A short time ago, a comic book giant passed away. Not one of the MCU characters that got Thanos’s Death Snapture; this giant was a comic book artist. Not just any comic book artist. He was Steve Ditko.
Known to many as Spider-Man’s co-creator, Steve Ditko was also part of the first decade of the creation of Marvel Comics. His main character contributions and sequential issue work are Spider-Man and Dr. Strange, but during Marvel’s initial years, he also drew plenty of issues featuring Hulk, Ant-Man and the Wasp, Iron Man, along with issues of The Avengers, and all sorts of double feature issues.
Comic book creations and pop culture relevance is by now well ingrained in the minds of moviegoers and audiences worldwide. people now understand that many superheroes began as characters seen in published comic books. Newsprint paper, four-color separation and halftone color patterns were props behind the stage. Distributors and retail stores were their curtains and the hands and eyes of those who bought these issues were the audiences. Comic book fame spun off into animated and live-action TV shows, video games, movies and merchandise. The most profitable characters were the superheroes.
Among this web of inter-related media was the thread of the creator. Someone had to come up with the story Someone had to come up with the character design – the color and shape of the costume and character faces. Someone had to come up with their signature moves.
There has been much discussion in the past as to what degree of involvement Stan Lee, Jack Kirby and Steve Ditko had in creating Spider-Man. How much of Spidey was adapted from Jack Kirby’s initial design? How much of Spidey was in Lee’s brief written synopsis? What was Ditko’s actual contribution in regard to the amount of content – character designs, costumes designs, characterizations, signature moves, etc. ? It’s a discussion that may never be resolved.
For a character who is arguably the world’s favorite Marvel Comic character, his origin is still unclear even though he was introduced in Amazing Fantasy #15. Back in 1961, Marvel Comics Publishing Group was such a loose and flowing House of Ideas, that any iteration which lead to the creation of the Spider-Man look we all know and was only loosely documented. Some of it was Kirby. Most of it was Ditko and approved by Lee. But there’s no doubt, the look that Ditko presented is a handmade costume, big eyes, a webbing motif on the red portions of the costume, and mechanical web shooters. Ditko had a penchant for quirky action poses and Spider-Man’s signature poses no doubt came from Ditko. None of Kirby’s characters moved like that. All of Ditko’s characters moved kind of quirky and not quite natural. His landscapes ranged from urbanely gritty to fantastical. The distinctive realms he drew for the Dr. Strange stories have been compared to Salvador Dali paintings. The characters’ look for both hero and villain were all Ditko. Even the “surfer dude hand sign” which is used by both Spidey and Dr. Strange is a signature Ditko design.
Ant-Man and the Wasp is the sequel to the better-than-it-should-have-been Ant-Man and the first Marvel Cinematic Universe (MCU) film after Avengers: Infinity War. Following the somber feeling from that epic MCU film, Ant-Man and the Wasp is a welcome lighthearted film.
Paul Rudd reprises his likeable role of Scott Lang/Ant-Man, a former thief and fledgling superhero who dons a special suit that lets him control his size. Due to his actions in Captain America: Civil War, Scott Lang is under house arrest, which explains why he didn’t appear in Avengers: Infinity War.
He is contacted by his former lover, Hope Van Dyne (Evangeline Lily), and her father, Dr. Hank Pym (Michael Douglas), for help in rescuing Pym’s wife, Janet (Michelle Pfeiffer). As seen in the first Ant-Man during a flashback and this sequel, Janet used a similar suit like Scott’s to shrink down to subatomic levels and was lost. In Ant-Man, Scott shrunk down to this level but was able to return to our realm and it turns out he has a some kind of link with Janet.
What’s impeding his efforts to help out the Pyms are his complications from his house arrest, dealing with criminals who want to steal the shrinking tech and a mysterious figure called the Ghost (Hannah John-Kamen). The last character was affected from exposure to the quantum realm and now phases in and out of reality like her namesake. So, now the Ghost wants to steal the tech herself to cure her affliction, and is the primary antagonist.
Honestly, the villains are the main problem with this film. They come off as more like annoyances or obstacles than genuine threats. The film tries to make the Ghost somewhat sympathetic, but it’s hard to feel anything for her. As for the thugs (led by Walton Goggins), they are just one-note villains who do not seem very imposing. This is quite disheartening considering that the MCU films have lately featured interesting foes. It seemed like Marvel Studios was taking to heart the criticisms about the MCU villains being weak, but now this film is a setback in that regard.
It’s a shame because the sequel did not need these villains. At its heart, Ant-Man and the Wasp is a fast-paced rescue film with lots of laughs. Much of that humor comes from Paul Rudd’s comedic timing and the scene-stealing Michael Peña, who returns to his role of Luis, Scott’s friend and ex-con. Peña is a breath of fresh air and livens up most of the scenes he appears in. Many scenes with him and Rudd are hysterical and frankly, an entire film could be made with just the two characters interacting with each other.
The other actors also do well with their roles like Paul Rudd, who is a natural choice for playing the slightly silly everyman type. Lily’s Hope Van Dyne more than proves that she is a powerhouse of a hero and we’re left wondering why did it take so long for her to appear as the Wasp in the MCU. A lot of gravitas is added by Douglas, and in smaller roles Pfeiffer and Lawrence Fishburne as Pym’s former colleague.
There are many enjoyable features in this sequel. It moves briskly, exudes adventure, wild sight gags, and as noted before, is quite funny. It’s just too bad that the filmmakers felt the need to shoehorn in the weak villains. They took time away from the narrative flow and the rescue efforts. Also, we don’t see as much of the quantum realm as we would have liked. This mysterious and fascinating reality was teased in Ant-Man and it deserved to be explored more given that it may factor in the next Avengers film.
Perhaps if a third Ant-Man film is produced more time could be spent in the realm. One thing that is worth pointing out is that the stature of Ant-Man has certainly increased since his first outing. He has now become an established hero in his own right within the MCU.
Other than that Ant-Man and the Wasp is a refreshing and goofy pallet-cleanser for the MCU. Some may consider this film to be an inconsequential filler, but it’s a big-hearted change of pace for fans looking for some escape this summer.
Lewis T. Grove
Now that Incredibles 2 has been released, Pixar AnimationStudios has twenty full-length films in its library. This is a good number to rank the Pixar films. Bear in mind that these animated films are among the best films ever made and even those that rank at the bottom have their moments. Be sure to comment below on how you would rank the Pixar films, which are universally considered the gold standard with animated films these days.
It was neck and neck between this and Cars 2 for the bottom spot. What made Brave earn this spot was that ultimately the story was dull and came off as a generic Disney princess-proves-herself yarn we’ve seen too often. The hair animation was nice, though.
19. Cars 2
This is possibly the most unwanted sequel in Pixar’s history. The only thing going for the first sequel to Cars is its above-average animation, but the story about ‘Mater caught up in a spy caper is strictly aimed at kids who won’t know any better.
18. Cars 3
The third film in the Cars trilogy has some good moments about making comebacks and passing the torch for the next generation. Although the animation is up to Pixar’s loftiest standards, Cars 3 cannot shake the stigma of being an unwanted sequel to one of Pixar’s lesser efforts.
17. The Good Dinosaur
It seems as if Disney (and Pixar) has a hard time coming up with a memorable dinosaur film. How hard can it be? This film about a dinosaur and his pet human boy was interesting to watch but it lacked the special Pixar touch. What’s worse is that there isn’t anything remarkable about this film.
This can be considered Pixar’s first misfire, but that is unfair. Cars is not a bad movie, it’s just that it didn’t knock it out of the park as previous Pixar films have done. It’s an enjoyable film though its underwhelming plot about a hotshot racecar finding himself in a backwater town was lifted straight from Doc Hollywood.
15. Monsters University
The prequel to Monsters, Inc. (and the first Pixar prequel ever done) presents the unasked for tale of how the leads Mike and Sully first met as college roommates. It’s a fun watch, and much of the humor was aimed at children, but its message about accepting your limitations in life came off as a downer.
The sequel to Finding Nemo is a worthy followup that further explores the enchanting underwater world and the popular characters from the first film. We also meet great new characters, and overall it’s a fun film with some tender moments, though its message about animal captivity is a bit too-on-the-nose.
13. Monsters, Inc.
The fourth Pixar film introduced a fascinating world of monsters that was quite hysterical at times. The highlights of the film were the voice acting by John Goodman and Billy Crystal who had great chemistry and timing. The relationship between Sully and the human girl “Boo” was simply adorable and would melt any cynic’s heart.
12. A Bug’s Life
The sophomore effort from Pixar kind of got lost among all of Pixar’s other offerings. This is because the animation is a bit rough by today’s standards and other films better captured fans’ hearts. Still, A Bug’s Life is a splendid tribute to Seven Samurai (or The Magnificent Seven) with a great score.
This animated film stood out from the others with its ode to the art of cooking. It’s an unusual tale about a rat that wants to become a great chef which may not resonate as well as other Pixar films. But it’s beautifully animated and the themes about perception and artistry are well executed.
The latest film in the Jurassic Park films, Jurassic World: Fallen Kingdom, has finally been released here in North America. Many of the reviews have been downright negative and nasty, and honestly, for the most part, it’s undeserved. The fifth Jurassic Park film is an exciting and suspenseful film that adds to the film series.
Taking place three years after Jurassic World, the latest sequel follows up on the disaster that befell the live-dinosaur theme park, Jurassic World. Now abandoned, the park and the island it is on has been overtaken by dinosaurs. However, the island has an active volcano that threatens the lives of the dinosaurs. A worldwide debate opens up over whether or not to save the endangered animals. Some believe nature should take its course and drive the dinosaurs to extinction again while others have taken up the cause of the dinosaurs.
One of that movement’s leaders is Claire Dearing (Bryce Dallas Howard), former operations manager of Jurassic World. She is approached by a Eli Mills (Rafe Spall) who represents Benjamin Lockwood (James Cromwell), a former partner of Jurassic Park’s creator John Hammond. Lockwood wants to evacuate the dinosaurs to an island sanctuary and enlists Claire’s help. She in turn recruits her ex-boyfriend, Owen Grady (Chris Pratt), a former raptor wrangler. Once they get to the island, the volcano erupts and as shown in trailers that revealed too much of the film’s plot, they are betrayed by Mills. He only wants to evacuate the dinosaurs to sell them on the black market and has also spearheaded the creation of a new hybrid dinosaur, the indoraptor. Now it’s up to Owen, Claire, and a couple of colleagues to stop Mills’ plans.
For the fifth film in a film franchise, Jurassic World: Fallen Kingdom is surprisingly fresh and exciting. It has plenty of thrilling and suspenseful scenes, as well as some unexpected heart-breaking moments. One thing that sets it apart from the other films is that it brings up the notion of whether or not these prehistoric animals have rights. They were artificially created so are they entitled to be protected as an endangered species? The film presents both sides of the argument fairly and it leaves you conflicted. You see the majesty of these creatures, but know that they should not be alive now. Is it right to share our current world with them? Why defy nature again? Some of these messages get lost in the action and dinosaur action, but they stay with you nonetheless. Then an unusual twist comes up with Lockwood’s young granddaughter, Maisie (Isabella Sermon), that adds a new wrinkle to the film series.