Tag Archives: Evangeline Lilly

Ant-Man and the Wasp (2018, Peyton Reed)

Despite being in the first scene in the movie and sharing most of Paul Rudd’s scenes with him, Evangeline Lilly is definitely second in Ant-Man and the Wasp. The film gives her her own action scenes–some truly phenomenal ones–but very little agency. She’s entirely in support of dad Michael Douglas; even after it’s clear Douglas–in the past–was an egomaniac who hurt lots of people, it’s not like Lilly has any reaction to it. Or the film for that matter. During the scene maybe, with Rudd laughing about what a dick Douglas has always been, someone getting very upset remembering how Douglas treated them, Douglas looking bemused, and Lilly looking vacant. There are a few of those scenes and they really define the film’s dramatic qualities.

It doesn’t have many.

It’s got a lot of humorous qualities and a lot of charming ones, but not dramatic. Nothing ever gets as emotionally intense as the first act, in flashback (either straight flashback or dream sequence). Even when there’s all the danger in the world, as Rudd, Lilly, and Douglas race against time to save Lilly’s mother (and Douglas’s wife), Michelle Pfeiffer, from being trapped in the Quantum Zone. Realm. Sorry, Quantum Realm. There’s a lot of quantum things in Ant-Man and the Wasp, it’s hard to keep track.

But the film isn’t about dramatic possibilities so much as good-natured, comedic special effects action ones. There’s this omnipresent theme about parents disappointing children–Douglas and Lilly, Rudd and his daughter (Abby Ryder Fortson), not to mention the villain (Hannah John-Kamen), who’s got her own father issues. But if the film never acknowledges it’s a theme, is it really a theme? The screenplay (by five screenwriters) never worries about it and director Reed really doesn’t narrative echoes. It’s not his thing. His thing is humor and pacing and the film excels at both of them.

Because, even with those five writers–including Rudd–it’s not like there’s much depth to characterizations. Walton Goggins is one of the villains and he’s basically doing a really broad caricature of Walton Goggins being in a Marvel movie as a Southern tech-gangster. Randall Park plays a goofy FBI agent who Rudd keeps on one-upping and it’s even broader. Michael Peña excels with similiar treatment; he’s always played for obvious laughs and Peña plays through, fully, successfully embracing it. Goggins and Park act obviously to the joke. Not Peña.

None of the leads have much heavy lifting either. Rudd and Lilly are so adorable–and find each other so utterly adorable–it’s hard not to enjoy every minute they spend together. Douglas is one note, but the script doesn’t really ask for much more. Pfeiffer does more in her two scenes than Douglas does in the entire film. And she doesn’t even do a lot.

Meanwhile, Larry Fishburne–as one of the many people Douglas screwed over in the past–is able to bring some gravitas to his part. He takes it seriously, even when no one asks him to do so.

But none of it really matters because everyone’s really likable, including villain John-Kamen (far less Goggins, who’s nowhere near as funny as he needs to be to warrant so much plot import), and Ant-Man and the Wasp is full of delightful special effects action sequences. Whether it’s when Lilly is shrinking down and growing big to kick ass in fight scenes, flying all over the place, throwing people all over, or when it’s Rudd growing big instead of shrinking down and using a flatbed truck as a scooter. Reed and the screenwriters know where to find every laugh, every smile–it doesn’t hurt Rudd and daughter Fortson have such cute scenes. Opening on Lilly, making the movie about her missing mother, her lost childhood, it almost seems like it’s a movie about daughters. Oh, right, John-Kamen too. But it’s not. It’s about being cute and funny. It’s never even heartwarming when it’s not cute. There’s not much depth to it.

And, for a movie without much depth, it’s an awesome time. The special effects sequences alone–it isn’t just the fight scenes with awesome shrinking and growing effects, it’s sight gags and car chases and everything else (not to mention adorable giant ants). The film’s inventive as all hell. Except with John-Kamen’s villain, who’s not just occasionally invisible, but also immaterial. Her powers make narrative sense, Reed doesn’t visualize them as well as the rest.

By the end of Ant-Man and the Wasp, you want another one. It’s a delightful, thoroughly competent amusement. Even if Christophe Beck’s score is never as good as it seems to be.

2.5/4★★½

CREDITS

Directed by Peyton Reed; screenplay by Chris McKenna, Erik Sommers, Paul Rudd, Andrew Barrer, and Gabriel Ferrari, based on the comic book by Stan Lee, Larry Lieber and Jack Kirby; director of photography, Dante Spinotti; edited by Dan Lebental and Craig Wood; music by Christophe Beck; production designer, Shepherd Frankel; produced by Kevin Feige and Stephen Broussard; released by Walt Disney Pictures

Starring Paul Rudd (Scott), Evangeline Lilly (Hope), Michael Douglas (Hank), Hannah John-Kamen (Ghost), Laurence Fishburne (Bill), Michael Peña (Luis), Abby Ryder Fortson (Cassie), Walton Goggins (Sonny Burch), Randall Park (Jimmy Woo), T.I. (Dave), David Dastmalchian (Kurt), Judy Greer (Maggie), Bobby Cannavale (Paxton), and Michelle Pfeiffer (Janet).


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Ant-Man (2015, Peyton Reed)

Ant-Man is almost a lot of things. It’s almost a kids’ movie, but not quite–there’s a maturity to the material without it getting overly complex. It’s almost a heist planning movie, but director Reed can’t quite bring all the elements together. He does get them into the right place–the crew hanging out in a particular location and the crew being mismatched–but then he doesn’t spend any time with them.

Frankly, it makes Michael Douglas seem like he doesn’t want to spend the time with the other actors, which is unfortunate. There’s a lot of chemistry to the film, though it’s sometimes not where it should be. For example, even though Evangeline Lilly is fine in a thankless role (as Douglas’s daughter and star Paul Rudd’s love interest), she doesn’t have any romantic chemistry with Rudd. She works off his humor well, but she doesn’t connect quite right. Maybe because Rudd’s actually out of place with Douglas and Lilly; he’s far more comfortable awkwardly interacting with his kid (Abby Ryder Fortson), his ex-wife (Judy Greer) and the ex’s new boyfriend (Bobby Cannavale).

Rudd does fine with the rest, but it’s mostly just humor. His performance is downright sincere with the family stuff. With Douglas and Lilly? Reed uses Rudd for comic relief. It’s kind of weird, especially since Reed doesn’t set up those scenes for comic relief. It’s partially a script problem–Douglas’s character is too thin–but it’s also Reed’s inability to find a tone for the film.

And Ant-Man is a great looking film. Great photography from Russell Carpenter, great editing from Dan Lebental and Colby Parker Jr. There’s lots of amazing, unimaginable action–it’s about a guy who shrinks down to the size of an ant, after all. I don’t think anyone’s done miniaturization with excellent CG before.

Corey Stoll’s excellent as the villain, even though his character is thin too. There’s a lot of comic relief with Michael Peña as Rudd’s partner-in-crime. It’s silly and way too forced (hence Ant-Man almost being a kids’ movie–the humor is broad), but it doesn’t get in the way. Until the end, at least, when Ant-Man sacrifices its humanity to tie into the Marvel movie universe.

It’s also nice to see Wood Harris, even if he isn’t getting anything to do. He’s in good company. Ant-Man isn’t even Rudd’s show. It’s the special effects and the heartwarming message. It succeeds on both those counts, well enough to get a pass for its missteps.

2/4★★

CREDITS

Directed by Peyton Reed; screenplay by Edgar Wright, Joe Cornish, Adam McKay and Paul Rudd, based on a story by Wright and Cornish and the comic book by Stan Lee, Larry Lieber and Jack Kirby; director of photography, Russell Carpenter; edited by Dan Lebental and Colby Parker Jr.; music by Christophe Beck; production designers, Shepherd Frankel and Marcus Rowland; produced by Kevin Feige; released by Walt Disney Pictures.

Starring Paul Rudd (Scott Lang / Ant-Man), Michael Douglas (Dr. Hank Pym), Evangeline Lilly (Hope van Dyne), Abby Ryder Fortson (Cassie Lang), Judy Greer (Maggie Lang), Corey Stoll (Darren Cross / Yellowjacket), Bobby Cannavale (Paxton), Michael Peña (Luis), David Dastmalchian (Kurt), T.I. (Dave), Wood Harris (Gale) and Anthony Mackie (Sam Wilson / Falcon).


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Real Steel (2011, Shawn Levy)

While the most impressive thing about Real Steel is easily the CG robot boxers, one has to wonder why Shawn Levy didn’t also use computer graphics to make James Rebhorn look more lifelike. Rebhorn, who I was initially happy to see in the opening titles, appears to be wearing a pound of makeup.

Steel has a solid supporting cast—besides Rebhorn, Hope Davis shows up for a small, thankless role and is good. In a tiny (though fourth billed) part, Anthony Mackie is good. Kevin Durand is great as a vile bully.

And there’s a good movie somewhere in Real Steel. A has-been boxer takes up promoting robot ones, finds out he’s got a kid, he and the kid bond, human concern is abound. And occasionally Levy—ably assisted by cinematographer Mauro Fiore—creates a good scene. But they’re far and few and they never feature Hugh Jackman (as the has-been boxer) and Dakota Goyo (as the kid). In those good moments, usually well-composed shots of Jackman by himself, it’s like a terrible future version of a good Paul Newman seventies movie.

Jackman’s okay. The film’s dialogue is horrendous, so there’s not much he could do. Goyo’s weak, but not terrible. Evangeline Lilly is useless as Jackman’s love interest.

Danny Elfman’s score is bad. He proves incapable of aping the Rocky music, which seems pretty simple.

Levy’s composition is fine, he’s just insipid.

Real Steel is real stupid; it wouldn’t have taken much to make it smart.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Shawn Levy; screenplay by John Gatins, based on a story by Dan Gilroy and Jeremy Leven and a short story by Richard Matheson; director of photography, Mauro Fiore; edited by Dean Zimmerman; music by Danny Elfman; production designer, Tom Meyer; produced by Don Murphy, Susan Montford and Levy; released by Touchstone Pictures.

Starring Hugh Jackman (Charlie Kenton), Dakota Goyo (Max Kenton), Evangeline Lilly (Bailey Tallet), Anthony Mackie (Finn), Kevin Durand (Ricky), Hope Davis (Aunt Debra), James Rebhorn (Uncle Marvin), Karl Yune (Tak Mashido), Olga Fonda (Farra Lemkova) and John Gatins (Kingpin).


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