‘Captain America: Civil War’ has everything a superhero movie needs to save the day
With traditional pinball falling more and more toward the wayside over the last decade, along with the arcades which once housed these fabled tables of fate, Zen Pinball and its sequel have managed to carve a clever little niche in the digital market for nostalgia hounds who grew up blasting off that little silver ball with each lucky quarter.
It takes 45 wobbly minutes for director Peyton Reed’s film to find its rhythm, but it closes with some ingenious action set pieces that leave you feeling satisfied. ‘Ant-Man’ is a quirky little orphan that will probably need some time and distance from its cinematic brethren to be fully appreciated.
Ant-Man is a superhero identity that’s actually been used by three different characters of note and, despite the fact that Lang is the character being used in the Marvel Studios feature film, he is, arguably, the least of the three characters. Hank Pym originated the identity and though he quickly discarded it in favor of the more overtly powerful Giant-Man (using his size-changing Pym Particles to get bigger instead of smaller, a switch Pym-creator Stan Lee has said was triggered by artists failing to depict the world around the shrunken Pym in proper perspective), it was as Ant-Man that Pym helped co-found the Avengers (and come up with their name), and though he quickly left the specific Ant-Man identity behind, Pym remains a stalwart member of the Avengers.
David Gordon Green says that he was inspired to make his most recent film, Prince Avalanche, after shooting a Super Bowl commercial for Chrysler that featured Clint Eastwood. His crew was about ten men, with not much star power (Eastwood isn’t on screen for two-thirds of it), and it was shockingly easy for Green considering how much money Chrysler was willing to put at stake. Prince Avalanche is similar, a film so easygoing and simple that it seems to have required no effort at all, but which never seems lazy.