“Ant-Man and the Wasp: Quantumania” (2023) is the thirty-first film in the Marvel Cinematic Universe and a sequel to “Ant-Man” (2015) and “Ant-Man and the Wasp” (2018). While watching “Loki” (2021) is not required viewing, it may be helpful for those unfamiliar with the multiverse and variants. Set soon after the events of “Avengers: Endgame” (2019), Scott Lang (Paul Rudd), i.e. Ant-Man, is living an idyllic life, which gets disrupted when his daughter, Cassie (Kathryn Newton), and Hank Pym (Michael Douglas), whom Cassie calls grandpa, experiment with mapping the Quantum Realm, and they get transported there. Will they make it back to their world? Scott’s cheerful monologue acts as a comedic bookend to ground the surreal, grave events that unfold in the Quantum Realm that sets up Phase Five of the MCU.
“Ant-Man and the Wasp: Quantumania” focuses on answering three questions. What happened to Janet van Dyne (Michelle Pfeiffer) while she was trapped in the Quantum Verse? What kind of person is Cassie becoming—ordinary or an Avenger, criminal or law abiding? Will Scott stop basking in his victory and resume his superhero duties? Even though the film answers these questions, it is a lot like Scott: simple and affable. It succeeds in keeping us invested in this blended family—the Langs and Van Dynes/Pym, but unlike most of the other MCU films, it is more spectacle than substance.
Exploring the Quantum Realm introduces a fantastic world, a blend of homage to H.G. Wells and Jules Verne 1960s science fiction adventure adaptations meets “Star Wars” except instead of aliens, quantum realm creatures, some humanoid, others resembling cellular structures straight out of “Fantastic Voyage” (1966). Most of these creatures are two dimensional: good or bad, fighting for freedom or fighting for tyranny. It is almost as if the filmmakers were trying to do an aesthetic Taika Waititi impression, but even Waititi did not stick the landing with “Thor: Love and Thunder” (2022). The living buildings were the most intriguing creatures—think moving trees in “The Lord of the Rings” trilogy, but we get nothing more than a few glimpses of them. Everyone is there as part of a tableau, not living, breathing entities with full lives. The runtime should have been ninety minutes or less by cutting the derivative world building.
Without the MCU heroes, it is unlikely that anyone would be interested in spending more time with any of these new characters, even with some call backs to the original film and an expected cameo from a big-name star, which in retrospect was probably a mistake which will not stand the test of time. “Black Lightning” Katy M. O’Brian brings her no nonsense toughness and focus to the proceedings in a cookie cutter role as the leader of the resistance, but other than resilience and unflagging determination, she has no nuance to her character other than Cassie possibly crushing on her. “Midsommar” William Jackson Harper plays a memorable character, Quaz, who has more facets to his personality than most. Despite being delightful and whimsical, these new supporting characters feel like filler to add suspense to something that the marketing already revealed: the introduction of a new villain, Kang the Conqueror (Jonathan Majors).
If “Ant-Man and the Wasp: Quantumania” made a mistake, it may be refusing to make a linear narrative and not spending more time with Kang before he is revealed to be evil. The film does not do enough to establish, even with a throwaway line, why Kang’s link to the suit affects his behavior or how he created his empire out of nothing. If we buy it, it is because of Majors and Pfeiffer, who make excellent foils. Their acting elevates a thin storyline that feels as if it was scribbled, not developed. Majors sells the idea that this man is a conqueror and is unstoppable with or without technology. His sense of morality is unfathomable and unrelatable, which makes him an indomitable foe. His take on Kang feels distinct from his earlier appearance in earlier MCU projects, as it should, and by the end, he is chewing the scenery. It feels as if Majors is having the time of his life. Pfeiffer as the cosmopolitan Janet who is at ease and unintimidated amidst the surreal surroundings makes her trepidation over Kang feel weightier because she is otherwise undaunted.
Hope Van Dyne (Evangeline Lilly) and Pym add welcome accents to “Ant-Man and the Wasp: Quantumania,” but are relegated to the story’s margins. Pym becomes a bit of comedic relief over his obsession with ants, which leads to an underdeveloped, but pivotal moment in the denouement. There is a half-hearted stab at extolling collective action in a political context, but it feels like an afterthought as if the Marvel execs said, “Did we do something meaningful on a broader scale?” “Oops no.” “Ok well, let’s drop that in using an ant colony.”
If “Ant-Man and the Wasp: Quantumania” works, it is the undeniable love that Scott has for his daughter and between Scott and Hope, who is still slumming it. The best visual moments are when Scott and Hope enter a possibility storm from opposite sides; thus encountering and almost engulfed by their many selves and how their love focuses them and eliminates those possibilities. It is a poetic moment which reflects Scott’s secret powers—he rises to hero status and above his limitations, not smart, strong or strategic, because love can make people become their best selves. Also Wasp keeps saving her man, and Scott would die without her. When he faces off against Kang, it is apparent that his time in prison did not involve any physical altercations.
The MCU has some interesting ideas about family. Though Cassie’s mom is referenced, it is obvious that the real nuclear family is Scott’s scientist chosen family and Cassie. Once again, if you want a relationship to be as strong as bedrock, it helps not to have kids together. The contrast between Hank and Janet’s relationship with Scott and Hope was intriguing. Hope learned from her dad’s mistakes and takes after him—one and done, but Janet seemed to take a French approach to the whole predicament, which does not disrupt her relationship at all. It is rare for an American film not to take a moralistic detour or use Janet’s choices as a point of conflict. Instead it is understanding and empathetic.
If our main characters had not already won our favor, and the villain was not so impressive, “Ant-Man and the Wasp: Quantumania” would be forgettable. The combination of multiverses, time travel and Matryoshka universes feels like the MCU is finally losing older viewers who have been on board since “Iron Man” (2008) and ushering in a younger crowd who may have the patience to deal with the Gordian knot of rehashed, remixed comic book concepts. Maybe it will work out in the end, but for now this family friendly film feels like MCU’s take on “Spy Kids” (2001). Unlike other MCU films, it does not give the actors enough room to display their talents and does not find a way to root the story in deeper issues as a metaphor for today’s ills.