The third component of the Marvel saga plunges the narrowed heroes in a quantum kingdom without originality.
by Murielle Joudet
Dirty time for Disney house: its streaming platform, Disney +, recently announced that it had lost 2.4 million subscribers in one quarter, which forced the group to dismiss more than 7,000 people. Consequently, Kevin Feige (CEO of Marvel Studios, which belongs to the Disney group) has wanted to reduce the number of marvel series broadcast on the platform-eager, he says, to produce less and better.
It is in this climate at the start of the debacle that Ant-Man and La Guêpe comes out: Quantumania, third part of the saga devoted to the man-migrant who, without ever pretending to compete with the Mastodons of the Studio, modestly digs his Sillon of sympathetic B series, fantasizing a dimension where Jack Arnold (The Handle Man, 1957) would have known the era of digital special effects.
The canvas could not be more commonplace: Scott Lang, alias Ant-Man (Paul Rudd, great comic actor a little cramped here), enjoyed his notoriety since he faced the dangerous thanos ( Avengers: Endgame, Russo brothers, in 2019) and seems to have definitively hung up his superhero costume. He is now devoting himself to catching up with his daughter Cassie.
helped by her grandfather (Michael Douglas), she continues to explore the mysteries of the quantum kingdom. One day, a mysterious incident aspires the whole troop which, narrowed, finds itself immersed in this alternative dimension. Before finding the outcome, they will have to face many dangers and, in particular, the dangerous Kang the Conqueror, who reigns supreme over the quantum kingdom.
Bill Murray and Michelle Pfeiffer
After ten minutes spent on firm land, Ant-Man and the Wasp: Quantumania plunges her head the first in this strange multiverse half-organological half-organological, a sort of uterine tunnel crossed by bluish lights and ugly creatures . The film pleasantly revives the spirit of a fantastic cinema from the 1980s, from the interior adventure (Joe Dante, 1987) in Chérie, I narrowed the Gosses (Joe Johnston, 1989). But this tribute to a retro and “artisanal” SF, which made all the salt of the previous Ant-Man, is gradually sacrificed on the altar of the Sacro-Saint Multivers-New refuge value of the Marvel stable.
Precisely, the quantum kingdom, this reality where the concepts of time and space no longer have the slightest meaning, seems to be the definition that Ant-Man has fiction. Without any causal link or concern for clarity, words and actions proliferate and devious.
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