Tag Archives: Michael Douglas

Movie Review: Ant-Man (2015)

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Paul Rudd gives new meaning to the term “shrinkage.”

All things considered, Ant-Man turned out much better than expected. That said, I’d still preach caution against reading too many overly positive reviews.

That’s what happens with expectations sometimes. People were initially lukewarm on Ant-Man, then they were completely down on it, and now they’re really high on it, perhaps even too high on it. My verdict is that it’s a very solid film, a very funny film, one that might fit uncomfortably in the Marvel cinematic universe but offers a great time as an independent movie experience. Its ambitions are so underwhelming that it’s hard to rank it up there among the other Marvel superhits, though I feel it is strong enough to not drag the franchise down and deserves a place in the hierarchy as one of the more different and refreshing efforts.

One of my favourite actors, Paul Rudd, plays Scott Lang, a Robin Hood-type burglar who is offered an opportunity for redemption by becoming Ant-Man, a superhero capable of shrinking himself down to Honey I Shrunk the Kid proportions and control armies of different breeds of ants. I’ve been a fan of Rudd since Clueless — which celebrates its 20th anniversary this year — and never thought he would manage to survive in Hollywood this long (while Alicia Silverstone basically disappeared into obscurity). But here he is, and he’s excellent as Lang, who makes the most of Rudd’s dry personality as well as his underrated acting chops. The understated Rudd doesn’t dominate the film, and I think that’s a good thing because it plays into the whole apologetic feel of Ant-Man as a superhero.

The plot is fairly standard and revolves around the concept of family, in particular father-and-daughter relationships. In this regard the theme is played out brilliantly by Michael Douglas and Evangeline Lilly, who star as scientist Hank Pym and estranged daughter Hope van Dyne, respectively. I hadn’t seen Douglas on screen for a while and I had forgotten what a brilliant actor and screen presence he is. He’s a major reason why the film is as good as it is.

On the villain side, the ubiquitous Corey Stoll (naturally bald this time) is Darren Cross, a former protege of Pym who is close to perfecting a similar shrinking suit called the Yellowjacket. I love Stoll as much as the next heterosexual man, but his character in this is pretty one-dimensional and not particularly memorable. Can’t blame the man for collecting cheques when they keep flooding in, though.

Providing additional comic relief are Michael Pena, recording artist T.I. and David Dastmalchian. Pena in particular is at his blistering best, and those who enjoy his style of comedy will have a blast as he rolls off his awesome “tip montages”. Rudd, confined to being the “hero”, almost takes a back seat to all these supporting characters, and fortunately they make the most of the opportunities.

The special effects are of course cool and there are some innovative ideas when Lang is shrunken down to insect size. The film is often silly and it knows it, and the concept alone provides many inherent chances for laughter. One of its biggest strengths is that it straddles the line between comedy and farce very well so that it doesn’t cheapen this massive and complex universe Marvel has been building up since 2008 when it released the first Iron Man.

And that’s pretty good when you realise that Ant-Man originally had disaster written all over it. An idea for an adaptation of the Marvel comic arose back in the 1980s, though nothing came out of it. Then in 2003, Edgar Wright, best known for his Three Flavours Cornette trilogy of Shaun of the Dead, Hot Fuzz and The World’s End, became the driving force behind the project, even penning a script and participating in the casting process. But last year, Wright dropped out due to the dreaded “creative differences” excuse and the project brought on a new director, Peyton Reed, best known for Bring It On but had turned in three pretty mediocre efforts since (Down With Love, The Break-Up and Yes Man).

So we’re talking multiple re-writes, different fingers in the pie and a last-minute change of director. The general sentiment was that the film, already facing an uphill battle because of its high concept premise, would be a disastrous mess. It also didn’t help that critics were iffy about Paul Rudd, who has carved out an impressive career as a dry comedic actor but had yet to prove that he could carry a leading superhero role from a juggernaut franchise like Marvel.

Accordingly, almost everyone was pleasantly surprised that Ant-Man defied predictions and turned out to be really good. And it is. I liked it a lot. It was probably exactly what Marvel needed after exhausting everyone with one big blockbuster after another featuring more and more superheros and villains whose powers are growing out of control.

Despite many references to the Marvel universe — such as the Avengers and Age of Ultron, not to mention several notable cameos — Ant-Man works well as a standalone flick that isn’t a spoof but also doesn’t take itself as seriously as the other Marvel entries. It’s more self-contained, more self-aware, smaller and neater, and arguably the funniest Marvel superhero movie to date along with Guardians of the Galaxy.

While there are going to be more superhero films combining all of these various strands in the upcoming “Phase Three” of Marvels cinematic universe, which will begin with Captain America: Civil War next year and end with Avengers: The Infinity Wars Part II and Inhumans in 2019, Ant-Man offers fans a much-needed breather from the familiarities of the Marvel money-making machine. It’s not the type of film that will wow you with mindblowing visuals, creativity or action. What if offers instead is good-natured, light-hearted fun that’s as self-deprecating as its lead star, something many audiences might actually prefer as a change of pace to the excesses of the more “marquee” names. Just keep in mind, however, that it is simply a good film that exceeds low expectations rather than something truly extraordinary that shits all over all its more well-known siblings.

3.75 stars out of 5

PS: I fully recommend this video of Paul Rudd from Conan, which includes an “exclusive” clip from the movie.

Movie Review: Last Vegas (2013)

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The idea’s not too bad: a bunch of old friends (emphasis on “old”) catch up for one final hurrah in Las Vegas. Throw in four huge stars — Michael Douglas, Robert De Niro, Morgan Freeman and Kevin Klein — as the leads, toss in a few old jokes (again, emphasis on “old”), and that’s Last Vegas in a nutshell.

I didn’t have a huge problem with Last Vegas, but there was really nothing to like about it either. Directed by Jon Turteltaub (Cool Runnings, National Treasure 1 & 2, and The Sorcerer’s Apprentice), it’s a very safe, mildly amusing comedy driven by the star power of its four leads. On the other hand, there’s not much to sustain the film apart from the gimmicky old jokes, and the result is a frequently lame, utterly forgettable experience that you’ll likely erase from your memory in a hurry. It’s a film that wouldn’t have been contemplated without its stars, and is in any case probably best reserved for the straight-to-DVD rack.

Douglas, De Niro, Freeman and Klein are childhood friends who grew up on the tough streets of Brooklyn and remain in touch today as seniors dealing with their own separate problems. De Niro’s character is still mourning the loss of his wife, Freeman’s character is battling an array of physical ailments and his overbearing family, and Klein seems to have lost interest in life. In comes Douglas’s character, seemingly the most charismatic of the group, who is about to get married to a woman less than half his age, and decides to throw a bachelor party in Vegas with his three oldest friends.

So as you might have guessed, the whole fish-out-of-water scenario is designed to put four old guys in a place they’re not expected to be comfortable with, and having us watch them have fun drinking, dancing, splurging and having the time of their lives. The Hangover for Geriatrics is essentially the idea, and it’s not a bad idea, except that it doesn’t work for very long. The running joke throughout the film is that old people are clueless and not cool, a schtick that just keeps getting rehashed again and again. But given that they are the protagonists, the film then tries very hard to convince us that they are, after all, very cool indeed, and young punks who disrespect them will come to regret it. And of course, all four of our heroes will learn important life lessons when it’s all said and done.

I’ll have to be brutally honest here. After a nice setup, the film devolves into cliches and becomes painful to sit through. The jokes are obvious and repetitive, and despite the best efforts of its stars (including the adorable Mary Steenburgen as the love interest), the film is inescapably bland and predictable until its merciful conclusion. It’s not horrible, it’s just…meh.

I am probably making Last Vegas sound a lot worse than it actually is. If you are in the mood for a streamlined plot, obvious jokes and 105 minutes of stereotypical icky Hollywood feel-goodness, then Last Vegas is borderline enjoyable. If you expect more than that from a film with four screen legends, like I did, then chances are you’ll end up bitterly disappointed.

2 stars out of 5