'Ant-Man and the Wasp: Quantumania': more symptoms of exhaustion in the pompous Marvel

From freshness, spontaneity and the vocation of humility to solemnity, the imposture of gravity and the airs of importance.

That has been the path of the

variant in the Marvel Cinematic Universe.

And it's unfortunate because neither the character nor probably his fans deserved the open pomposity and excessive difficulty of much of the story of

the third solo installment of the adventures of Ant-Man, a continuation of the modestly effervescent

(2015) and

forgettable, of ephemeral pleasure, but likeable, all directed by Peyton Reed.

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The sensible perception of being a minor commodity had worked well for Reed in the first two films.

However, already in the second installment one of the plots became too affected, as a symptom of these hyperbolic times for any bullshit, something that increases exponentially in

If that bombast came hand in hand with the visual style, the depth of the adventure or the portrayal of characters, or even the metaphysical possibilities of the story, at least we would have substance to take to our eyes, ears or psyche.

But it's not like that.

Again with twists and turns to the tiresome theme of the multiverse, the film, with certain lines of comedy in the middle of the existential hubbub, and a couple of sequences at street level, with the superhero dealing with his own ego with the tone of grace ironic that she shouldn't have left the series, she seems bloated with ambition.

Visually it only has a moment of certain expressiveness, the prologue, with Michelle Pfeiffer's character walking through textures and colors that seem to be taken from

by Vincent van Gogh.

Although, as a counterpart to the discovery, the laughable design of the role of Corey Stoll, the MODOK supervillain, who simply looks like a face with the wrong aspect ratio on the television or the computer, takes the cake.

Meanwhile, if in the drops of sporadic humor of the script the best thing that has occurred to them is to organize a recurring joke about the number of holes that the human body has, it is that there is an evident lack of that playful and familiar sarcasm of the first two installments. .

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Quantumania,

set almost exclusively in the quantum world, that "place without space or time that is below ours", which is already defining, has to be explaining itself all the time.

About aspects of the past of the characters, about the functioning of that alternate universe and about its time jumps.

And the film is never complex, only complicated, which is very different.

The new villain, Kang the Conqueror, addicted to the bombastic monologue, to whom Jonathan Majors puts a face of eternal sadness, and who will return in the new bet of

Scheduled for 2025, it is multiple here because that is its nature.

Now, that ability to multiply is devoid of charisma.

A personality that some of its stars do have, outside of this nonsense, Pfeiffer, Michael Douglas, Bill Murray (earning a lot by putting on his usual face and throwing a handful of phrases), at the service of a vehicle that suited him much better family insignificance than burdensome excess.

Marvel, with more and more symptoms of exhaustion: narrative, visual and conceptual.

And there are 31 movies.

In three months, the next.

Ant-Man and the Wasp: Quantumania

Directed by:

Peyton Reed.

Cast:

Paul Rudd, Evangeline Lily, Michelle Pfeiffer, Jonathan Majors. 

Genre:

adventures.

USA, 2023.

Duration:

125 minutes.

Premiere: February 17.

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