Ant-Man and the Wasp (2018)
In Marvel’s latest addition to its cinematic universe, Ant-Man and the Wasp improves upon the original story that debuted Paul Rudd’s portrayal of Ant-Man in 2015. This sequel is funnier, the story is better, and, by the end of it all, it cleverly weaves itself into the recent events of Avengers: Infinity War.
Much like the first Ant-Man, this film’s underlying message is about the importance of family and doing whatever it takes to protect the ones you love the most. The best scenes in this movie are between Scott, Rudd’s character, and his daughter Cassie, who is played by the young Abby Ryder Fortson. They are heartfelt and sweet, showing off the strong father-daughter relationship the two characters have.
Beyond Scott and Cassie’s relationship, however, Ant-Man and the Wasp is also about friendship and putting the past in the past. Following the events of Captain America: Civil War, Scott has been spending time on house arrest and has had no contact with his former partners, Hope van Dyne and Hank Pym, played by Evangeline Lilly and Michael Douglas respectively. That is until they all reconnect and embark on a new mission. Expanding on the idea of the quantum realm, the team has set out to find Hank’s wife, and Hope’s mother, Janet, who is played by Michelle Pfeiffer. In doing so, however, they have to dodge other forces, such as the FBI who are monitoring Scott. The group also runs into an unlikely foe who is after the same technology.
Hope’s role in this film has also become more crucial, as she now has a suit of her own and can fight by Scott’s side. The action scenes in Ant-Man and the Wasp are fun and energetic. Her presence in these scenes heightens the film.
Marvel does well when it doesn’t take itself too seriously and injects humor, compassion, and, sometimes, vanity into its films. With both Ant-Man installations, Scott is easily liked because of his flawed character traits and perseverance to do right by his daughter. We get more of that in the second film and it’s great.
This review originally appeared on Salt Lake Film Review