Warner Brothers reboot of Stephen King’s It was an enormous success as it grossed $700 million worldwide. This type of financial boom and the available source material made the idea of a sequel inevitable. Director Andy Muschietti and the original writing team were brought back by the studio to build upon their success and hopefully blow people’s minds in the next film. Muschietti was able to attract the likes of Jessica Chastain, James McAvoy, and Bill Hader to round out a fantastic cast for It: Chapter 2. Fans have been clamoring for any news about Pennywise’s return, and it appears we now have some. Check out James Mcavoy’s Instagram post from June 19th –
A post shared by James Mcavoy (@jamesmcavoyrealdeal) on
This post was the first real confirmation from a member of the cast that production on It: Chapter 2 had begun. Then came a post from the project’s biggest star via her Instagram –
Jessica Chastain confirms that she’s now joined James Mcavoy on location to film her role as Beverly Marsh in It: Chapter 2. Casting for the sequel has been universally praised by fans as it seems Muschietti has been very meticulous in his choices. It seemed as if moments after It was released, fans have been clamoring for the two time Oscar nominee to play the older version of Beverly, and the Golden Globe nominated actor to portray an older version of Bill. Mcavoy posted this image on Instagram yesterday –
Mcavoy confirms in this post that it’s not just Chastain who is on location beginning to film It: Chapter 2. Just by scanning these photos we can see that Bill Hader, Isaiah Mustafa, and cast members from the 2017 film are on hand. Could fans be in store for numerous flashback in the sequel? Could we see the first teaser trailer debut at SDCC? Still, many questions are unanswered which will leave fans in anticipation leading up to It: Chapter 2’s release in September of 2019.
Another week, another dark and depressing episode of Hulu’s The Handmaid’s Tale. But as I’ve said in previous reviews, no matter how dark this dystopian speculative fiction show gets, it continues to impress. The Waterfords pushed their monstrosity level to new heights this week. And, based on the uncertain ending of “The Last Ceremony” it’s difficult to tell whether the show is down one good guy. Ah well. Such is life in Gilead, I suppose.
The Handmaid’s Tale Season 2, Episode 10: “The Last Ceremony” – Emily Adds Insult to Injury
Having insisted that anyone helping the Sons of Jacob deserves to die, it’s suspicious that Emily’s commander dropped dead during “the ceremony.” Add to Emily’s violent rhetoric the fact that when she was in the colonies she poisoned a fallen wife for the part she played in systematically raping a woman, and the circumstantial evidence against Emily starts to mount.
I enjoyed Emily’s falsely pragmatic response to her commander’s death, insisting that she must lie on her back to increase the chance of impregnation. It’s always refreshing to see handmaids use the limited power they have to manipulate the monsters they work for. As for the kicks to the dead man’s groin, I’d say he had them coming.
I wonder, though, will Emily continue to take matters into her own hands, and maybe plan a larger attack on the establishment? Based on her conversation with June in the market, she doesn’t seem to think she has much left to lose.
The Handmaid’s Tale Season 2, Episode 10: “The Last Ceremony” – “Sorry Mrs. Waterford.”
After doing her best to remind Emily what it is she has to live for, June starts having contractions. The babymobile rushes June to the Waterfords, and the ludicrous preparations get underway.
We see Fred discussing June’s next handmaid assignment with a commander interested in procuring her services. The interested commander shows himself to be something of a lecher. He describes his current handmaid as “never much fun,” and June as “not bad-looking either.” Unfortunately for Nick, he has a front-row seat to all of this, standing guard as Fred’s protection.
But seemingly through sheer force of will, June does not give birth. She was only experiencing Braxton Hicks contractions. Staff inform Serena and Fred that June’s labour was false, and the too-early revelers go home.
The Handmaid’s Tale Season 2, Episode 10: “The Last Ceremony” – Infertile Fred
June visits Fred in his office after the party has left. She asks him to do what he can to help ensure that her next handmaid assignment be somewhere close to her estranged daughter Hannah. Even though she says she’ll never try to see Hannah, Fred refuses and implies that he has been too lenient with her.
After being flatly refused her request, June makes a brave but probably foolish move: she tells Fred that he’ll never have a child of his own. One would think that if Fred had suspicions before about Nick’s involvement in June’s pregnancy, those suspicions are probably all but confirmed now.
The Handmaid’s Tale Season 2, Episode 10: “The Last Ceremony” – The Most Natural
Fred meets Serena in her potting shed and the two discuss June’s false labour. Serena insists that June is happy about the result, and Fred agrees that they have spoiled her. Serena is adamant that they have a doctor induce labour, but Fred doesn’t want to risk harming the baby.
I cringed visibly at Serena’s next line, that she thinks it best if the labour is induced in the most “natural way.” These people are terrible.
The Handmaid’s Tale Season 2, Episode 10: “The Last Ceremony” – “I’m not here.”
This leads to what was, arguably, the most graphic scene viewers have yet watched in The Handmaid’s Tale. Although some other reviewers and fans have complained that June’s violent rape by Fred and Serena was needlessly graphic, I disagree. June’s violent rape underscored that what a commander and his wife do during “the ceremony,” whether the handmaid lies back and goes numb or whether she kicks and screams, is rape either way.
Too often, mass media characterizes rape only as a violent act that involves a great deal of screaming and physical resistance. This narrow view disregards the importance of power in any sexual relationship. I argue that this is really what The Handmaid’s Tale, both Atwood’s book and the TV series, is all about.
If a partner in any relationship, professional or personal, holds all or most of the relational power then any romantic or sexual advances made by the powerful partner in that relationship act as coercion on the less powerful partner.
June’s violent refusal of “the ceremony” in “The Last Ceremony” reminds the viewer that “the ceremony” is rape whether the handmaid refuses or not because handmaids have no legal right to refuse. Rather than being overly graphic, this scene brought home important points about spousal rape and the pervasive atmosphere of sexual coercion, not in the fictional Gilead but in the real world.
The Handmaid’s Tale Season 2, Episode 10: “The Last Ceremony” – “Don’t worry ‘bout it.”
Keeping the importance of relational power in mind, Eden and Nick’s relationship provides access to a completely different can of worms, the effects social norms and legal prohibitions have on people who feel they must stay together to benefit society or, more often, cover their butts. In Eden and Nick’s relationship, neither coerces the other. Social norms coerce them both in different ways.
Eden would probably prefer to be with a man closer to her in age, like the guard Nick caught her making out with, and Nick would definitely prefer to be with June. Duty, as defined by the powers that be, forces them away from their desired partners and toward each other. Their sham marriage is, like so many others, based on serial deceit, both of each other and of the society they live in.
Eden’s suspicions of Nick and June’s ongoing relationship, mixed with her fear that Nick may inform on her for cheating, may prove deadly for Nick — unless he actually died at the end of this episode that is.
The Handmaid’s Tale Season 2, Episode 10: “The Last Ceremony” – “Why didn’t you try harder?”
If viewers’ emotions weren’t ratcheted up enough, they certainly were during the last 10 or so minutes of this episode.
In what seems like an effort to assuage June’s feelings of resentment after he and Serena raped her, Fred tells June that he’s planned a surprise for her that he thinks she’ll like. He packs June into his SUV with Nick as her driver, tells June she deserves this, and kisses her on the forehead.
As he drives, Nick asks June what happened but she refuses to speak. He drives June to a deserted, huge, and snow-covered house, and when she enters she sees a number of armed guards and her daughter Hannah playing with a Martha. A guard tells June she has 10 minutes. Ah, all the time a mother could ask for with her estranged daughter.
This scene was a heart-breaker. There are few things more hurtful for a parent to hear than “Why didn’t you try harder [to protect me],” and “I have new parents now.” Hannah, whose name has been changed to Agnes, used both of these parent-crushers during her time with June but did come around eventually.
June tells Hannah to do whatever her “parents” tell her and to keep herself safe. June demands that the Martha protect Hannah and love her. She says she will, and June answers yet another heart-breaking question from Hannah, “Mommy, am I ever going to see you again,” to which June replies “I’m gonna try.” — *sobbing noises fill my TV room.
The Handmaid’s Tale Season 2, Episode 10: “The Last Ceremony” – Pregnant and Alone
I kept hoping Nick would whip out his Glock, blow all the armed guards away, and hurry June, Hannah, and the Martha across the border. Unfortunately, this is Hulu’s The Handmaid’s Tale, and happy endings are few and far between.
Instead, the armed guards hurry Hannah and her Martha into an SUV after allowing June and Hannah a tearful goodbye.
After they’re gone, Nick, spying another black SUV, rushes June back into the house and goes to see who it is. Unfortunately, the SUV contains yet more armed guards. Nick lies that he was checking up on the house, but the guards don’t buy it. A struggle ensues, a gun goes off, and Nick falls to the ground. The guards load Nick into their SUV and speed off. They also steal the SUV that Nick drove to the big house, leaving June abandoned in an unfamiliar place with no one around for what may be miles. Suffice it to say, this is not the best predicament to find yourself in during your third trimester, especially in Gilead.
The Handmaid’s Tale Season 2, Episode 10: “The Last Ceremony” – Final Thoughts
This was a great ensemble-cast episode. It’s difficult to pick standout performances because everyone involved dialed it up to 100. Aunt Lydia’s condescension toward Serena following June’s false labour, Fred’s brooding malevolence, Serena’s willing complicity in June’s rape followed by her feelings of guilt, June’s violence during her rape, June and Hannah’s scene together, Eden’s naïvety and suspicion of Nick after he caught her kissing the guard, Emily’s violence against her commander, Nick’s casual indifference toward his young wife…it was all great. It was all depressing but it was all great.
As the second season of The Handmaid’s Tale wraps up — there are only three more episodes to go — I wonder what the third season will look like. I also worry that this brilliant TV show will suffer the same fate as so many other excellent serials, that is saturation and loss of focus.
If a TV serial runs too long, it often goes bad. This decline in quality sours viewers’ opinions of the show. And in some cases, this souring even changes viewers’ opinions of the original idea that made the show worth watching. I hope that when the time comes the creative team will have the courage to walk away from the truckloads of cash that networks may offer for superfluous seasons. After all, it’s better to do something right than to do it forever.
HAL JORDAN AND THE GREEN LANTERN CORPS written by Robert Venditti, pencils by Fernando Pasarin, inks by Oclair Albert & Eber Ferreira, colors by Jason Wright, and letters by Dave Sharpe enlightens our shelves with some fantastic art this week while Hal Jordan, Guy Gardner, and Kyle Rayner escape their own personal prisons with some helpful friends.
Unless you’ve read this issue or enjoy hunting for early Christmas presents, now is the time to turn back before I brighten up your day with some Hal and Pals SPOILERS.
Overall, this issue didn’t progress the story much at all. Hal Jordan loses his mind only to gain it back about eight pages later. The tricky Guy Gardner gets Round 2 with Arkillo only to break free from the Darkstar’s using his willpower. And, Orion breaks Kyle Rayner and Space Cabbie out of New Genesis Jail. The story feels like Robert Venditti was forced to wrap this series up quick with a nice bow. The wrapping is pretty good but let’s check out the gift inside.
Let’s talk about the best part. Fernando Pasarin’s pencils, Oclair Albert & Eber Ferreira’s inks, and Jason Wright’s colors. Their art pops right off the page. The art team did a fantastic job this week. Give credit where credit is due. These guys had such bright and vibrant colors mixed with such specific detail.
Just look above at the fight between Guy Gardner and Arkillo as proof. I can feel the pain from Guy’s uppercut. Also, look between Arkillo’s legs at Guy’s dad. This art team could have fudged together some profile of his dad. Better yet, they could have left him entirely out of the page. But the fact that they left him in AND gave him specific detail shows me the time, and dedication Pasarin, Ferreira, and Wright put into this issue.
Even though this page above looks kind of busy, I wanted to point out the lettering by Dave Sharpe. There’s a ton of dialogue down the left side that makes the page extra busy. That very well could be Robert Venditti trying to fit too much into one page. However, I loved the lettering of Guy Gardner on this page.
I can physically see his anger in his words. The KOOOOM down the right side helps show the reader how powerful Guy’s hits are, as well as how loud they are too! Arkillo is taking a pounding for someone else’s dad to help out a friend. I sincerely hope this relationship between Guy and Arkillo continues somewhere when this book is done.
Venditti gives us a trip down memory lane of Hal Jordan as he remembers everything from the past 46 issues. We also get Kyle Rayner escaping with Space Cabbie and Orion in what appears just to be extra fluff squeezed into the issue. And lastly, Arkillo gets Guy Gardner to come to his senses and regain control using his willpower. So as the Earth Lanterns race back with help, we end the issue with Mogo surrounded by thousands of Darkstars.
I’m sorry. I want to like it more than I do but everything feels rushed, forced, and packed in before the series ends. I enjoyed the Guy/ Arkillo fight but was it needed again? Did we need a trip down memory lane for Hal? And Kyle has felt like a throwaway character for most of this arc as well as the last. There is too much happening right now. So much that we didn’t check in with John at all.
Should you pick up this issue?
Every aspect of the art was outstanding. But, I think you could skip this issue and not miss a beat.
Should you add this series to your pull?
Yes! Why? Because this arc started off really well and I have faith that Venditti will right the ship. Plus, we got 3 issues left. You’ve got to know how it all ends!
Well, what did you guys think of HAL JORDAN AND THE GREEN LANTERN CORPS #47? Comment below or hit me up on Twitter @dispatchdcu
The Quantum Age #1 brings the world of Black Hammer into the year 3041 with tons of action, drama, and heart. It’s written by Jeff Lemire, with art by Wilfredo Torres, colors by Dave Stewart, and letters by Nate Piekos.
The universe is in chaos and a young martian – one of the last of his race – seeks out the help of The Quantum League, once great heroes who have since become enemies of the state.
Each Black Hammer series to date has been a love letter to classic superhero series like Justice League of America and Starman, and The Quantum Age is no exception. Immediately, the series gives off distinct Legion of Super-Heroes vibes, from the time period to the characters and beyond. Obviously, Lemire and company make each series their own, but the homage is a brilliant way to quickly strike a cord with the reader. It sets a clear tone and establishes an emotional connection by feeling like a book you’ve been reading your whole life.
QuantumAge is definitely the most “traditional superhero comic” of the Black Hammer titles (or at least this issue is). It looks to be more action-oriented with bigger set pieces and a grander story, whereas the other series are almost entirely character-driven. But don’t fear, Lemire legionnaires! The characters in Quantum are still as interesting and complex as we’ve come to expect from the writer. After only getting to know them a little bit, you’ll feel the weight of their decisions and fear for their well-being.
And the story itself is equally interesting and mysterious. Finding out how the world became this way and what happened to the Quantum League will definitely have you coming back for more. Just because it’s more “action-oriented” doesn’t mean it’s a boring, dumb punch fest.
Wilfredo Torres’ art and Dave Stewart’s colors combine to create a future that’s equal parts vibrant and gritty. Torres’ work fits the world of Black Hammer well, giving the characters and surroundings a mysterious edge that you can’t quite place. It’s not as edgy as Dean Ormston’s on Black Hammer or Max Fiumara’s on Doctor Star, or as surreal as David Rubin’s on Sherlock Frankenstein, but it’s the perfect fit for this title. It gives the story a more traditional vibe, while still feeling wonderfully weird and independent. Quantum Age seems like it’s going to be more hopeful and inspiring than the Hammer series that have come before it.
As we jump back and forth between two interweaving stories set 25 years apart, Stewart’s colors set the competing tones. The “past” feels brighter and more like a classic superhero comic while the “present” is bleak and dystopian. While everyone on this creative team does their part well, it’s Stewart that seems to have the most control over the audience’s emotions.
The Quantum Age: From the World of Black Hammer #1 is a compelling read, like everything else in this comic book universe. If you’ve been a fan of the Hammer series up to this point, you’re getting more of what you love, but with a little bit more flair.
We also have an interview with Quantum Age artist Wilfredo Torres coming out soon, so keep it tuned to Monkeys Fighting Robots for more info before this series starts next week!
In the latest episode of Kieran’s Movie Space, Kieran delivers his spoiler-free review of Marvel’s Luke Cage season two. Does the Netflix series deliver a thrilling second season? Does the villain rival some of Marvel’s best? Find out by listening to Kieran’s review below!
Kieran’s Movie Space is an insightful, fun and reliable new podcast for fans of all things cinema. Host Kieran McLean delivers in-depth reviews of the latest movie releases, from small indie movies to massive blockbusters.
Luke Cage season two is currently available to stream on Netflix. The series stars Mike Colter, Simone Missick, Alfre Woodard, Theo Rossi, Mustafa Shakir, Ron Cephas Jones, Rosario Dawson and Gabrielle Dennis.
After clearing his name, Luke Cage has become a celebrity on the streets of Harlem with a reputation as bulletproof as his skin. But being so visible has only increased his need to protect the community and find the limits of who he can and can’t save. With the rise of a formidable new foe, Luke is forced to confront the fine line that separates a hero from a villain.
Make sure you hit the like button, subscribe and review the podcast! Alternatively, you can subscribe to the Monkeys Fighting Robots newsletter to be notified when new episodes are available, plus amazing content!
It looks like Jared Leto isn’t done with comic book movies just yet! The actor who portrayed the most recent incarnation of The Joker in David Ayer’s Suicide Squad has reportedly been cast in Sony’s upcoming Spider-Man spin-off movie, based on Morbius the Living Vampire.
According to THR, the Oscar-winning actor has officially signed on to portray Morbius in Sony’s much-discussed Spider-Man-less universe. Daniel Espinosa (Life) will direct the project, which was written by Burk Sharpless and Matt Sazama.
Find out more about the character below:
In an attempt to cure his rare blood condition, Dr. Michael Morbius turned himself into a Vampire-like creature and obtained a set of fangs and a hunger for human blood. In Marvel Comics, Morbius has often been a Spider-Man villain, although the character has grown to become a popular antihero.
The character was created by Roy Thomas and Gil Kane. The character made his debut in 1971’s Amazing Spider-Man No. 101.
Will Jared Leto do a good job with the role? Let me know in the comments section below!
Are you suffering from a case of NoJack? Do you find yourself praying for ‘MoJack? Then get ready for the return of Mr. Horseman! Early September brings us the last few days of summer, the first few weeks of football, and also the release of season five of BoJack Horseman.
@BoJackHorseman (the Twitter account for the fictional character BoJack Horseman (the star of the popular animated series BoJack Horseman)) slyly broke the news thusly:
wooowwww congratulations you are the 10000000 person to ask that question your prize is the answer sept 14th now please stop asking me https://t.co/YlMPphjRdq
So, set your calendars for September 14th, 2018 and get ready for more laughs, more emotions, and hopefully more Vincent Adultman.
The show, created by Raphael Bob-Waksberg, stars Will Arnett, Alision Brie, Amy Sedaris, Paul F. Tompkins, Aaron Paul, and Aparna Nancherla. The first four seasons are available for your streaming pleasure on Netflix.
The penultimate issue of The Man of Steel miniseries slows the story down and suffers for it.
Last week, we saw the man of steel go up against Rogol Zaar to avenge Kandor. At his side is Supergirl, who is blinded by the loss of the bottled city. Despite there being two Kryptonians, Rogol can stand his ground and manages to defeat the pair. In the aftermath of the battle, Clark finally realizes that Rogol is tied to the destruction of Krypton. He decides to head back to the ruins of the Fortress in a last-ditch attempt to learn of Rogol’s weaknesses. Superman arrives to find Rogol waiting, but before he has a chance to finish off the Kryptonian, Clark’s fury is unleashed. How will the man of steel defeat this mighty foe?
**Some Spoilers Below**
Story:
Picking up right where we left off last week, Clark takes Rogol to the moon to reduce the collateral damage. Due to his already weakened state, however, due to his already weak state, the man of steel is defeated and is left behind. Meanwhile, the Justice League has been assisting in Metropolis, trying to clean up the mess the battle from the last issue left behind. They also try to contain an enraged Supergirl as she continues to try and fight Rogol.
This issue is primarily a filler issue. We get minimal story progression, walking the same steps as last week’s. Clark is mad, fights Rogol, gets hit so hard we get a flashback. Now the flashback does shed light on the Lois and Jon mystery, but it has become so stretched out at this point, it loses interest. This is the biggest problem that began to show as the series went on. While the action is going, it is excellent, but when it slows down, it makes me ask, “Can we wrap this up now?” Thankfully we have one issue left for the miniseries, but as it stands, this issue is just dull.
Art:
Adam Hughes serves as the primary illustrator and one of the colorists, and he is a step up from last week. His dark style and colors can capture the monstrous Rogol Zaar and the devastation from the battles. There are parts, however, that Adam does that is just okay in quality. It isn’t terrible by any means, but it is clear which pages Adam put his all in.
Conclusion:
It’s at this point in the series I’m beginning to worry about Bendis’ writing for the man of steel. There was an excellent build up, but now it feels like it’s overstaying its welcome. We have one issue left to go, and I really hope this miniseries ends with a bang.
Director Patty Jenkins has been bringing the goodies for her upcoming film Wonder Woman 1984. Today she took to Twitter to release our first official look at Kristen Wiig as Dr. Barbara Minerva. You can check out the image below:
Minerva is better known as the DC Comics villain Cheetah. Wiig was cast in the role earlier this year to the surprise of many. The actress is most well known for her comedy chops, starting out on Saturday Night Live then moving on to roles in some iconic comedies. Fans have questioned if Wiig could bring the gravitas needed to take on a comic book villain, although, this image may reveal the character could be a lighter take on the iconic villain.
The image reveals that Minerva is visiting a Smithsonian museum in Washington D.C. Most iterations of the character see her as an archaeologist, obsessed with artifacts involving the powers of a cheetah. It would make sense that Minerva would be interested in relics that are on display in the musuem.
The plot details surrounding Wonder Woman 1984 are still under wraps at this point, other than the fact the film will see Diana take up arms during the Cold War. The biggest mystery is the fact that director Patty Jenkins revealed that Chris Pine’s Steve Trevor would be returning for the sequel. Trevor, of course, was seemingly killed in a plane explosion in the third act of Wonder Woman. It’s still unclear how Trevor will make his return and if Cheetah will have any involvement in it.
Are you excited to see Kristen Wiig take on the role of Cheetah? Let us know in the comments below!
Wonder Woman 1984 will blast into theaters November 1, 2019
The film stars Gal Gadot, Chris Pine, Kristen Wiig and Pedro Pascal. Patty Jenkins is returning to direct and co-wrote the script with Expendables writer Dave Callahan.
Peyton Reed’s Ant-Man and the Wasp is a cleverly constructed story with empowering undertones teeming with absurdity, campiness, and whimsy, creating a joyous experience for fans around the globe.
Anyone walking into to see the sequel to Ant-Manexpecting a continuation of Avengers: Infinity War (I’m not sure why you would), has to understand how different these two films are. The Russo brothers’ first of two Avengers films highlights the brutality of Thanos as he clashes with Earth’s Mightiest Heroes. Reed’s second stint as director focuses on the ridiculous set of circumstances which led an ex-con to become something much more. Ant-Man and the Wasp is about being underestimated and overcoming judgment to serve a greater good.
The events of Ant-Man and the Wasp take place after Captain America: Civil War. Scott Lang (Paul Rudd) has subsequently been arrested for his role in the airport battle. Scott is trying to find a way to balance everything going on in his life as he finishes out his sentence. With days left on his house arrest, Hope van Dyne (Evangeline Lilly) and Dr. Hank Pym (Michael Douglas) show up to tell Scott that they have developed a way to potentially track down Hope’s mother (Michelle Pfeiffer), who has been lost in the Quantum Realm for decades. Ant-Man and the Wasp then have to team up in the hopes of saving Hope’s mother. But could an individual from Pym’s past threaten everything?
The writing team of Chris McKenna, Erik Sommers, Andrew Barrer, and Rudd developed a smart way to jump right back into the Pym family saga while still furthering Scott’s narrative too. We see in Ant-Man and the Wasp just how much guilt plays a role in motivating Dr. Pym. Everything he’s done since that fateful sequence on the missile 30 years ago was in hopes of a breakthrough one day that could make his family whole again. Hope recognizes Pym’s torment and is willing to go through any obstacle to ease her father’s pain as well as her own. Time is not wasted here, creating profoundly emotional moments in the film. They instead go in a different direction that makes their part in the movie more visceral.
Scott’s portion of the tale is one of self-discovery. Even though he’s already been Ant-Man, he still views himself as this screw-up ex-con who does more harm than good. Hope tracks him down out of desperation, and even then, he’s second-guessing her. Cassie is the only person who can talk some sense into him when she states “helping people isn’t dumb.” Cassie’s love is enough for Scott to rise from his state of self-pity and begin a journey which ultimately ends in Lang understanding what it means to be Ant-Man.
However, the gentleman who steal Ant-Man and the Wasp are Michael Peña, Tip “T.I.” Harris and David Dastmalchian. Every comedic moment written for them is executed to perfection. The chemistry of these three was through the roof, and it had me wondering if Marvel could somehow create a vehicle for these characters on the television side. This isn’t to say the rest of the cast is lacking (quite the opposite actually), but when one element of the film stands out that much, it bears mentioning.
Reed maintains a brisk pace throughout the film. Nothing in the movie appears to drag, resulting in a storyline which flows beautifully from beginning to end. The staging of the action sequences is original and quite inventive, making use of every inch of space, even in the front of a moving car). It was as if Reed evaluated the perceived missteps of the first film and tightened those up in Ant-Man and the Wasp.
Rudd’s performance is solid as he brings a mixture of levity and humility to the role. Ant-Man isn’t your typical Marvel superhero. He’s more of an everyman, which makes him relatable to fans. However, if we are honest, the star of Ant-Man and the Wasp is Evangeline Lilly. Lilly’s ass-kicking uber-intelligent portrayal of Hope (and the Wasp) is the thread that holds the film together. Seeing Wasp throttle, bad guys will delight fans (especially little girls) everywhere. Don’t be surprised if Wasp becomes a hot costume this Halloween.
Shepherd Frankel’s production design stands out because he seamlessly integrates so many elements (an oversized Pez dispenser and oddly shaped buildings, for instance) to create an attractive landscape. Dante Spinotti’s cinematography is most effective at capturing the intricate surroundings during the continuous action sequences by panning the camera slightly to get a better vantage point. Christophe Beck’s score is light, fun and full of pep.
Overall, Ant-Man and the Wasp is the perfect blend of action and fun making it an excellent time for all. Shrinking away from this sequel could prove to be a costly mistake.
