Marvel's 'Ant-Man' review, starring Paul Rudd, Michael Douglas, Evangeline Lilly and Corey Stoll

Proceeding Edgar Wright’s departure, Ant-Man, Marvel's 12 feature, would permanently remain a second-rate version of what it could have been.

That’s not to say the movie is bad. It's actually a rather decent time. The pacing is sometimes sluggish, but it contains a good sense of humor about itself — even when more than a few jokes don’t land — and keeps the action fluent and consistently moving, especially by the gleefully wacky third act. The presence of Wright’s voice, though, is only sometimes alive, and almost always muted. Because of this, this latest superhero movie never quite shakes off the notion that it could — and should — be a little smarter, quicker and better than a route, amusing-but-forgettable mid-summer romp.

With that out of the way, let’s get to the actual movie at hand. Now directed by Peyton Reed (Bring It On), Ant-Man acquaints the cinema to petty thief Scott Lang’s (Paul Rudd) introduction to the powers of his size-flexing suit leading himself to adopt his insect-themed name. He’s not the first to wield these aphid capabilities, however, as those rights belong exclusively to Hank Pym (Michael Douglas). He’s an aging physicist and former S.H.I.E.L.D. employee who, along with his reluctant daughter Hope van Dyne (Evangeline Lilly), trains the former criminal to safeguard the mysterious powers Lang only recently discovered.

The reason for this is because Pym’s former protégé Darren Cross (Corey Stoll) wants to capitalize the versatile powers at this disposal to militarize Hank’s extraordinary creation in an Apple-like fashion, in a project titled Yellowjacket. Though brilliant, the budding criminal’s mind is altered by what’s in his reach as he makes something unholy in his attempt to play God. Despite Lang’s door sneaking and lock picking skills, the adjustment to being a superhero on par with the Avengers isn’t as easily earned. Nevertheless, he’ll work with his two new alleys, along with his fellow law-breaking partners Luis (Michael Peña), Dave (Tip “T.I.” Harris) and Kurt (David Dastmalchian), to complete their mission. Primarily, so he can get the funds and societal respect needed to be reacquainted with his daughter Cassie (Abby Ryder Fortson).

Like so many of Marvel’s Phase two movies, Ant-Man is distinctly a mixed bag. Unlike Avengers: Age of Ultron, the weight of the universe is incorporated in a way that doesn’t bog down the centrality of this individual film. But where Guardians of the Galaxy found its own voice and footing, Reed’s movie still feels too tied down to the conventions and now-tired story tropes of other, recent Marvel movies. Essentially, it's not nearly independent enough to thrive as it own vehicle. Lang is introduced, but his journey isn’t so much developed as much as it is written. His emotional beats are clouted by overdrawn comedic moments, and the levity of the film actually overtakes the heart somewhat buried inside.

That said, Ant-Man is probably the best of Marvel’s properties so far at incorporating this S.H.I.E.L.D. streamline into the narrative without distracting, or necessarily taking away, from Lang’s arc. The playful tone is forced, as said before, but it also adds to tongue-in-cheek giddiness only James Gunn's movie and Jon Favreau's first two Iron Man features could accomplish in stride. Its lighthearted approach is more overdone than the two, yet but the effort definitely comes across more genuine and inspired than most of these calculated corporate products producer Kevin Feige has cooked up recently.

The person to thank for this, more than likely, is Rudd. Credited as a co-writer in addition to performer alongside his Anchorman director Adam McKay, as well as Wright & Joe Cornish (though these two likely just in credit-form only), the actor’s natural charisma and warm personality is constantly felt throughout, and adds a loose, nonchalant vibe to the adventure. It doesn’t quite fit the suited character necessarily, but it gives the movie centered on him a good spirit and tenaciousness. It’s not so much Rudd snuggling into the Ant-Man character as much as he’s adjusting and reworking him to fit his style. Whatever helps make it work, though.

That said, however, Stoll absolutely steals the show here. His radiant, smarmy, self-aware-in-all-the-right-ways villain is reminiscent of Willem Dafoe’s wonderfully cheeky role in Sam Raimi’s Spider-Man movies. It’s goofy, but not overly so — and it’s probably the one performance, besides Rudd, that’s completely in tune with what it’s supposed to be. In truth, the reason the middle of Ant-Man drags so much is because he’s missing for so much of it. Much like Age of Ultron, Marvel finally gets a good baddie who isn’t Loki and they don’t know what to do with him until the very end. For shame.

Lilly also stands out, Douglas makes a fine impression as always and there’s one particular Avenger — if it hasn’t been given away to you already, I’ll keep it vague — who actually makes a fun, effective supporting turn in this origin story. Add to the mix some great scenes of miniaturized Ant-Man interacting to the large world around him and the consistently enjoyable and rightfully over-the-top finale, and Ant-Man works itself out just enough to coast by as a fun matinee. Knowing that it could've been more constantly meanders whatever success Reed’s film has, but that doesn’t mean there isn’t enough here to provide a pleasantly diverting affair. At the very least, its no snoozer like their last one — for that alone, one should be grateful of Marvel’s recent minimized success.