I’ve been seeing this around a lot lately.
It goes without sayin’, but Superman says it pretty damn well.
I know there was some discontent out there with the trailer for Marvel’s “Ant-Man” movie, but I was relieved when I saw it the other day.
Why?
Mostly because I was relieved the trailer indicated the movie, starring Paul Rudd as the second Ant-Man, Scott Lang, will address some of the same questions the moviegoing public will have: Why do we need a superhero who shrinks? And why would anyone call themselves Ant-Man?
But also because the movie will finally acknowledge the place in the Marvel Universe of one of its pioneering characters.
So who is Ant-Man and why should we care about him?
Ant-Man is best known as Henry, or Hank, Pym, and he debuted in comics in “Tales to Astonish” 27, published in January 1962. Pym was an unfortunate scientist who could shrink to ant-size … but couldn’t defend himself from ants. He barely survived this tale that was a retread of “The Incredible Shrinking Man.”
But Pym returned in “Tales to Astonish” 35, this time as Ant-Man and sporting a helmet that let him communicate with ants. He was their master!
After several issues of adventures, Pym and girlfriend (later wife) Janet Van Dyne appeared in the first issue of “The Avengers,” as a diverse group of heroes got together to defeat Thor’s brother, Loki.
Pym and Van Dyne even named the group, which makes it all the more important that their history in the Marvel universe be part of the Marvel Cinematic Universe. Avengers co-founders!
Pym is a problematic character on a couple of counts, though.
It’s not like the Marvel Cinematic Universe needs another genius scientist, even if Pym created Ultron, the villain in the upcoming “Avengers: Age of Ultron.” The MCU already has Tony Stark and Bruce Banner.
Plus, Pym was always an erratic character. That’s a plus for the realistic 1960s-and-beyond Marvel Comics universe, but not for movies that increasingly play to a wide mainstream audience. So Pym the brilliant genius who had emotional breakdowns, masqueraded as at least one super-villain and even struck his wife is shifted to a secondary role in the movie.
Why the “Ant-Man” movie matters is another thing. but I think that it does.
Everybody worried when the movie’s original director, “Shaun of the Dead” creator Edgar Wright, left the project and he and Marvel cited creative differences. The temptation was to worry that Marvel wanted Wright to make his movie more mainstream and he didn’t go along.
I trust ultimate director Peyton Reed – “Bring it On” is a classic – but more than anything, I trust Marvel.
Why?
Well, their track record is pretty good. Most of the Marvel Cinematic Universe movies have been good to great, with only a couple of lesser entries (“Iron Man 2” to some extent).
I also think “Ant-Man” will explore the idea of failure, loss and redemption in the Marvel universe. And that’s good, because those story beats and emotions are a huge part of the comic books.
The upcoming “Doctor Strange” movie, with Benedict Cumberbatch set to play the arrogant surgeon who rebuilds his life, should strike some of the same notes.
But more importantly, I think Marvel will use “Ant-Man” to fill in the gaps in its movie universe.
How?
Rumors indicate that portions of “Ant-Man” will take place in the 1960s, with a younger actor playing Michael Douglas’ role of Hank Pym, the original Ant-Man. It’s been suggested that we’ll see 1960s-period-appropriate versions of Howard Stark and other characters long established but unexplored during a period of several decades.
Just like “Agent Carter” on TV right now is filling in the blank spots in the post-World War II Marvel universe, I believe “Ant-Man” will fill the gaps in the 1960s, with a young Pym and wife Janet Van Dyne (parents of Hope Van Dyne, the character played by Evangeline Lilly in the movie) adventuring and working with SHIELD.
There’s a ton of material here that, if properly explored, will fill in “lost years” and make the Marvel on-screen universe feel even more like a real, if fantastical, world.
So yeah, Ant-Man matters because of his history and “Ant-Man” matters because of how it might flesh out the Marvel history onscreen.
A lot of people are saying “Guardians of the Galaxy” is this generation’s “Star Wars.” I’m not sure that’s the case, or that anything could be this generation’s “Star Wars.” Some people forget just what a game-changer “Star Wars” and, two years earlier, “Jaws,” were. Those two movies solidified summertime as a time for big-screen escapist fare and proved that people would pay to see it.
Others say that “Guardians” is this generation’s “The Last Starfighter” but I think that’s selling “Guardians” short. As fond as my memories of “Starfighter” are, I think “Guardians” is a better movie.
So what role does “Guardians” fill?
Roles, really.
First of all, it’s a really good summer movie. It’s good-natured and funny and full of action.
Secondly, it’s a sure-footed next milestone in the Marvel Cinematic Universe. Although it only slyly references the quest for the Infinity Stones – the sources of power that will, almost certainly lead Thanos to Earth in the third “Avengers” movie, probably in 2018 – it keeps that subplot to the first three phases of Marvel movies in moviegoers’ minds.
Thirdly, it expands the Marvel Cinematic Universe. Here’s how:
The comics published by Marvel in the past half-century-plus have covered a lot of territory, literally and figuratively speaking.
There’s the street-level superheroes, like Spider-Man and Daredevil, dealing with maniacal villains and street punks alike. The non-Marvel Cinematic Universe “Spider-Man” movies and Marvel’s upcoming Netflix series like “Daredevil” map out this world. (They’re the Marvel counterparts of Batman, for you DC lovers out there.)
There’s the global superheroes, like the Avengers, who have the power to face threats to the entire world. The non-MCU heroes like “Fantastic Four” also fall into this category, as does DC’s Superman and Justice League.
What “Guardians” does is give Marvel Studios a beachhead in the cosmic universe where the comic books have played for a half-century.
There’s always been some crossover among all these Marvel realms, such as when Galactus, devourer of worlds, shows up and is tackled by the FF. Cosmic threat comes to global heroes.
But quite often, the links between the cosmic and Earth-based heroes have been only tenuous. Captain Marvel or the Silver Surfer or Warlock show up and fight and eventually team up with the FF or the Avengers to face a menace like the Kree-Skrull War, but by the end of the story, things are back to a Marvel status quo and the Avengers are dealing with Earth-based villains like Doctor Doom.
“Guardians” plunges us headlong into that cosmic Marvel universe with only occasional looks back at Earth.
I won’t recap the plot I’m sure you’re familiar with by now or even go on and on with my thoughts about “Guardians.” Director James Gunn had made a fun, “Star Wars”-ian adventure pitting an unlikely band of heroes against evil forces. Along the way, the movie introduces, more smoothly than most would have thought possible, fantastic creatures like Rocket Racoon, a small but ferocious animal with a pitiable past and a love of big guns, and Groot, a walking, talking (well, a little) tree creature. Space raccoon and gentle plant-based giant you say? Sure, why not. It’s a testament to Gunn’s handling of the characters and plot of “Guardians” that what the characters are matter less than who they are.
If you remember, Thanos, Marvel’s go-to cosmic bad guy, showed up at the end of “The Avengers” to take credit for pitting an invading alien army against Earth and grin at the thought of courting death.
Thanos wants the Tesseract – the Cosmic Cube in the comics – that the Red Skull wielded in “Captain America” and Loki sought in “The Avengers.” Along with the Aether, the cosmic power from “Thor: The Dark World,” and other Infinity Stones, Thanos can make the Infinity Gauntlet, a weapon of unimaginable power. It’s a certainty that will be the major plot point of the third “Avengers” movie.
One of the most amusing things about “Guardians” is that much of the history and power of the Infinity Stones is laid out midway through the movie … but to the protagonists and antagonists of “Guardians,” who don’t even know as much as Captain America and Iron Man about the importance of the Stones but know a thing to keep away from bad guys when they see one.
So the collected Guardians, led by the effortlessly charming Chris Pratt as Peter Quill, take on Ronan, an upstart ally of Thanos, in an effort to keep a handle on their particular Infinity Stone and keep it away from Thanos.
It’s an effort that will continue for another four years before the contest for the Stones pits Avengers – and likely other allies – against Thanos in the third Avengers movie, which will likely act as capper to the first three phases of big-screen Marvel.
“Guardians” is so much fun, so funny, so charming, that it carries all the responsibility of furthering the over-arching plot of big-screen Marvel as if it were a feather. Despite its many accomplishments, that might be the movie’s handiest achievement.
By the way, I wanted to mention Marvel’s other comic-book universes, besides street-level, global and cosmic playgrounds, because the big-screen Marvel universe will no doubt incorporate them as well.
(I won’t get into a couple of lesser-known Marvel comic book universes here because, frankly, I don’t think we’ll see big-screen versions of Marvel’s romance and western comic worlds anytime soon.)
We’re all but certain to see Marvel’s mystical and horror universes come into play in movies before long, perhaps in a combined venture.
The studio has already named a director for its “Dr. Strange” movie, about a physician who became a master of the mystic arts and fought supernatural creatures. It’ll be interesting to see who the studio picks to play the part because Strange could be as much of an anchor for ongoing Marvel movies as Robert Downey Jr. has been as Tony Stark.
A “Strange” movie would not only introduce the mystical and supernatural Marvel universes to the big screen but could encompass the company’s long history of horror characters, some of whom regularly cross paths with heroes like Spider-Man (I’m looking at you, Moebius the Living Vampire) but operate in a realm that ranges from the dark corners of the Earth to other dimensions. It’s a world of magic – already explained in the “Thor” movies as simply science that humans can’t understand – and wild creatures.
If the idea seems strange to you, consider how strange a space raccoon and a talking tree might have seemed before this record-breaking opening weekend for “Guardians of the Galaxy.”
Warner Bros. released a pic a while back of Henry Cavill as Superman (wonder if that name will be uttered) and they’ve released a couple of pics of Ben Affleck as Batman from “Batman vs Superman: This Time It’s Personal.”
Today, at San Diego Comic Con, it’s Wonder Woman’s turn.
Above, Gal Gadot as the Amazonian Princess.
When I showed my wife, a Wonder Woman fan from way back, she said: “Very Xena.”
Again, which of us, as little geeks, thought this would happen? All this superhero movie madness?
And who could have imagined it would be so much fun?
Entertainment Weekly – which I haven’t seen yet – has a big preview of next May’s “Avengers: Age of Ultron.”
Marvel announces that, in the comics, Thor will soon be a female who takes the Thunder God’s mighty hammer when the original Odinson is sidelined.
Marvel announces a new Captain America – most likely Sam Wilson, Cap’s longtime partner as the Falcon – will take over for Steve Rogers, also in the comics.
You know, this isn’t entirely new. Thor has been replaced before – once, notably, by a giant frog – and so has Cap (so many times I couldn’t begin to count, but most notably by Bucky Barnes/The Winter Soldier).
But it’s all fun and fair and will juice up publicity leading up to the “Ultron” movie next May.
So to reiterate: Hell to the yes.
First, sorry this is so teeny-tiny. You can blow it up a little here or maybe you’ll be inspired to go elsewhere to see a bigger version.
In celebration of Batman’s 75th anniversary, Salvador Anguiano has done a poster of the many, many different looks of Batman over the years. They include comic book versions, the great animated series Batman and yes, even some of the lesser efforts.
Plus – Lego Batman!
Very cool.
It’s hard to imagine it’s been 11 years since “Superman: Red Son,” the Elseworlds comic book series-turned-graphic novel that imagined a world where baby Kal-El’s rocket from Krypton crashed in the Soviet Union, was published.
It seems more like 40. And that’s a compliment.
The comic, written by Mark Millar and drawn and inked by a creative team of artists, came out in 2003 but read like something published as a Cold War fever dream. Millar’s storyline – which recasts Superman as a symbol of – and later, leader of – the Soviet Union and all his supporting players in re-imagined roles – is so clever it feels like a product of those uneasy decades of stand-off between the United States and the Soviet Union.
Of course, the comic probably couldn’t have been produced during that time. There’s too much subversive material here for most Cold War tastes.
Beyond the premise – that rocket from doomed Krypton lands in the USSR rather than Heartland USA – young Clark’s powers quickly draw the attention of the Soviet authorities and he is adopted by Stalin himself.
Meanwhile, in America, Lex Luthor is an aloof scientific genius who works for long-tenured President Kennedy and Lois Lane is his neglected wife.
After Superman becomes a global figure – curiously, a threat to the American way of life who also swoops in to rescue people at disaster scenes around the world – Luthor ramps up his efforts to destroy him via Brainiac, Bizarro and other means.
Millar has Jimmy Olsen as a CIA agent, Pete Ross as a KGB agent and, most effecting, Diana – aka Wonder Woman – in a familiar role for her, trying to bridge the gap between worlds.
There’s even Batman as a Russian saboteur, a role that pits him against Superman, the thoughtful tool of the Soviet Union.
The art is perfect – so many deep blues and reds that it was startling to see one version of the Superman costume that looked like that in “Man of Steel” – and the story is clever not just because it holds up a mirror to the familiar Superman story but because the characters and circumstances ring as true as they seem alien to us.