The feeling of giddy wonder that distinguishes the first two “Ant-Man” films is absent in the latest installment.
,” felt tethered—Reed unleashed intermittent flourishes of inspiration, but now they were completely bound by the M.C.U.’s gravitational field, pulled down to the franchise’s established map, and sent forth to do their duty.
That’s where the story—and the artistic trouble—begin. In the first two “Ant-Man” movies, the Quantum Realm, where characters shrink to subatomic size, is depicted as hallucinatory, lurid abstractions. They get in, whizz through the colored lights and seemingly immaterial forms, and get out—one of the key maneuvers of the second film is Hank’s rescue of Janet from her thirty-year confinement.
The best thing about “Quantumania” is, surprisingly, its script , which is like saying that the best thing about a building is its blueprint. The story is unusually compact and logical, but it takes place in a factitious world so slight that it might as well be rendered on tracing paper. Though the Quantum Realm is a world of its own, the world-building is painfully flimsy, devoid of the history, the social organization, the environmental concepts, or the ins and outs of its material setup.
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