Tag Archives: TI

Marvel’s Ant Man & The Wasp

Among all the razzle dazzle that is the Marvel Cinematic Universe, my favourite series going right now has to be Ant Man. There’s something so relatable about the underdog superhero who’s just a regular guy with a criminal record and a daughter to raise and isn’t some alien from way out there or a snarky billionaire. I love all the quantum realm elements, the trippy SciFi surrealism reminds me of 80’s stuff like Joe Dante or Spielberg and the large/small scale action sequences are hilarious, played up even more in Ant Man & The Wasp, a sequel that blasts further into new ideas, develops the characters more and has a lot more fun than the already brilliant first outing, or at least I did anyways. Paul Rudd’s Scott Lang is under house arrest for two years after an unauthorized trip to Germany, which provides both obstacles and a running joke when Dr. Hank Pym (Michael Douglas) and Hope Van Dyne (Evangeline Lilly) need him to wear the Ant Man suit once again and help them find Pym’s missing wife (Michelle Pfeiffer) who got herself stuck in the Quantum Realm decades before. Pretty much everyone is back for the ride again, including Scott’s merry band of thieves (TI, Michael Pena and David Dastmalchian), his ex wife (Judy Greer) and her husband (Bobby Cannavale) as well as others. I loved this film because nowhere in it is there a sense of menace or an edge, usually something I embrace in superhero movies, but I was looking for something light, feel-good and benign. Even the antagonists are on the easygoing side; Laurence Fishburne is a salty old colleague of Pym’s, Walton Goggins plays his black market tech dealer with that frivolous southern charm and even Hannah John-Kamen’s Ghost, who’s in a perpetual state of (wait for it) ‘molecular disequilibrium’, is just a damaged girl trying to make things right. We won’t speak of the jarring mid credits sequence that now has me demanding an Ant Man 3, which better happen soon. These first two and particularly this one are pleasant, gung-ho SciFi comedies that make the most of terrific visual effects, Rudd’s natural charisma and a retro feel. Something about Douglas and Pfeiffer flying around in Ant suits together and blasting through the quantum realm just has me missing the same sort of films they used to star in in their heyday. This is a throwback to that sort of thing, and I love it to bits.

-Nate Hill

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Marvel’s Ant Man

In a world of gargantuan Marvel Movie phenomena, it’s nice to see the little guy get some love amidst titans, superheroes and demigods, and by little guy I mean Ant Man, who I recently heard referred to as the underdog of Marvel movie protagonists, and that he is, given adorable slacker charm by Paul Rudd, who couldn’t have been cast better. From InnerSpace to Antibody (first rounds on me if anyone’s heard of that one), the concept of people shrinking down to minuscule size has been a staple of cinema since before The Borrowers said they were doing it before it was cool, and this one, although stubbornly an MCU entry, functions better as a loving throwback to the kind of old school Sci-Fi bliss you’d find someone like Dennis Quaid, Jeff Bridges or Michael Douglas headlining in the late 80’s, early 90’s. Speaking of Douglas, he’s in this, as Dr. Hank Pym, a fancy scientist who should star in his own spinoff/crossover called Honey I Shrunk Paul Rudd, because that’s more or less what happens. Rudd is petty thief Scott Lang, a middle aged dude who acts like he’s twelve until a little fatherly guidance from Pym and a *lot* of snazzy metaphysical science turns him into a microscopic hero. Of course the technology is coveted by a sinister rival scientist, played by Corey Stoll and set set up for this summers sequel as the super villain The Wasp. What I loved so much about this is it knows how to have fun and utilize the potential of it’s premise so effectively. All the scenes involving shrinking have a thoughtful innovation, absurd sense of humour (the toy train crash jump cut killed me) and warped, trippy style. The third act sees a scary malfunction in which he literally can’t stop shrinking and starts to lose himself in molecular infinity, which is probably the coolest or at least most original Sci-fi set piece of any Marvel flick. Joining Rudd and Douglas is whip smart scientist Evangeline Lily (Kate from LOST), and the cast is thick with excellent talent including the lovely Judy Greer as Rudd’s exasperated wife, Bobby Cannavle as her new cop boyfriend, Michael Pena, TI and David Dastmalchian as Rudd’s merry band of thieves, with work from John Slattery and Hayley Atwell to remind us we’re in the Marvel Universe, and a cameo from oddball entertainer Greg Turkington (Baskin Robbins always knows) to remind us this is also a departure for the MCU into something a little more delightfully bizarre. A rockin good time.

-Nate Hill

Ridley Scott’s American Gangster: A Review by Nate Hill

  

Ridley Scott’s vast, intricate crime epic American Gangster is one of the director’s finest achievement in film to this day. It’s sprawling in nature, expansive in scope but never chaotic or muddled. It always maintains a laser focus on its characters and story, thumping along at a rhythmic pace which swells and falls to the time of one of the most iconic stories in true crime. It’s Scott’s Heat, a titanic tale of cop vs. criminal in which neither are the villain or hero, but simply men adhering to rigid, ruthless principles moulded by the environments they have grown up in. Both men have an intense set of morals completely different from the other, yet equally as captivating. Russell Crowe is a troubled bruiser as Detective Richie Roberts, a cop so determined to convince himself of his own upstanding nature that he won’t take any illicit payoff in any amount or context. In contrast, every other aspect of his life is a shambling mess. Denzel Washington is quiet fury as Frank Lucas, an enterprising gangster and drug smuggler who rides the tidal wave of capitalism like there’s no tomorrow, flooding the streets of Harlem with pure heroin directly from the southeast Asian source, and rising swiftly to the peak of underworld infamy. The two are on an inevitable collision course, two juggernauts with different empires backing them who will stop at nothing. Lucas believes himself to be untouchable, shirking the flashy, preening nature of his peers and remaining out of the limelight, until cunning Roberts catches onto him. The rough and tumble world of New York in the 60’s and 70’s is lovingly brought to life by Scott, his cast and crew who go to impressive lengths in order to bring us that grit, realism and specific anthropological aura of another time, another setting. Speaking of cast, this has to be one of the most rip roaring collection of actors ever assembled, even to rival that of Heat itself. In Richie’s corner there is senior Detective Lou Toback (a sly Ted Levine, perpetuating the vague Michael Mann vibe even further), a scummy colleague (Yul Vasquez), and an off the books team of gangbusters including John Ortiz, John Hawkes and a mumbling RZA. He also clashes with his bitter ex wife (Carla Gugino) in an ugly custody battle for their young son. Over on Frank’s side of the hill are his huge extended family including Common, TI, Chiwetel Ejfor and Ruby Dee in one of the film’s finest performances as his strong willed, passionate mother, one of the only people who could talk sense into him and keep the animal inside at bay. Lymari Nadal is great as his bombshell Puerto Rican wife as well. His rivals include superfly-esque Nicky Barnes (Cuba Gooding Jr.) and a brief, hostile turn from Idris Elba. He also deals with the Italian mafia, personified by a hammy Armand Assante, an earnest Jon Polito and a slimy Ritchie Coster. One of the best performances of the film comes from Josh Brolin as positively evil corrupt narcotics detective Trupo, threatening everything that moves with his grease slick hair, porno moustache and silky, dangerous tone. As if that army of talent wasn’t enough, there’s also work from Kevin Corrigan, Joe Morton, Clarence Williams III in a powerful turn as an ageing Bumpy Johnson, and a blink and you’ll miss it cameo from Norman Reedus as well. What. A. Cast. The whole thing rests on Crowe and Washington, though, and both are like Olympian titans of crime and conflict, sweeping up everyone around them in a whirlwind of explosive violence, shifting alliances and the booming arrival of capitalism giving the American people in every walk of life a defibrillator jolt of economic change, laying the foundation for the world we live in today, one brick, one bullet, one business deal at a time. Scott achieves legendary heights with this one, a crime film for the ages that one can always revisit to see not how one hero cop took down a villainous drug lord, but how the forces which inexorably bind humans to various fates in accordance with their decisions swept up two extraordinary yet mortal men into historic infamy. In a word: Epic.