When he gets out of prison, second story man Scott Lang decides to go straight, get a job, pay off his alimony and be a good father to his daughter Cassie. Then he is selected to go on a secret mission by legendary scientist Hank Pym, who wants him to handle a very special burglary. At the center of all this is a suit that allows its wearer to shrink down to ant size and take on superhuman strength. Accompanied by Pym’s daughter Hope, Scott goes on a mission to take down Darren Cross, a businessman looking to create his own suit to sell as a military weapon to the highest bidder…

Picture gallery

If a raccoon can be armed and sent to save the world as in Guardians of the Galaxy, why not invent an ant man who can shrink in size and attack the enemy with an army of insects? At this point it doesn’t really matter what is plausible and what isn’t: Marvel has the almost unlimited ability to sell any story it wants to, no matter how bizarre. Ant-Man works according to the studio’s usual, simplistic formula (evil supervillain, superficial love story, sentimental family moral, impending apocalyptic doom) which explains the early departure from the project of Edgar Wright, director of Shaun of the Dead, who was replaced in a hurry by Peyton Reed. Although a very good Paul Rudd finds his place within the Marvel universe, the real interest lies in a miniature action scene where our hero battles a train. During the course of the battle, dramatic action turns into comic relief when it becomes apparent that the whole thing is a child’s train set. In moments like these, Marvel seems to be finally admitting that its characters are nothing more than plastic toys, and its movies are only meant as cheap fare to pass the time with a group of friends.