Review: ‘Ant-Man and the Wasp’ and the Importance of Small Stories in Big Universes

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In Hollywood, it’s all about size. Big budgets, supersized casts, boffo box office openings. And in that world, there is perhaps nothing larger than the Marvel Cinematic Universe. If Avengers: Infinity War proved anything, it’s that the MCU had earned its scope. It would make sense, then, that the latest installment—Ant-Man and the Wasp—would look to hitch its wagon to its bonafide stars. It doesn’t, and it doesn’t need to. It has, to borrow the internet’s latest mini-meme, BDE.

Before we get into that, or any more size jokes, a few points of clarity. Ant-Man and the Wasp takes place pretty much concurrently with Infinity War. Tony Stark (Robert Downey Jr.) briefly mentioned in that movie that Scott Lang (Paul Rudd) would be sitting out the battle with Thanos, and in his standalone movie we find out why: His jaunt to Germany in Captain America: Civil War put him in violation of the Sokovia Accords, which forced him into house arrest in the Bay Area. So while the other Avengers were fighting Thanos out in the galaxy and in the fields of Wakanda, Ant-Man was stuck at home. How his story will tie in with the greater MCU isn’t even truly revealed until the (very good, but terrible to spoil) post-credits scene—a throwback to the time when all of the Marvel movies’ But wait, there’s more! moments teased the massive team-up to come.

And really, that’s exactly what an Ant-Man movie needs. Frankly, it’s what the MCU needs. After a few films where the fate of the entire universe hung in the balance—Infinity War, Black Panther, Thor: Ragnarok—Marvel needed a palate-cleanser, a movie that wasn’t all-or-nothing. And while director Peyton Reed’s movie trashes a few San Francisco tourist destinations, no country is decimated, and no planet gets pummeled. Hela, the Goddess of Death, is nowhere to be found. It’s just a little side-hustle about Hank Pym (Michael Douglas) and Hope Van Dyne (Evangeline Lilly) trying to rescue Janet Van Dyne (Michelle Pfeiffer)—their wife and mother, respectively—from the quantum realm. It’s a Post-It Note reminder of an adventure.

And it’s a fantastic time. The setup: Scott is a just a few days away from completing his house arrest when he has a dream about Janet Van Dyne, a quantum entanglement that provides the key her family needs to get her out after being stuck there for 30 years. (An unanswered question: Where does one eat/sleep/poop in the quantum realm, which basically looks like a floor-less hot-box tent at Coachella?) But, as is always the case, getting Janet out isn’t that simple—especially since they’re trying to do it while a gangster, played by a wonderfully maniacal Walton Goggins, and a new mysterious villain called Ghost (Hannah John-Kamen) both vie for control of Pym’s lab and all the technology inside.

This kind of tightly-constructed story not only avoids the problems other recent Marvel movies have had with trying to do too much, it also gives the movie time to breathe, to develop characters and build worlds, without having to shift focus to a whole new location and collection of heroes every 10 minutes.

This kind of tightly-constructed story not only avoids the problems other recent Marvel movies have had with trying to do too much, it also gives the movie time to breathe, to develop characters and build worlds, without having to shift focus to a whole new location and collection of heroes every 10 minutes. All of which is to say, it lets Evangeline Lilly’s Wasp grow—and steal the show. Ant-Man may get top billing, but Hope is the one driving the action. (I mean that literally, she hits the streets of San Francisco like Steve McQueen in Bullitt.) Not only does she get the better fight scenes, she also delivers a fair share of one-liners, which isn’t an easy task in a movie that brought back Michael Peña’s Luis for some grand scene larceny. And when it comes to world-building, the Ant-Man sequel delves even further into the quantum realm, showing its many wrinkles and rainbows in a way reminiscent of how Doctor Strange built out its various mystical realms. It also, in a nod to super science nerds, features tardigrades, the microscopic “water bears” that look like pill bugs in khakis.

Then there’s the matter of Ant-Man and the Wasp‘s breadth, which, wisely, focuses simply on Scott Lang’s attempt to help Hank and Hope while not getting caught for violating his parole. It’s efficient, and feels like a turn of events that could take place in the time allotted. Marvel movies have always had strange scopes: They’re massive events of global (or galactic) significance that often begin and end in under a week. It’s hard to tell since the sun never sets in space, but I’d estimate the massive fights of Infinity War wrapped up in about 48 hours of real time. Ant-Man and the Wasp completes its full arc in a smooth 36, give or take, along with a comfortably digestible two-hour run time. And that’s all the time it needs—in both duration and story—to unspool its plot and catch Scott and Hope up with all of the Avengers, chronologically speaking. Everything you need in one tiny time capsule.

Truly, lean-and-meanness is Ant-Man and the Wasp’s greatest gift. After a few films full of all-you-can-eat chest-thumping, Reed’s movie is a necessary digestif, all the joys of a Marvel movie shrunk down into a quick caper that cuts through the post-Infinity War fog. Yes, this is all part of Marvel’s design. The studio knew it needed a breather between that film and next year’s Captain Marvel. But that doesn’t mean that Ant-Man and the Wasp, with all of their ease and banter, shouldn’t saunter in and have a little fun. The payoff is huge—even if the movie isn’t.

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