In the midst of all the behind-the-scenes chaos, what we see here is quite possibly Marvel's best film since the original Iron Man. Containing the extremely-loose approach of the Phase 1 Marvel flicks, the delightful quirks and details from Edgar Wright's script, and the carefree fun of Paul Rudd (Role Models) and Adam McKay (Will Ferrell's best work), Ant-Man is comic book brilliance that substitutes style for wonderful characters and plenty of content to chew at. Of course let's not forget the slew of Marvel surprises that we honestly didn't see enough of in Age of Ultron. Thanks to the strict organized approach from Disney, it is safe to say that Marvel is still leagues ahead of the competition in terms of comic book and summer blockbuster films.
The staff is incredible, and must have made the director's job quite easy. Starting with the always-reliable Paul Rudd and the silently-efficient Evangeline Lilly, we have an excellent entourage bringing what is a relatively unknown comic book to life. Rounding out the staff is the very serious and engaging Michael Douglas, an unexpected addition to the Marvel Cinematic Universe. The themes presented in Ant-Man are a bit more personal than your usual blockbuster fare, with plots involving redemption, forgiveness, and father/sibling relationships all blending in together---and this requires better performances from even your villains. From our villain (Corey Stoll bringing some depth to our mad scientist) to our father figure right down to the partner-in-crime (Michael Pena, also excellent) Ant-Man boasts one of the strongest lineups in all of 2015. Honestly though, what's with Disney and fathers?
Usually creative differences from the writing squadron in the midst of filming will result in mixed content throughout the finished product. Disney's very own Brave is one of the better recent examples, with the first and second half of the movie being extremely different in tone, pace, and even character. Quite miraculously, you don't get this sensation in Ant-Man, from the first act origin story right down to the exciting climax that delivers enough action to cover the extensive prologue. It has obvious touches of Edgar Wright's quick-paced humor and character depth, but has Rudd's clever subtle comic timing and McKay's humorous mayhem. A four-team staff complied the script, and what could have been a disaster actually results in a complete screenplay with a little bit of everything: humor, heart, action, and tons of connections to other Marvel properties.
Peyton Reed has a resume that could raise some eyebrows (sneaky-fun Bring it On, could-be-better Yes Man), but doesn't disappoint here. Although he has far less action to work with, he manages to keep Ant-Man fun, grounded, and simple. It has its share of emotion, but it never drags too far or mucks up the blockbuster glee. He treats it like a heist film, with unique circumstances. Under the hook/line/sinker approach, the biggest sequence is saved for last and will keep you on your toes, while also laughing along the way thanks to the sprinkles of humor flung in for good measure.
Similar to the equally-unique Guardians of the Galaxy, Ant-Man is enjoyable because it never feels like its holding back any punches to save for the next (obviously going to happen) installment. Unlike Age of Ultron and Thor: The Dark World, it feels like a complete story, and will keep you asking for more---especially after the post-credits sequences. It fires on all cylinders with the permission of Marvel and the Disney Marketing Machine, and despite not having the previous popularity credentials of a Batman or a Spider-Man, Ant-Man leaves a nice footprint in the cinematic comic book universe. Don't let the slightly campy outlook of Ant-Man fool you, this is a seriously entertaining picture worth a thousand words of praise.
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