm of the music. While some feel in paradise, most of them plunge into hell.
Climax grabs you and doesn’t let you go. Gaspar Noé’s fine form has returned with his sangria-soaked neon nightmare. Climax opens very subtly with interviews from the dance troop. We get a candid view into their lives and what drives their passion for dance. Noé shows the naivety of his cast before we enter the pressure cooker of the dance hall. Once the usual closing credits happen at the beginning, the true story starts to unfold. The opening dance sequence is electrifying and full of raw kinetic energy. You have succumbed to the euphoria of Noé, the camera becomes another dancer in the troop. We are witnessing the synchronicity and passion for the art of dance. You suffer from a slight come-down after the initial performance, but the depravity and relaxed inhibitions of the dancers start to flow out. There is no real script to Climax it is largely improvised, we delve into the sexual depravity of the dancers. These conversations are not for the faint of heart. You start to see where Noé is going with Climax or do we?
Once the LSD soaked sangria kicks in Noé begins his wizardry behind the lens. Distortion and blurriness are subtly put into frame. You can feel the sweat pouring through the walls. The music intensifies and the dance becomes a lot more aggressive. We have now entered the hellish nightmare we were expecting from the get go. It isn’t the drug trip we witnessed in Enter The Void either. Once the LSD has kicked in, you only see the reactions to their hallucinations. Gaspar Noé challenges you to think what is actually going on? The usual camera trickery now ensues, a classic Noé move. The journey warps your senses and you don’t always know what is going on. The crucial element in sustaining the tension is the killer soundtrack. It really is the beating heart of Climax (Vinyl has been pre-ordered all ready). After the explosion of this pressure cooker of a situation, the story goes no holds barred with scenarios of extreme violence, incest and self harm. Noé doesn’t create an in your face scenario in this instants, it is rather out of character for him.
Sofia Boutella has shed away the action star. Her raw and untameable energy is addictive. She flows so powerfully through Climax and you can feel her passion for dance. The casting of the dancers is a master stroke. They all bring a different element to the piece and the diversity of characters gives it great balance. Our inner darkest ideas and nightmares flow through Climax like a virus. You are tested from the get go and Climax is a true cinematic challenge. It is a true testament of youth and the ever flowing challenge of perfecting your artistry. Gaspar Noé’s Climax is electrifyingly abstract and a true champion of 2018.
The Little Stranger ★★★★
Adapted from the Booker prize nominated novel by Sarah Waters, the cinematic incarnation of The Little Stranger has much to live up to.
Released: 21st September 2018
Director: Lenny Abrahamson
Cast: Domhnall Gleeson, Ruth Wilson, Charlotte Rampling, Will Poulter, Liv Hill
Reviewed By: Sinead Beverland
Adapted from the Booker prize nominated novel by Sarah Waters, the cinematic incarnation of The Little Stranger has much to live up to. At the helm is Room Director Lenny Abrahamson, with an impressive cast including Domhnall Gleeson, Ruth Wilson and Charlotte Rampling.
Set shortly after the second world war, Doctor Faraday (Gleeson) introduces us to the faded grandeur of Hundreds Hall, a place he envied feverishly as a child. Having belonged to the Ayres family for several generations, the house is now inhabited by just Mrs Ayres (Rampling) and her two adult children, Roderick (Will Poulter) and Caroline (Wilson). When Faraday is called to the house to visit the unwell young housemaid Betty, he recollects his childhood adulation of the place. Remembering the presence of a young girl, he is told that this was Mrs Ayres first daughter, Susan, who had died as a child. It seems the spectre of Susan (affectionately known as Suki) still lays heavily over the house, as housemaid Betty tells Faraday she fears something ‘isn’t right’. As he becomes more entwined with the family and their home, strange events begin to raise concerns and individually threaten members of the family.
From the very outset, the film breeds an unsettling feeling, the house is imposing with long shots conveying the sense that the characters are being observed. The audience follows Faraday in to this fading world of status and money, sensing his childhood desire and starched formality. The family are equally intriguing and unnerving. Roderick, badly injured during the war, is now an invalid struggling to cope and disturbed by the sense that something in the house does not want him there. Matriarch Mrs Ayres seems to be doing her best to keep the past alive and daughter Caroline (the best of the bunch as attested to by a fellow doctor) seems strong yet vulnerable. When Faraday begins an intriguing friendship with Caroline, their relationship evolves to hinge the entire ethereal story together. With fantastic performances all round, the characters all emerge fully formed, conveying depth without the need for swathes of expository back story.
The terror of the film gradually reveals itself, impacting in set scenes that are truly disturbing and realistic. Director Abrahamson has a subtle touch (as seen in the Oscar Nominated Room) and these climactic scenes engulf you, whilst revealing the fate of certain characters. Abrahamson knows how to accentuate the fear for the audience and uses restraint to devastating effect. As the house leaks secrets and the memory of the deceased Susan comes to the forefront, the story is told with an intensity that uses strikingly rich music and extreme close ups to create a claustrophobic atmosphere. However, to reveal too much of the story here, would spoil the experience of discovering for yourself what is happening at Hundreds Hall.
The Little Stranger is a mature and nuanced film, layered in such a way that it address status and class alongside desire and emotion. The period setting is detailed and worn, bridging the gap between transitioning eras in Britain. This is no straightforward horror or ghost story and the film certainly feels to have done justice to its excellent source material. Rich in theme, characters and style, I would gladly take The Little Stranger home.
Released: 19th October 2018
Directed By: Matteo Garrone
Starring: Marcello Fonte
Reviewed By: Rhys Handley
Dogman is the anti-Paddington. Antithetical to the marmalade-loving bear’s enduring mantra – “if we are kind and polite, the world will be right” – dog groomer Marcello (Marcello Fonte) carves out a life in the dilapidated outskirts of Rome modestly tending to his estate’s canine residents and enjoying the respect of his neighbours.
But Marcello’s submissive, accommodating kindness is pushed closer and closer to its limit by the hulking Simone (a terrifying Edoardo Pesce, surely masked in near-mutant prosthetic), a brutish ex-boxer who stalks the estate terrorising the residents. Unable to say no to a friend, Marcello facilitates Simone’s egregious coke habit to little recompense.
When Simone’s scheme to rob a nearby jeweller’s implicates Marcello and he is apprehended by the police, the Dogman takes the fall himself and goes inside for a year for the sake of the bully who pretends to be his friend. When he comes out, something has changed.
Marcello, diminutive and always sporting a toothy grin, strikes an unimpressive, but likeable figure. He is perfectly happy with his lot as the film opens – a divorced father who takes pride in his work and loves trips to the beach with his daughter. While director Matteo Garrone makes a meal of the grim, filthy aesthetic of the film’s setting, he peppers in moments of levity and blissful tranquility to reinforce the humble satisfaction of Marcello’s daily life.
To see him repeatedly indulge the cruel, selfish whims of Simone quickly becomes a source of frustration, as the brute encourages vices in Marcello that seems entirely at odds with his persona. Marcello is swept away on break-ins and hedonistic strip club nights in jarring scenes more in keeping with Garrone’s work in the gangster canon such as 2008’s Gomorrah.
In these scenes, the toxicity fuelling Marcello reveals itself. Fonte delicately skews the kindly facade when Marcello enters Simone’s world. Behind his courteous smile is a sickening glimmer of delight – Marcello loves the thrill and decadence of life of crime. His latent desires mix with his better nature, to create something more insidious than Simone’s overt depravity.
Dogman stumbles in its closing chapter as Marcello is released from prison, returning to a community who despises him for violating their trust and chasing Simone’s false offers of brotherhood and fortune. Marcello reemerges not exactly changed, but more honest to himself about what he is. Garrone and his co-writers steer this portion of the story with a steady hand, but it is hard to shake comparisons to other established squares-gone-rogue like Walter White.
Marcello’s resolve and vengefulness is convincing thanks to Fonte, but its emergence is sudden and teeters dangerously close to cliche. His push and pull with Simone is rote, which makes its languid pace a little irritating – this has suddenly become a very different film, and it can’t carry the slower moments of contemplation as well as it could before Marcello was locked up.
An inevitable confrontation takes place, bursting with brutality and gore. But rather than a release of tension, it feels like a betrayal of the thoughtful, measured character piece Garrone set up. The violence overreaches for shock value where Garrone had before been satisfied with something more pensive and empathetic.
Luckily, he pulls back in the final moments of the film and dovetails elegantly by concluding what is essentially his thesis on ‘little guy’ psychology. He frames Marcello not as a good man pushed too far, but as someone whose better and worse natures are intrinsically tangled to create a monster very different to the bully who ultimately leads him to snap.
No matter how kind and polite the Dogman might try to be, he cannot deny the malice that festers in his heart – and Garrone artfully distills Marcello’s melancholic final moment of self-realisation in a resonant closing shot that gracefully irons out the kinks in this curious, inconsistent little film.
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