Super-Hero partners Scott Lang (Paul Rudd) and Hope van Dyne (Evangeline Lilly) return to continue their adventures as Ant-Man and the Wasp. Together, with Hope’s parents Janet van Dyne (Michelle Pfeiffer) and Hank Pym (Michael Douglas), and Scott’s daughter Cassie Lang (Kathryn Newton), the family finds themselves exploring the Quantum Realm, interacting with strange new creatures and embarking on an adventure that will push them beyond the limits of what they thought possible.
The sci-fi adventure opens in theaters on Feb. 17, 2023.
#AntManAndTheWaspQuantumania
The advance screening is on Wednesday, February 15th, 7pm at Marcus Ronnies Cine on the IMAX screen.
The screening will be filled on a first come first served basis, so we encourage you to arrive early. Seats will not be guaranteed. Rated PG-13.
Enter at the link below for the chance to win a family-four pack of passes.
Marvel Studios’ “Ant-Man and The Wasp: Quantumania” finds Scott Lang and Hope Van Dyne continuing to explore life as a couple who also happen to be Super Heroes. Life is good: Scott has penned a book, Hope is championing humanitarian causes and their family—Hope’s parents, Janet Van Dyne and Hank Pym, and Scott’s daughter, Cassie—is finally part of their day-to-day lives. Cassie, it turns out, shares her new family’s passion for science and technology—specifically with regard to the Quantum Realm. But her curiosity leads to an unexpected, one-way trip for them all to the vast subatomic world, where they encounter strange new creatures, a stricken society and a master of time whose menacing undertaking has only just begun. With Scott and Cassie pulled in one direction and Hope, Janet and Hank in another, they are lost in a world at war with no idea how or if they’ll ever find their way home again.
Kicking off Phase 5 of the Marvel Cinematic Universe, the fast-paced, big-screen adventure features Paul Rudd as Scott Lang/Ant-Man, Evangeline Lilly as Hope Van Dyne/The Wasp, Jonathan Majors as Kang the Conqueror and Kathryn Newton as Cassie Lang, with Michelle Pfeiffer as Janet Van Dyne and Michael Douglas as Hank Pym. The film also features David Dastmalchian as Veb, Katy O’Brian as Jentorra, William Jackson Harper as Quaz and Bill Murray as Lord Krylar.
Directed by Peyton Reed from a screenplay written by Jeff Loveness, Marvel Studios’ “Ant-Man and The Wasp: Quantumania” is produced by Kevin Feige and Stephen Broussard. Executive producers are Louis D’Esposito, Victoria Alonso and Kevin de la Noy. The creative team includes director of photography Bill Pope, production designer Will Htay, editors Adam Gerstel and Laura Jennings, and costume designer Sammy Sheldon Differ. The team also includes visual effects supervisor Jesse James Chisholm, visual effects producer Fiona Campbell Westgate and special effects supervisor Paul Corbould. Christophe Beck composed the sweeping score.
KANG: You thought you could win?! SCOTT LANG: I don’t have to win… …we both just have to lose.
A new, action-packed trailer for Marvel Studios’ “Ant-Man and The Wasp: Quantumania,” which opens in theaters Feb. 17, 2023, debuted on Monday night during tonight’s College Football Playoff National Championship. Kicking off Phase 5 of the Marvel Cinematic Universe, the fast-paced, big-screen adventure features the MCU’s most powerful villain to date: Kang the Conqueror. Check out the trailer, plus a new poster.
Super-Hero partners Scott Lang (Paul Rudd) and Hope van Dyne (Evangeline Lilly) return to continue their adventures as Ant-Man and the Wasp. Together, with Hope’s parents Janet van Dyne (Michelle Pfeiffer) and Hank Pym (Michael Douglas), and Scott’s daughter Cassie Lang (Kathryn Newton), the family finds themselves exploring the Quantum Realm, interacting with strange new creatures and embarking on an adventure that will push them beyond the limits of what they thought possible.
Directed by Peyton Reed and produced by Kevin Feige, p.g.a. and Stephen Broussard, p.g.a., “Ant-Man and The Wasp: Quantumania” also stars Jonathan Majors as Kang, David Dastmalchian as Veb, Katy O’Brian as Jentorra, William Jackson Harper as Quaz and Bill Murray as Lord Krylar. The sci-fi adventure opens in theaters on Feb. 17, 2023.
Check out the new trailer and poster for Marvel Studios’ “Ant-Man and The Wasp: Quantumania”—an epic, sci-fi adventure film hitting the big screen on Feb. 17, 2023. The film officially kicks off Phase 5 of the MCU.
In the film, which officially kicks off phase 5 of the Marvel Cinematic Universe, Super-Hero partners Scott Lang (Paul Rudd) and Hope Van Dyne (Evangeline Lilly) return to continue their adventures as Ant-Man and the Wasp. Together, with Hope’s parents Hank Pym (Michael Douglas) and Janet Van Dyne (Michelle Pfeiffer), the family finds themselves exploring the Quantum Realm, interacting with strange new creatures and embarking on an adventure that will push them beyond the limits of what they thought was possible.
Jonathan Majors joins the adventure as Kang. Director Peyton Reed returns to direct the film; Kevin Feige and Stephen Broussard produce.
Mr. Gary Grooberson (Paul Rudd) with Podcast (Logan Kim) and Phoebe (Mckenna Grace) in Columbia Pictures’ GHOSTBUSTERS: AFTERLIFE.
What at first seems to be a nostalgic multiplex return trip to a much-beloved flick from decades ago, actually begs a somewhat interesting question. When a reboot (or “re-imagining”) doesn’t “take” at the box office, can the studios have a “do-over”? Well, it somewhat happened in 2003 with what was really a TV property based on a comic book property. Audiences didn’t embrace Ang Lee’s fairly artsy (and cerebral) take on the HULK, so many were skeptical when the then head of Marvel Avi Arad said they’d be back. And they were in 2008 with THE INCREDIBLE HULK which built on the fan base for IRON MAN and laid the groundwork for the MCU (Doc Banner’s a big “player” there to this day). Jump ahead to 2016 when a new “spin” on an iconic 1980’s fantasy/comedy incurred the “wraith of internet fan-boys” and did a B.O. nose-dive (and it really was undeserving of the vitriol). So Sony now wants to find out if part of the title rings true for its franchise as it goes back to the “drawing board” with GHOSTBUSTERS: AFTERLIFE.
Oh, but we’re not back in the Big Apple where the other series entries were set. Nope, we’re many miles east as a battered old truck careens through the sleepy streets of Summerville, OK as though something was on its tail. It dashes off the “hard-top” onto a dirt road leading to a ramshackle farmhouse. Leaping from the vehicle, its shadowy driver gathers up some strange, but somewhat familiar device, to battle this unseen force. But they’re of no help. Cut to a much larger city as single mother Callie (Carrie Coon) gets word that her long-absent father has passed and left her his home. Since they’re behind on the rent, she hits the road with teen son Trevor (Finn Wolfhard) and pre-teen “whiz kid” Phoebe (McKenna Grace). They’re underwhelmed by the Summerville estate, but since they’re locked out of their previous place (back rent), they’ve got to make the best of it. While Trevor applies for a job at the local burger drive-in, to be close to the cute server Lucky (Celeste O’Connor), Phoebe attends Summer school. There she befriends the energetic Podcast (Logan Kim) and bonds with her teacher Gary Grooberson (Paul Rudd) over the sudden frequent seismic tremors. Back at the house, she discovers hidden labs full of old charts and intricate, though outdated, machines and data collectors. Meanwhile, Trevor starts tinkering with the vintage vehicle in the garage (and what’s with that logo on its side). The tremors appear to be emanating from a nearby closed mine. So what was Grandpa doing there? And what was his connection to a legendary supernational event back in 1084 NYC?
Though the film is dotted with familiar faces (yes, the OGs are present), its biggest strength comes from the excellent performance by young Ms. Grace. Though mainly known for playing the “child” versions of title characters (I, TONYA, and CAPTAIN MARVEL), she builds on the promise we saw in the “under the radar” gem GIFTED. As Phoebe, the coolest “kid brainiac” around, she’s got a sly snarky line delivery that shields her from the dangers of “evils beyond science”. She’s so cool that she’s never “out-cooled” by the always engaging Rudd, who turns the charm dial way up past 11. Who wouldn’t want a teacher so laid-back, popping 80s scare flicks into the ancient VHS player as the “daily lesson” (too bad he didn’t have MAC AND ME)? Plus he’s got an enthusiastic curiosity that matches the “new kids in town”, even ‘Phebe’s’ awkward “hormone-hyped” teen brother played with a smitten daze by Wolfhard. Sure he’s a more mature variation of his “Stranger Things” role, but he’s an endearingly clueless doofus, especially around O’Conner’s Lucky, his ultra-cool dreamgirl who befriends him. But one of the characters must deal with ghosts of the past along with the present. Coons as mom Callie still projects a tragic vibe even as she guides her kids with humor, though everything in their new home is a reminder of the father who was never there. After scene-stealing turns in GONE GIRL and THE NEST, it’s great to see this talented actress again on the big screen (though she was CGI-enhanced in the last two AVENGERS epics).
After the franchise fans were so “riled up” five years ago, this “retry’ feels almost like a “we’re sorry” cinematic greeting card as it almost bursts with nostalgic reverences for those earlier flicks. The new music score by Rick Simonsen presents several clever “riffs’ on Elmer Berstein’s iconic themes. And the film deals with the legacy of the first film even down to the man behind the camera, It’s Jason Reitman, son of the original director Ivan (he also co-wrote the script with Gil Kenan), quite a change from his more “down to Earth” fare like JUNO and UP IN THE AIR. He handles the big action set pieces well, though the interplay between the family (and Phoebe and Gary) resonate more, This “keys in” into the fairly radical approach to the series, in making it more “kid-friendly”, though it has the PG-13 rating, it may be more for the spooky stuff (there’s a couple of good “jump scares”). At times it recalls the “teen gang’ films like EXPLORERS and THE GOONIES that may have occupied the screens next to the first couple of entries. Unfortunately, it also recreates the often sluggish pace of those films, as it enters a “midway slump” which saps the energy and derails the flow. It then seems as though plot points and effects are being “checked off” a big “fan service”.clipboard. “Slimer”-style funny spectre-check. Demonic dogs-check. I will say that the twist on the first film’s towering threat is pretty clever and very well done. But after that bit of whimsy, the piece just trudges along to the mandatory “showdown” and “reconciliation” (which includes some off-putting CGI resurrection). Yes, the franchise’s fervent “base” will enjoy this one more, but it’s a pleasant “look back’ there’s not much to warrant a look forward (as the post-credits scene hints). GHOSTBUSTER: AFTERLIFE will “scare up” a few bucks, but it’s not enough to get new “recruits’ into the jumpsuit and strapping on the “proto-packs”.
2.5 Out of 4
GHOSTBUSTERS: AFTERLIFE is now playing in theatres everywhere
1-sheet of Columbia Pictures’ GHOSTBUSTERS: AFTERLIFE.
Director Jason Reitman with Mckenna Grace in the new Ecto-1 jumpseat on the set of GHOSTBUSTERS: AFTERLIFE.
From director Jason Reitman and producer Ivan Reitman, comes the next chapter in the original Ghostbusters universe. In GHOSTBUSTERS: AFTERLIFE when a single mom and her two kids arrive in a small town, they begin to discover their connection to the original ghostbusters and the secret legacy their grandfather left behind. The film is written by Gil Kenan & Jason Reitman.
Check out the brand-new trailer now.
The new film, which we are super excited for, is based on the 1984 film “Ghostbusters,” an Ivan Reitman film written by Dan Aykroyd and Harold Ramis.
Starring Carrie Coon, Finn Wolfhard, Mckenna Grace, Annie Potts and Paul Rudd, GHOSTBUSTERS: AFTERLIFE is scheduled to open in movie theaters November 11, 2021.
Listen as the trailer talks about the film and what’s up in the new preview.
This film is rated PG-13 by the Motion Picture Association for the following reasons: supernatural action and some suggestive references.
“McKinley, there are some lower campers stuck in the ropes course. I meant to tell you about that yesterday, but could you get to it now?”
The Arkadin Cinema, a local independent theater scheduled to open soon, presents ‘Camp Arkadin’, an outdoor film series that will take place in the back lot at The Heavy Anchor (5226 Gravois Ave in St. Louis). WET HOT AMERICAN SUMMER Kicks Off ‘Camp Arkadin’ July 1st. Showtime is 8:30. Enter through the front of The Heavy Anchor. Admission is $8. Bring your own chair. First come, first served. Seating is limited. Food and drinks and available there at The Heavy Anchor. This is a 21+ event, so leave the kids home. A Facebook invite for the event can be found HERE. The Arkadin Cinema’s site can be found HERE
Here’s the ‘Camp Arkadin’ schedule for the next couple of months:
July 15th: DO THE RIGHT THING
July 29th: SLEEPAWAY CAMP
August 12th: THE BAD NEWS BEARS
26th: MOONRISE KINGDOM
WET HOT AMERICAN SUMMER from 2001, is a comedy about summer camp, a spoof of movies about summer camp, a grab bag of random absurdity and a collection filmmakers and now-familiar actors hamming it up as hard as they can. It didn’t make much of a splash when it premiered 14 years ago (I don’t think it even played theatrically here in St. Louis, but I could be wrong about that), but it’s developed such a cult following over the past 19 years that Netflix made a sequel series, WET HOT AMERICAN SUMMER – FIRST DAY OF CAMP.
It’s the last day at Camp Firewood in the summer of 1981 and pretty much every stock summer camp storyline is trotted out for derision and mockery in WET HOT AMERICAN SUMMER. There’s the love triangle between the geek camp counselor, the hot girl who treats him like her pet and the teen rebel she’s really hot for. There’s the desperate virgin counselor trying to make it with the camp slut. There’s the lonely, divorced arts-and-crafts teacher, the weird camp cook, the kids stuck on a raft approaching the raging rapids, the big talent show, the big game against the kids from the “evil camp” and the outcast kids who come together to save the day. There’s also a talking can of vegetables that boasts of his sexual prowess, a gay subplot that seems to have wandered in from another movie, the old space station Skylab, the worst motorcycle chase in film history, some generic 80s allusions and the charm of a bunch of people who clearly had a great time making this thing.
Filmmakers David Wain and Michael Showalter took a scattershot approach in WET HOT AMERICAN SUMMER, throwing joke after joke against the wall to see what sticks. On one hand, they’ll do a running gag about the kid at camp who never takes a shower all summer, which could come from any number of traditional comedies about this subject. On the other hand, they’ll do a lot of parodies of summer camp movies, like having a kid actually drown while two 30-something teenage counselors French kiss with abandon (my personal favorite scene). They’ll just throw out some odd gag about something like Kenyan marathoners. Some of it works, some of it doesn’t, but the movie moves along quickly enough that when a joke bombs, the smell doesn’t linger.
As far as the acting goes, well, Marguerite Moreau as the camp hotty is the only one in the whole cast doing any real acting (and, ironically, the one whose post-WET HOT career went mostly nowhere) . Everyone else, including David Hyde Pierce as a college professor and Janeane Garofolo as the camp director, mug shamelessly for the camera. Again, that results in some moments that are funny as hell, like Paul Rudd’s portrayal of slothful adolescent defiance. But there are also moments that fail to make any sense, like Garafolo riffing on Jewish surnames, but it’s all so weird and off-the-wall, there’s never a dull moment. Also look for Christopher Meloni, Molly Shannon, Elizabeth Banks, Amy Poehler, and Bradley Cooper.
Relive Summer Camp 1981 when WET HOT AMERICAN SUMMER screens at ‘Camp Arkadin’ July 1st at The Heavy Anchor
It may be the last weekend of April, but the Summer movie onslaught has officially begun. Who says so? Marvel Studios, that’s who. And they’ve got the clout after being around a few weeks shy of eleven years. Originally the first Friday of May was their “beachhead”, but that was switched (concerns over piracy and early international openings) to this weekend last year for AVENGERS: INFINITY WAR (AIW). That film was to be the focal point of the Marvel Cinematic Universe (MCU) ten-year celebration. However, as most fans will soon discover, the celebration really ends on a high, stratospheric really, note with this colossal entertainment extravaganza. Gosh, I sound a bit like that much beloved comic book “carnie’ barker” we lost in November. Aw, why not go “all in” and try to mimic “The Man”? Here goes…face front (really, don’t turn away from the screen ’cause you’ll miss something special) true believers, it’s kickoff time for AVENGERS: ENDGAME!
In the aftermath of the ultimate triumph of the mad Titan Thanos in AIW, planet Earth is a dark, quiet shadow of its former self after the initial chaos caused by Infinity Stone-fueled finger snap. Half of the population has dissolved, vanished like “dust in the wind” (cue the classic 70s rock anthem). “Earth’s Mightiest Heroes” aren’t feeling so strong after their dismal defeat. Tony Stark (Robert Downey, Jr.) is awaiting death as he floats through the far reaches of space with the cyborg daughter of Thanos, Nebula (Karen Gillan) on the heavily damaged cruiser the Milano. And back home Captain America (Chris Evans) is attending a “survivor support group” because he can’t “accept and move on” when he’s not at Avenger HQ trying to track down the “retired Titan”. At least they got a big break due to an “up till now” unknown force which, as the Black Widow (Scarlett Johansson) might say, gets the “band” back together. Ah, but it’s a “known force”, Scott Lang AKA Ant-Man (Paul Rudd) who we last saw trapped in the Quantum Realm at the end of ANT-MAN AND THE WASP, who contacts the downbeat group and sets in motion a “fantastic voyage” to restore the planet and return all that was lost on the battlefields of Wakanda.
Really, that’s the story that drives this three-hour blockbuster? Well, that’s as much as I care to reveal and what has been seen in the earliest of trailers (I try to go on “lockdown” in the six weeks prior to release, avoiding any further clips online). Though it sounds simple (another iconic song), this “final game” is full of tangles and unexpected twists pulled together by the formidable screenwriting duo Christopher Markus and Stephen McFeely, the talented team who wrote the previous Avengers epic, the second Thor solo film, and the Captain America trilogy (and they created that delightful broadcast TV spin-off “Agent Carter”). These men dive into the deep, dark depths of the MCU core and return with true glistening gold, or golden moments and dialogue might be more precise. Sure, we get the big exciting action set pieces and hilarious comic interaction (maybe double the last flick), but the big surprise here is the depth of emotion with scenes that grab at the heartstrings as much as any of the senses. After twenty plus movies, fans may think they know everything about the team members, yet the two Mr. M’s present new insights into these men and women (and a couple of aliens). If only more action and fantasy franchises would strive to be this emotionally complex and rich.
Fortunately, this superb cast is more than up to the challenge of this multi-layered story and script. While the main focus, perhaps the true “star”, was the villain Thanos, here the “plot driver”role is split between the “big three”, the MCU trilogy of Iron Man, Thor, and Captain America. It’s hard to believe that this is Downey’s tenth film (counting THE INCREDIBLE HULK cameo) as genius-industrialist Tony Stark, because his work here is as fresh and unpredictable as ever, showing us sides of the “wise guy” hero we’ve not seen before. In the first act, Tony’s angry and bitter, almost spewing venom at his family/team (a lot of rage in that frail frame). Then we see more of his gentle nurturing paternal side (hinted at with Spidey) in the second act. Meanwhile, Evans as Cap tries to project a sunny confident attitude as team leader, but we see (especially at his “group”) how defeat has battered his psyche. But he’s still a fighter, and in the rousing third act, Evans gives us a hero whose inner strength dwarfs the “super soldier” formula. Then there’s Hemsworth as the Thunder God who should have aimed higher (literally a couple of feet) whose depression is more physically manifested. His comedic talents (last seen in the unfairly maligned GHOSTBUSTERS reboot) are showcased here as the one big team “hold out” that’s more essential than he thinks. But it’s not all chuckles as Thor must make a decision that seems to emotionally tear him to pieces. These fellas’ are one tremendous trio, full of smarts, strength, and soul.
Hey, that’s not to say that the rest of the cast are mere “set dressing”. Absent from last year’s entry, Jeremy Renner as Clint Barton AKA Hawkeye channels his shock and despair into the “darkness” (truly a “punisher”) until the loyalty of his best friend, the Black Widow reaches into that “black pit’ and pulls him back into the light. But Johansson shows us that Ms. Romanoff can barely keep herself from being swallowed by the shadows as she ponders her violent past and her almost empty personal life. On the brighter side, there’s Mark Ruffalo whose Bruce Banner has forged a solid “truce” with the “big guy”, his alter ego the Hulk (via some expert CGI and “Mo-cap”). Speaking of bright and funny, Paul Rudd brings those familiar shadings to Scott Lang AKA Ant-Man while giving him a harder edge as he deals with his frustration at not being taken seriously and his own “lost time”. He’s the “odd man out” trying to bond with these seasoned hero “vets”. One of the toughest may be Don Cheadle as the “under control” all business James Rhodes AKA War Machine was still has a moment for a prank or a “harsh burn”. Gillan as Nebula is one of the most conflicted as she seems to discover her caring empathetic nature while adrift with Tony, the half-machine finally tapping into her repressed humanity. Bradley Cooper delivers Rocket’s snarling asides with a touch of sadness, as he mourns his Guardian family, all but him turned to ash. And, of course, Josh Brolin is back as Thanos, giving us a couple of new variations as the Titan we loved to hate, but somewhat understood, in the last outing.
Also returning from that last outing is another terrific team (aside from the writers), the dynamic directing duo, the brothers Russo, Anthony and Joe (look for his cameo role). After guiding the “shield slinger” to greatness in his last two solo flicks, these men have done the same for this two-part MCU epic. Excuse the cliche’, but they set a very “high bar” with the previous Avengers flick and handily leaped past it (remember the cheering in the multiplexes when Thor and his pals arrived in Wakanda in the last flick…well, there are at least four moments like that in this outing). It’s truly a new “gold standard” for big studio action film franchises. Yes, the big final “smackdown” is exhilarating, but so are the intimate, human moments. And the comedy! Much of the plot is a variation on the classic heist flicks, from the “Oceans” series to the ongoing MI adventures, with a no “wiggle room”, no “do over” scheme that, naturally (these are the Marvel heroes, ya’ know), goes “sideways”. These complications combine tension and laughter with neat effortless ease. And all this fun is ably aided by the thrilling pulse-pounding score from Alan Silvestri (with snippets from other MCU themes). All the craftspeople that worked on the film are at the “top of their game’ in crafting a real “love letter” to the fans of the Marvel show (many have said that each new film is another episode in an incredible TV show, one that the “tube” could never afford). There are entrances and exits, arrivals and departures, all with a feeling of coming “full circle”. You bet there will be more MCU entries (Spidey’s back in July), but this spectacular would be a fitting farewell. It’s a warm, enveloping “thank you” hug from “master overseer” Kevin Feige, and all those talented artists involved. AVENGERS: ENDGAME will stand as a most inventive, entertaining inspiration to all who continue on this legacy. I’ll bet somewhere, underneath those purple-tinted glasses, Stan is flashing a great big grin ’cause his “kids” are in very good hands. Nuff’ said…for now!
Exclusive extras include an up-close look at the making of the film, the tiniest Super Heroes in the world’s biggest film franchise, commentary, deleted scenes and more!
Moviegoers are still buzzing about Marvel Studios’ “Ant-Man and The Wasp,” the follow-up to 2015’s “Ant-Man” and the 20th consecutive Marvel Cinematic Universe film to debut at No. 1 opening weekend and ranked in the box office top 10 for six consecutive weeks this summer. On Oct. 2, fans can instantly watch the laugh-out-loud super hero adventure Digitally in HD and 4K Ultra HD, and on Movies Anywhere; and on Oct. 16, take it home on Blu-ray and Blu-ray 4K Ultra HD.
Now you can own the ANT-MAN AND THE WASP Blu-ray. We Are Movie Geeks has 1 copy to give away.All you have to do is leave a comment answering this question: What is your favorite movie starring Paul Rudd? (mine is ROLE MODELS!). It’s so easy!
1. YOU MUST BE A US RESIDENT. PRIZE WILL ONLY BE SHIPPED TO US ADDRESSES. NO P.O. BOXES. NO DUPLICATE ADDRESSES.
2. WINNER WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES.
Exclusive extras provide an inside look at some of Marvel Comics’ most celebrated characters and the consummate, comedic actors who portray them in “Ant-Man and The Wasp.” Featurettes spotlight Paul Rudd, who returns as good-hearted thief turned hero, Scott Lang, and delivers big laughs both on set and in theaters; Evangeline Lilly, who transforms into The Wasp, the first female character to be featured in the title treatment of a Marvel Studios film; and iconic actors Michael Douglas and Michelle Pfeiffer as super couple Hank and Janet Van Dyne. Viewers can explore more about the visual development artists and effects used to bring the characters to life and drastically alter the size of the Super Heroes and their surroundings. Additional extras include deleted scenes, bloopers, outtakes, and audio commentary by “Ant-Man” franchise director Peyton Reed.
“Ant-Man and The Wasp” comes packaged in several formats to best fit today’s varying consumer desires. Viewers can instantly bring home the film two weeks early on Digital SD/HD/4K Ultra HD and receive access to two exclusive features — including a clever commercial promoting a close-up look at the online magic school that FBI agent Jimmy Woo references to learn his card tricks and a 10 years of Marvel Studios featurette profiling the artists of the MCU — or they can purchase a physical copy of the film as either a Cinematic Universe Edition (4K Ultra HD, Blu-ray and Digital Code) or a Multi-Screen Edition (Blu-ray and Digital Code), granting the flexibility to watch the device of their choice.
BONUS MATERIAL (may vary by retailer):
Blu-ray & Digital:
Director’s Intro by Peyton Reed – The talented creator behind some of Marvel Studios’ funniest and most charming films will invite home audiences deeper into the world of “Ant-Man and The Wasp.”
Making-of Featurettes:
Back in the Ant Suit: Scott Lang – Hero and all-star dad Scott Lang keeps the laughs coming for the audience, cast and crew.
A Suit of Her Own: The Wasp – Highly trained Hope Van Dyne is now the Wasp. See how some of her craziest stunts and action-packed scenes were brought to life.
Subatomic Super Heroes: Hank & Janet – Hank Pym’s wife Janet was lost in the quantum realm. Trace the legacy of these characters and the iconic actors who portray them.
Quantum Perspective: The VFX and Production Design of “Ant-Man and The Wasp” – Explore the movie’s visual effects and production design from a whole new viewpoint, in which every micro and macro detail counts.
Gag Reel and Outtakes – Audiences are treated to the hilarious quips that did not make the film as well as exclusive outtakes from Stan Lee and Tim Heidecker.
Gag Reel – Join in the fun with these outtakes from the set.
Stan Lee Outtakes – Stan Lee tries out a series of hilarious one-liners for the scene in which his car shrinks.
Tim Heidecker Outtakes – Check out Whale Boat Captain Daniel Goobler and his improvised whale-watching riffs.
Deleted Scenes (with commentary by Director Peyton Reed)
Worlds Upon Worlds – As Janet leads Hank through the surreal landscape of the quantum realm, they encounter an intelligent life form.
Sonny’s on the Trail – On the hunt for Hank Pym and his lab, Sonny Burch and his henchmen check the security camera of a neighborhood bookstore.
Digital Exclusives:
10 Years of Marvel Studios: The Art of the Marvel Cinematic Universe – See what it takes to bring the MCU to life, and the role concept artists play in bringing Super Heroes from comic book to screen.
Online Close-Up Magic University – This commercial will inspire you to expand your mind and maximize your full potential!
In “Ant-Man and The Wasp,” Scott Lang is grappling with the consequences of his choices, as both the Super Hero Ant-Man and a father, in the aftermath of “Captain America: Civil War.” As he struggles to rebalance his home life with his responsibilities as Ant-Man, he’s confronted by Hope van Dyne and Dr. Hank Pym with an urgent new mission to rescue Janet van Dyne from the Quantum Realm. Scott must once again put on the suit and learn to fight alongside The Wasp, all while attempting to serve house arrest, assist fast talking-Luis (Michael Peña) and the X-con Security crew, and thwart the efforts of a new adversary called Ghost (Hannah John-Kamen) and her ally Bill Foster (Laurence Fishburne).
“Ant-Man and The Wasp” returns director Peyton Reed to the franchise and stars Paul Rudd (“Captain America: Civil War,” “Knocked Up”), Evangeline Lilly (“The Hobbit: The Battle of the Five Armies,” “Lost”), Michael Peña (“The Martian,” “Fury”), Walton Goggins (“Vice Principals,” “Six”), Bobby Cannavale (“Vinyl,” “Chef”), Judy Greer (“War for the Planet of the Apes,” “Wilson”), Tip “T.I.” Harris (“Sleepless,” “Get Hard”), David Dastmalchian (“Twin Peaks,” “The Belko Experiment”), Hannah John-Kamen (“Black Mirror,” “Ready Player One”), Abby Ryder Fortson (“Togetherness,” “Transparent”), Randall Park (“Veep,” “Fresh Off the Boat”), with Academy Award® nominee Michelle Pfeiffer (1993 best actress in a leading role nominee for “Love Field”), Academy Award nominee Laurence Fishburne (1994 best actor in a leading role nominee for “What’s Love Got to Do with It”) and Academy Award winner Michael Douglas (1988 best actor in a leading role winner for “Wall Street”).
Kevin Feige and Stephen Broussard produced the film with Louis D’Esposito, Victoria Alonso, Charles Newirth and Stan Lee serving as executive producers. Chris McKenna & Erik Sommers and Paul Rudd & Andrew Barrer & Gabriel Ferrari wrote the screenplay.
Peyton Reed’s creative team includes Academy Award®–nominated director of photography Dante Spinotti (2000 best cinematography nominee for “The Insider”); production designer Shepherd Frankel (“Ant-Man,” “Bad Words”); editors Dan Lebental (“Ant-Man,” “Spider-Man: Homecoming”) and Craig Wood (“Guardians of the Galaxy Vol. 2,” “The Great Wall”); costume designer Louise Frogley (“Spider-Man: Homecoming,” “The Finest Hours”); two-time Academy Award nominee, visuals effects supervisor Stephane Ceretti (2017 best achievement in visual effects nominee for “Doctor Strange”); and eight-time Academy Award nominee, special effects supervisor Dan Sudick (2018 best achievement in visual effects nominee for “Guardians of the Galaxy Vol. 2”).
What better way is there to celebrate the big Fourth of July holiday weekend than taking a trip? Instead of schlepping your luggage to the airport or train station, just head on over to your favorite multiplex and grab your ticket for one last trip to the “Marvel Movie-verse”. Well the last one for 2018. The year’s barely halfway spent, and the third film’s release will have to tide fans over for eight months when CAPTAIN MARVEL makes her (that’s right) feature debut. Now in February we witnessed the wonders of Wakanda in BLACK PANTHER and in late April we were dazzled by the epic galactic fight to stop Thanos in AVENGERS: INFINITY WAR (really part one). After that massive movie event, perhaps it might be the time to go smaller. A whole lot smaller, in fact. Three years ago many film buffs (including myself, to be honest) were poised for Marvel Studios’ first box office dud. This flick showcased one of the earliest Marvel comic book heroes (a founding member of the Avengers), but over the years he had become a punchline (particularly in a famous SNL superhero party sketch from 1979). Plus there was turmoil behind the camera as the director who developed the film was ousted and replaced. And the lead was best known for “rom-coms” and as a lovable goofball in several “indie” flicks. Yet somehow ANT-MAN was a embraced by critics and film goers. He even returned a year later for the big airport battle in CAPTAIN AMERICA: CIVIL WAR. Now finally he’s back, and as teased in the first film’s mid-credits scene, he’s got a petite partner, as part of the titanic tiny team of ANT-MAN AND THE WASP.
First thing to know is that this adventure takes place before the evens of the big Infinity War. Now, as mentioned in that film, Scott Lang AKA Ant-Man and Clint Barton AKA Hawkeye both took plea deals for breaking the Sokovia Accords by helping Captain America (the guys are both fathers and didn’t want to be fugitives from the law and their families). So Scott (Paul Rudd) is back in San Francisco and under house arrest at the place he shares with old prison pal Luis (Michael Pena). There just a couple days left in his sentence, but nerdy FBI agent Jimmy Woo (Randall Park) continues to hover, even as Scott is visited by his adorable daughter Cassie (Abby Ryder Fortson) and his supportive ex-wife Maggie (Judy Greer) and her even more supportive new hubby (he loves Scott) Paxton (Bobby Cannavale). Scott keeps busy, mainly by being a consultant to the private security business he started with Luis and partners Dave (T.I.) and Kurt (David Dastmalchian). Still, he’s haunted by dreams and memories from his first outing as Ant-Man, especially his descent into the sub-atomic micro-universe known as the “Quantum Realm”. After one nightmare, in which he seems to be looking through the eyes of a mystery woman, Scott makes a risky call via “burner phone” to Henry “Hank” Pym (Michael Douglas) and Hope Van Dyne (Evangeline Lilly), who are on the run for providing Scott with the tech and suit. Shortly after leaving a message, Scott blacks out after an insect bite and wakes up in the secret lab of Henry and Hope (they figured out a way to trick the FBI). Hank believes that Scott has a connection to his wife (and Hope’s mom) Janet (Michelle Pfeiffer), who was lost in the Realm decades ago. He’s convinced that she’s still alive and that they can track her down and bring her back . But the rescue window will soon close, so they must finish his new invention. They need equipment that can only be purchased from shady underground tech merchant Sonny Burch (Walton Goggins). But things go bad when Burch insists that he partner with the Pyms before he hands over the gizmo. Luckily Hope brought her tricked out Wasp suit complete with wings and blaster ‘stings”. Ah, but then things go from bad to much, much worse when Ava, AKA the mysterious Ghost (Hannah John-Kamen) materializes (literally) to snatch that tech. Thus begins a wild three-way battle and chase between the Ghost, Burch, and “Team Pym” to acquire the device before time runs out on Janet, and the FBI pounces on Scott as his “home/prison” sentence expires.
Of course, the film’s worth rests on whether audiences will root for Scott to triumph. With Rudd’s seemingly effortless charm, that’s not a concern. Once again, he’s the ultimate ‘every-guy”, a conman/clown with a heart of gold, dealing with science concepts “way above his pay grade”. Not cool like Tony Stark or stern and stoic like the “dark knight”, just a fella wanting to make up for lost time with his kid. His partner Hope (the Wasp) as played by Lilly is closer to the standard no-nonsense action hero. She puts up a sturdy emotional wall between herself and Scott (their budding romance from the first flick has long since “played out”), but she softens a touch as Lilly then shows us Hope’s “inner tot” as she nears the “mother and child reunion” she’s desired for decades. As for her papa, Douglas is still the gruff curmudgeon, but now he’s more of the hero (donning his own tech suit), a man on mission trying to save the love of his life. But Scott still gets under his skin, thinking that his union with Captain America to be a betrayal (“Ask me first, before running off with my stuff”). Their main adversary is more complex that most super-villains. John-Kamen is deadly and determined, but also tragic as her powers leave her in agony as they shorten her life, reminding us of Spider-Man’s sometimes sympathetic baddies like Dr. Octopus and the Sandman. And surprisingly she’s a bit sultry and seductive particularly in a scene in which she questions a captured Scott. Oh, and she’s got a past association with Pym, as does another new addition to the franchise, Laurence Fishburne as Dr. Bill Foster. He’s an academic who worked with (more like butted heads with) Pym in his old S.H.I.E.L.D. days. The two screen vets are terrific sparring partners as Fishburne exudes a smooth, icy, smart demeanor. Then there’s the third wheel of the “tech triangle” with Goggins as a pompous high-class fence who’s not nearly as suave as he believes he is (he aspires to be a Bond foe, but wouldn’t even stand a chance against Maxwell Smart).
It’s a G-G-Ghost!! The comic book version is on the right of the film’s villain
As for the returning supporting players and comic co-stars, Pena is still a scene-stealer as Scott’s motor-mouthed BFF. Pena wrings countless laughs by mangling old adages and, reprising a crowd-pleaser, as he recounts past events in his own distinctive vocal pattern. And T.I. is “too cool for the room” once more as the enigmatic hustler Dave. But Dastmalchian, with his Lugosi-like accent, has one of the funniest gags when he encounters the Ghost. After Scott describes her abilities, Kurt tells him that she is the living embodiment of the “boogyman” stories his Eastern European “grandmater” spooked him with as a boy. The moment when he sees Ava, his eyes widen as he says in a quiet gasp, “Baba-Jaga”, well it just had me rolling. Also hysterical is the talented Park as the socially awkward, “by the book” Woo, who thinks Scott is cool and struggles to hide it. He clashes with team Scott several times, as when Greer’s Maggie insists, “This is harrassment, you can’t do this”, as her police detective hubby Paxton, played with energy by Cannavale, meekly shakes his head, as if to say, “Yes honey, he can”. Fortson is endearing and cute, without being cloying or precious. The best addition to the growing franchise is the luminous, dynamic Ms. Pfeiffer as the nurturing Earth (or “micro-Earth”) mother. In recent years her screen appearances have been sporatic, so it’s great news that she’s now a part of the Marvel movies as Wasp 1.0.
Returning director Peyton Reed proves that his action storytelling skills in the first film were not a fluke. He’s had a knack for comedy, but he truly keeps “all the plates spinning” as the guide to this script penned by Rudd himself along with an expert quartet of writers. While the original outing balanced the basic superhero origin story with a sprightly OCEANS 11-style heist, they set their sights a bit higher aiming for a comic caper chase farce mixing elements of the first PINK PANTHER, HEAT, BULLITT (yes, they careen down that twisty SF street while constantly changing size), and (dare I say it) IT’S A MAD, MAD, MAD, MAD WORLD with its scrambling comic cast.. Plus Douglas’s Hank is inching more toward those wacky scientists from the classic 60’s Disney comedies (could Flubber be part of the formula for those perplexing Pym Particles) with his whimsical creations. And it’s refreshing that the planet, or the whole universe, isn’t hanging in the balance though the emotional stakes (we’re comin’ fer’ ya’, ma) are still pretty high (Pym’s gizmos could wreck havoc in the wrong hands). This flick’s often lighthearted tone may be the perfect antidote to what some media folks are calling “superhero fatigue”. Though often tiny in stature, ANT-MAN AND THE WASP tower above most of the big, noisy blockbusters crowding the multiplex. I guess charming entertainment can come in the smallest of packages.
Sienna Miller as Estella Huni, and Paul Rudd as Moe Berg, in Ben Lewin’s THE CATCHER WAS A SPY. Courtesy of IFC Films. An IFC Films Release.
THE CATCHER WAS A SPY is a strange slice of history, about a real-life Jewish Major League baseball catcher with a degree from Princeton and a knack for languages who turned spy during World War II. As catcher Moe Berg, Paul Rudd heads an impressive cast in a historical film with polished good looks and a score by Howard Shore. The film assembled all the right elements for a prestige biopic but does not quite score a hit.
THE CATCHER WAS A SPY is available on-demand from IFC starting Friday, June 22, and in theaters in New York and Los Angeles.
Part biopic and part WWII spy thriller, THE CATCHER WAS A SPY focuses on a particular part of Moe Berg’s life. Director Ben Lewin (THE SESSIONS) based his film on Nicholas Dawidoff’s biography of Morris “Moe” Berg, a remarkable individual better known as “the brainiest guy in baseball” than for his skill as a catcher. Berg was a Princeton graduate who also attended the Sorbonne and Columbia Law School, who spoke several languages and read several newspapers a day. He was a brilliant but secretive man who was a mystery to those around him. Unfortunately, director Lewin gives us the facts of his unique story but little insight into this curious character.
Paul Rudd brings leading man good looks and his irresistible appeal to his portrayal of Moe Berg, who the film introduces in the waning days of his long but undistinguished baseball career. Rudd plays Berg as a likable fellow but a bundle of contradictions and questions, with a hint of darkness underneath. Berg hardly embraces his Jewish identity but is quiet about it nonetheless, which is understandable in that anti-Semitic era. But Berg is secretive about his personal life as well. He was not married but has a girlfriend Estella (Sienna Miller) who he keeps hidden despite rumors about him being gay in this homophobic era. As his baseball career winds down and WWII ramps up, Berg is eager to use his language skills to help the war effort and actively campaigns to join the military intelligence division.
He makes a connection with Bill Donovan (Jeff Daniels), the head of the OSS, the intelligence service that will become the CIA. However, the active, energetic Berg is frustrated behind a desk. Eventually Donovan finds a use for the brainy ball player. Berg becomes part of plan to find out how far along the Nazis are in their quest to build an atomic bomb, and possibly to assassinate the German scientist leading their effort, Dr. Werner Heisenberg (Mark Strong).
Actually, this story focuses on two historical figures who left unanswered questions. The other one is Werner Heisenberg, the Nobel Prize winning German theoretical physicist, developer of quantum mechanics and the Heisenberg Uncertainty Principle. Despite his private disapproval of the Nazis, Heisenberg remained in his native country out of a sense of patriotism when they take over. When war comes, the Nazis put him in charge of their effort to build an atomic bomb but historians have debated for years whether Heisenberg was really trying to build a bomb or delaying the Nazis while pursing his own research.
This is truly a star-studded film and throughout we encounter name actors, sometimes in surprisingly small roles. Guy Pearce plays a Army officer assigned to get Berg and physicist Sam Goudsmit (Paul Giamatti) through enemy lines to rescue an Italian physicist (Italian legend Giancarlo Giannini) from the retreating Nazis, hoping for information on their atomic bomb research. Tom Wilkinson plays another physicist, Dr. Scherrer, a Swiss-based friend of Heisenberg, that becomes part of the mission. Japanese actor Hiroyuki Sanada (TWILIGHT SAMURAI, LOST) appears in a small part, as a Japanese official Berg meets on trip to Japan shortly before Pearl Harbor, for a demonstration baseball game played by a team that includes Babe Ruth (Jordan Long) and Lou Gehrig (James McVan) as well as Berg.
How could a film about such remarkable characters and events be dull? Yet director Lewin fails to find the spark in this story. We never get inside Berg’s head and he remains opaque. One can’t blame Rudd, who makes valiant efforts to draw the character out. It is hard to know what went wrong but Lewin fails to find a way into the heart of the story and takes a decidedly serious, just-the-facts approach to Berg’s life, hardly even allowing a sly, ironic smile despite all the absurdities in Berg’s mysterious, contradictory life.
One can’t help but feel like THE CATCHER WAS A SPY is a missed chance for a much better movie. It is a strike-out that failed to swing for the fences despite all the right elements.
