Supremely silly subatomic superhero shenanigans.

Let’s rewind a few years to the moment Edgar Wright walked away from the troubled Ant-Man production, shall we?

Just imagine standing there as the film fell apart and telling Marvel not to worry because this little oddball who spoke to ants would not only be sticking around to complete his trilogy but would do so while helping to defeat Thanos. I’d say there’s a good chance you’d be laughed out of the building.

Yet here we are folks. Look at us. Who would’ve thought it? Not me.

The Marvel Cinematic Universe has achieved many things since its inception, but among the most impressive has been making a lovable loser like Scott Lang work. Against all the odds, Ant-Man (and, of course, The Wasp) has not only blended seamlessly into a world of gods, aliens, billionaires, and super soldiers, but has rapidly grown into the low-key lynchpin of the whole damn thing.

From their 2015 debut to saving half the universe in Endgame, both Scott Lang and Hope van Dyne have defied their tiny stature to become big MCU players. But, with the dawn of a new franchise phase now upon us, and after a rocky couple of years, can the pocket-sized heroes handle the pressure of launching us into a new era?

When they find themselves unexpectedly sucked into the Quantum Realm, Scott Lang (Paul Rudd) and Hope van Dyne (Evangeline Lilly), together with Scott’s now teenage daughter Cassie (Katheryn Newton) and Hope’s parents Janet (Michelle Pfeiffer) and Hank (Michael Douglas), are forced to fend for their lives in a strange new universe populated by fantastical and outlandish creatures. Exploring this bizarre new world, the family soon discover that all is not right, as the sinister presence of Kang (Jonathan Majors) threatens not only the Quantum Realm but the very multiverse itself.

As thoroughly nice as the first two Ant-Man instalments were, it was clear something needed to change to move things forward. Whether it’s Paul Rudd’s debut as Scott Lang or his pairing with Hope van Dyne in Ant-Man and the Wasp, this cosy little nook of the MCU has been fun, light-hearted, and delightfully wholesome, yet not particularly essential.

To date, the Ant-Man films have been largely seen as MCU “palate cleansers” used to counterbalance the franchise’s more bombastic moments. Whether its Ultron dropping an entire city on its head or Thanos wiping out half the universe, Ant-Man and company have been right there ready to pick up the pieces and pick up our spirits.

However, considering Ant-Man’s importance to the Marvel Cinematic Universe as a whole, such perceptions feel a tad unfair, so while as fun as the first two movies were, something big needed to change if these heroes were to receive their long overdue flowers. And big is precisely where Quantumania goes (in the smallest way possible, of course).

Going huge on a subatomic level, Quantumania feels as vast as almost any other MCU effort, plucking Scott, Hope and co from San Francisco and dumping them into the kind of outlandish world the first two films merely hinted at. It’s certainly a little ironic that the Ant-Man franchise had to shrink itself down for its scale to increase significantly, however, despite some noticeable stumbles along the way, Quantumania largely succeeds in its ambitions without sacrificing too much of what makes these movies so special.

Undoubtedly the film’s biggest success, Quantumania’s visuals are quite spectacular and, at many points, among the most impressive the MCU has produced. With a huge dose of Star Wars, a generous helping of Doctor Who, and a liberal sprinkling of classic pulp sci-fi, Quantumania is a visual feast that’s not afraid to get weird in ways not even Doctor Strange can touch.

With fantastic world building and the most creative character design this side of a Tatooine cantina, Quantumania is an explosion of visual creativity that, despite its overt reliance on CGI, does a fine job of immersing us in its weird world. From this visually spectacular platform, the film hits a level of action that we’ve yet to see from any Ant-Man instalment.

At its best when leaning into the utter lunacy of its setup, Quantumania’s action, humour, and visuals manage to carry it a fair way, however, there’s certainly a point where the film’s awkward plotting and lacklustre narrative finally catch up with it. With a strong showing for the first two acts, things look good for Quantumania’s prospects, yet, as we enter the final third, the film’s decline is a dramatic one.

This final act is a chaotic, patchy affair full of plot shortcuts, exposition, logic blind spots, and messy pacing, as director Peyton Reed struggles to tie things together while failing to offer a reason to fully invest in the narrative. In what ultimately amounts to a relatively simple fetch mission, the impetus gradually drains from Quantumania as it finds itself in real danger of fading out altogether.

Compounded by the fact that the film’s first two-thirds are so well put together, this dramatic decline is more than a little disappointing, however, it is to the credit of both Peyton Reed and writer Jeff Loveless that things finally pull themselves around at the death. As we hit Quantumania’s final fifteen minutes, and as the action reaches its crescendo, the plot finds a decent balance between chaos, quirk, and heart.

While undoubtedly more dramatic than any Ant-Man instalment before it, Quantumania is at its peak when blending its bigger moments with a wholesome irreverence that’s been the most endearing trait of the franchise. With a far more consistent tone than its predecessors, Quantumania uses the idiosyncrasies of both its environment and characters to create the most well-rounded Ant-Man film to date.

In amidst all the mind-bending chaos and quantum shenanigans, it’s vitally important that a film as visually and conceptually out there as Quantumania grounds itself in its characters, and whether its Scott Lang et al or the motley assortment of bizarre creatures that call the Quantum Realm home, it finds a way. It’s weird, it’s wacky, it’s messy, it’s outlandish, but with one eye on its characters at all times, Quantumania never loses the heart, humour, or humanity that its predecessors relied upon.

Leading the line with all the goofball charm we’ve come to expect, Paul Rudd does precisely what you expect, supplementing his wholesome comic chops with a little pathos and a tonne of heart, especially with the father/daughter dynamic between him and Kathryn Newton’s Cassie that underpins the whole film. Of course, Quantumania isn’t just the Rudd show though, however, while her name is indeed up there on the title, Evangeline Lily has so little to do, you could take the name Wasp out of it and the film would barely change.

Tagging along for the quantum ride with our titular heroes, Michael Douglas and Michelle Pfeiffer bring the kind of powerhouse presence you only get with their potent level of Hollywood prowess. Honestly, it’s never not a treat to have them on screen together, with Pfeiffer in particular delivering the gravitas and all-action proficiency that outshines all but our big bad.

And what a big bad he is. While his on-screen presence is limited for much of the film, Jonathan Majors makes the most of every second he has at his disposal, ensuring his Kang the Conqueror is the indisputable Quantumania standout. Holding the screen with a Shakespearean grandeur, Majors demands our undivided attention with every word and pointed threat, offering the kind of all-encompassing menace the MCU hasn’t seen since Thanos.

It truly is a performance that lifts what is otherwise a solid film, as Majors shows his range and commanding presence, even when the material he’s working with starts to stumble. While we only really scratch the surface of the threat Kang possesses, Majors nevertheless offers a tantalising taste of what’s to come and the havoc he’s ready to unleash on the MCU over the next few years.

It’s a performance that arrives just in the nick of time and manages to counterbalance many of Quantumania’s messier moments. While of course, a better script could have seen Majors elevate the entire film to a while new realm, what we get is more than enough to not only satisfy here but whet our appetite for what Marvel have in store going forward.

Despite scripting issues that find the plot floundering in its third act, Ant-Man and the Wasp: Quantumania does a very solid job of introducing us to a dazzling new dimension full of weirdness, wonder, and some of the finest character design the MCU has to offer. While it often trips over itself in its desperation to set up the rest of Phase Five, Quantumania succeeds at going big and bold while retaining the heart and humour we’ve come to expect from this cosy little corner of the Marvel Cinematic Universe.