‘Ant-Man and the Wasp: Quantumania’ reviews: The villain is good, but the movie is bad

Paul Rudd is Scott Lang, aka Ant-Man, alongside Johnathan Majors as Kang the Conqueror in “Ant-Man and the Wasp in Quantumania.”

Disney

Are the pint-sized heroes of Disney’s “Ant-Man and the Wasp: Quantumania” enough to take on the newest — and baddest — villain of the Marvel Cinematic Universe? Not quite.

Peyton Reed’s previous Ant-Man installments offered the MCU a smaller-than-life look at what it means to be a hero. The small-stakes romps were welcome excursions away from the apocalyptic stakes of the wider franchise and offered a lighthearted counterbalance to the greater threats of the universe.

However, the demands of Disney‘s Marvel machine came calling for Ant-Man (Paul Rudd) and his partner the Wasp (Evangeline Lilly).

Enter Kang the Conqueror.

Played by “Lovecraft Country” star Jonathan Majors, Kang is the next overarching villain of the MCU and is expected to remain a looming threat throughout the Multiverse Saga, which includes the planned phases four, five and six of the franchise. He was introduced in the Disney+ show “Loki.”

Critics praised Majors’ performance in the film, as the actor was able to bring gravitas to the the role and exude the kind of menace that made previous big bad Thanos (Josh Brolin) such a compelling, and threatening, villain. However, Kang’s larger-than-life presence overshadowed the quirky and charming narrative that fans have come to expect from Ant-Man side quests, critics say. (Majors will also appear as the antagonist in next month’s “Creed III.”)

“Majors is certainly chilling and captivating, but Kang seems like a mismatched foe for a standalone Ant-Man film and the result is a ‘Quantumania’ that is trying to be too many things,” wrote Lindsey Bahr in her review of the film for Associated Press.

“Quantumania” is at its best when it keeps things “light and quippy,” Bahr said.

Marvel Studios’ “Ant-Man and the Wasp: Quantumania.”

Disney

This sentiment was shared with numerous other reviewers, as the latest Marvel film became one of only two in the 31 movies that have been released as part of the MCU to receive a “Rotten” score from Rotten Tomatoes.

“Ant-Man and the Wasp in Quantumania” held a 48% “rotten” rating from 293 reviews, as of Saturday. The only other film from the MCU to slip below the 60% “fresh” threshold was 2021’s “Eternals,” which ultimately earned a 47% rating.

“Quantumania” centers on Scott Lang, aka Ant-Man, and Hope Van Dyne, aka the Wasp, after their family is sucked into the subatomic Quantum Realm. There, they face off against Kang, a dimension-hopping tyrant who is trying to escape from the realm after being exiled there for his rampages across time and space.

Here are what critics thought of the film ahead of its release Friday:

Kristy Puchko, Mashable

“Michael Pena’s absence should have been a warning,” wrote Kristy Puchko in her review of “Ant-Man and the Wasp: Quantumania” for Mashable. “The Marvel Cinematic Universe has grown so massive and all-consuming that it’s not enough for an Ant-Man movie to be an Ant-Man movie.”

What fans are given instead is a “chaotic, woefully unfunny mess that has forgotten why its hero was such fun.”

Puchko bemoans that both Ant-Man and the Wasp as almost relegated to sidekicks in their own movie, as Kang and Janet Van Dyne (Michelle Pfeiffer) are given the spotlight — and shine in it. (Michael Douglas also reprises his role as Dr. Hank Pym.)

The film itself is anything but light. Puchko likened the dark action scenes to those seen during the final season of HBO’s “Game Of Thrones,” blurry, dim and incoherent.

“Yet when the lights are turned up, you might wish they weren’t,” she said, noting that the Quantum Realm, a place of endless possibilities, has been imagined as “a mash-up of ‘Star Wars,’ ‘Strange World,’ slime, and those Magic Eye posters that made us squint to make sense of them.”

“In the end, with its clumsy collision of influences, star power, CGI that is often rubbery or outright ugly, and a convoluted plot that should have an Excedrin tie-in, ‘Ant-Man and the Wasp: Quantumania’ is like a child’s mixed media project, made of paper mache, glitter, and hunks of rotting ground meat,” she said.

Read the full review from Mashable.

Cassie Lang (Kathryn Newton) and Scott Lang (Paul Rudd) in “Ant-Man and the Wasp in Quantumania.”

Disney

Kate Erbland, IndieWire

Charlotte O’Sullivan, Evening Standard

Hope Van Dyne (Evangeline Lilly) and Scott Lang (Paul Rudd) in “Ant-Man and The Wasp in Quantumania.”

Disney

Hoai-Tran Bui, Inverse

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‘M3gan’ box office success sets the stage for a scary good year in horror

A lifelike doll programmed to be a child’s greatest companion and a parent’s greatest ally turns murderous in Universal Studios and Blumhouse’s “M3GAN.”

Universal

A fashion-forward, murderous doll is ringing up big bucks at the box office.

“M3gan,” the newest release from the Universal Studios and Blumhouse collaboration, will end up with more than $100 million globally. It’s the latest success in a string of lucrative theatrical runs for the horror genre.

While Hollywood’s big-budget blockbusters typically get the most attention, the consistently strong performance of scary movies at movie theaters is good news for the cinema industry.

The pandemic fundamentally altered how and where consumers view entertainment. To be sure, people have returned to theaters, but not in the same volume as pre-pandemic times. Additionally, fewer theatrical releases have resulted in a smaller overall box office in the last year. The domestic box office reached $7.5 billion in 2022, better than $4.58 billion collected in 2021, but down around 34% compared to 2019.

Films like “M3gan” collectively add incremental value to the box office. In 2022, the horror genre accounted for around $700 million in domestic ticket sales, according to data from Comscore. While that figure is down compared to pre-pandemic levels, it indicates persistent demand for spooky entertainment as the theater business rebounds.

Horrifying but good

Paramount and Universal were the top contributors of horror content last year. Paramount’s “Smile” sold $105 million in tickets domestically and $217 million globally. Its newest installment in the Scream franchise took in $81 million in the U.S. and Canada and $137 million worldwide.

Universal’s “Nope” generated $123 million domestically and $171 million globally, while “The Black Phone” scored $90 million stateside and $160 million worldwide. The studio also released “Halloween Ends,” leading to $64 million in domestic ticket sales and $104 million globally, even though it hit streaming service Peacock the same day.

Ethan Hawke stars in Blumhouse and Universal’s “The Black Phone.”

Universal

Additionally, Disney‘s Searchlight Pictures released “The Menu,” which snared $38 million domestically and $70 million worldwide.

Notably, Disney and Marvel Studios’ “Doctor Strange in the Multiverse of Madness,” which features horror elements, was not included in the tally. The film generated $411 million during its run in the U.S. and Canada and nearly $1 billion worldwide.

“We’re in the middle of horror’s new golden age,” said Shawn Robbins, chief analyst at BoxOffice.com. “It’s a genre that has ebbed and flowed in past decades but one that’s always evolved, maintained commercial appeal, and helped introduce new filmmakers to the world.” 

Here are several titles to expect from the horror genre in 2023:

  • Universal’s “Knock at the Cabin” — Feb. 3
  • Paramount’s “Scream VI” — March 10
  • Sony’s “Insidious: Chapter 5” — July 7
  • Warner Bros.’ “The Nun 2” — Sept. 8
  • Neon’s “Cuckoo” — Sept. 29
  • Universal’s “The Exorcist” — Oct. 13
  • Lionsgate’s “Saw X” — Oct. 27

Scaring up dollars

Blumhouse, a producer of “M3gan,” has revolutionized the horror genre in the last decade, turning small budget flicks into huge box-office returns. The studio has been responsible for the profitable and popular “Paranormal Activity” films as well as the Academy Award-winning “Get Out.”

“Paranormal Activity,” which was released in 2009, had a budget of just $15,000 and went on to make more than $107 million in the U.S. and nearly $200 million worldwide

Following that model, “M3gan” was made for just $12 million and is on its way past $100 million. Already, Universal and Blumhouse have greenlighted a sequel due out in 2025.

Still from Universal and Blumhouse’s “M3GAN.”

Universal

Last year, most wide-released horror films had a budget of between $16 million and $35 million. The only outlier was “Get Out” director Jordan Peele’s “Nope,” which carried a $68 million production budget. Films with smaller budgets mean don’t have to generate blockbuster-size ticket sales in order to turn a profit. Those economics also help to make horror films one of the most consistently well-performing genre of all time.

For example, consider “Skinamarink,” an experimental horror film out of Canada, which cost $15,000 to make and has gone on to generate more than $1 million at the box office.

“At the heart of its sustainability has been a generational turnover of young audiences that drive many of these movies at the box office, a pre-pandemic constant that’s picked up right where it left off as post-pandemic moviegoing has rebounded,” Robbins said.

Unlike fans of comic book films, who can be easily turned off by an unfaithful adaptation of their favorite character, horror fans don’t seem to mind if the film isn’t totally up to par. So long as the movie had some good scares and was seen as a fun experience, they’ll be back for the next installment.

Additionally, in the last two decades, the quality of the horror genre has greatly improved, due in large part to support from indie companies such as A24 and Neon, as well as distribution from streaming services such as Netflix, Hulu and Peacock.

“A systematic, incremental increase in the quality of horror films, a genre that was once considered the smash and grab, take the money and run, open on Friday, close on Sunday genre, has now, with the creative vision of amazing production companies and brilliant filmmakers, earned respect of critics and audiences alike,” said Paul Dergarabedian, senior media analyst, at Comscore.

“M3gan,” for example, currently holds a 95% “Fresh” rating on Rotten Tomatoes.

“The genre and its audience are invaluable to the industry ecosphere, and 2023’s promising release slate looks to help maintain that status quo,” Robbins said.

Disclosure: Comcast is the parent company of NBCUniversal and CNBC. NBCUniversal has a partnership with Blumhouse and owns Rotten Tomatoes.

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