catholic movie review antman

Ant-Man and The Wasp: Quantumania

NEW YORK (OSV News) – As suggested by its rather cumbersome title, there’s a lot going on in “Ant-Man and The Wasp: Quantumania” (Disney). Unfortunately, the film, while free of gore and any really problematic material, ultimately adds up to less than the sum of its parts.

In this visually imaginative but dramatically flat third installment in their joint screen adventures, romantically linked superheroes Ant-Man, aka Scott Lang (Paul Rudd), and The Wasp, alias Hope Van Dyne (Evangeline Lilly), become the victims of a dangerous experiment.

Scott’s grown daughter Cassie (Kathryn Newton) has invented a device to communicate with the subatomic Quantum Realm where Hope’s mother, Janet (Michelle Pfeiffer), the original Wasp, was trapped for decades. Instead, the invention becomes an unwanted – and irresistible – portal to this other world.

Thus all four characters, along with Hope’s dad, Hank (Michael Douglas), find themselves unwillingly transported to Janet’s former place of exile. They also become separated in the process.

Before the quintet can regroup and find their way home, they get drawn into the struggle between a band of rebels led by fierce warrior Jentorra (Katy O’Brian) and the tyrant who’s oppressing them, Kang the Conqueror (Jonathan Majors). Janet, it gradually develops, knows more about Kang and his nihilistic cosmic ambitions than she’s initially willing to say.

As scripted by Jeff Loveness, returning director Peyton Reed’s extension of the Marvel Comics-based franchise pits the protection of loved ones against broader, more altruistic goals and showcases intergenerational family unity and teamwork. The screenplay also tries to make a point about the mistreatment of indigenous people, though the effort is a rather feeble one.

These thematic endeavors notwithstanding, most of the running time is taken up by standard-issue action sequences with only Majors’ malignant gravitas and the occasionally effective comic relief adding much of interest. Though generally inoffensive, “Quantumania” feels scattered, shallow and unsatisfying.

The film contains frequent bloodless violence, fleeting references to possible adultery, brief anatomical humor, at least one use of profanity, several milder oaths and some crude language. The OSV News classification is A-III – adults. The Motion Picture Association rating is PG-13 – parents strongly cautioned. Some material may be inappropriate for children under 13.

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Paul Rudd stars in a scene from the movie “Ant-Man and the Wasp.” (CNS photo/Marvel Studios)

By Mark Pattison • Catholic News Service • Posted June 29, 2018

NEW YORK (CNS) — There’s plenty of humor and action in the fast-paced sci-fi adventure “Ant-Man and the Wasp” (Disney).

What’s noticeably lacking is any exposition or guidance for those not already familiar with the characters and their relationships from 2015’s “Ant-Man” and 2016’s “Captain America: Civil War.” While the film can still be enjoyed on its own, newcomers will feel somewhat left out as a result.

One example of the potential confusion awaiting novices is the fact that, when we first encounter him, Scott Lang aka Ant-Man (Paul Rudd, who also co-wrote the script) is approaching the end of a two-year sentence of house arrest. That’s the consequence, we learn, at least by implication, of his activities in the latter of the two previous movies. But specifics on what exactly he did are not shared.

Whatever his wrongdoing, Scott — whose alter ego, thanks to a high-tech suit, can shrink or grow at will — is now anxious to focus on serving his time and raising his young daughter, Cassie (Abby Ryder Fortson).

Scott’s good resolutions are undermined, however, when his predecessor as Ant-Man, Hank Pym (Michael Douglas), and Pym’s daughter, Hope (Evangeline Lilly), aka the Wasp, draw him into their quest to rescue Hope’s mother, Janet (Michelle Pfeiffer), the original Wasp. Janet been stuck for decades in the Quantum Realm, a kind of subatomic limbo.

To retrieve her, the trio will have to do battle with two principal enemies: Sonny Burch (Walton Goggins), a petty gangster out to profit from Pym’s technological breakthroughs, and Ghost (Hannah John-Kamen), a victim of Pym’s past misdeeds. They’ll also have to stay one step ahead of Scott’s jailers, led by S.H.I.E.L.D. agent Jimmy Woo (Randall Park).

Altruism and family bonds are showcased in director Peyton Reed’s Marvel Comics adaptation. As flashbacks show, for instance, Janet’s plight came about when she voluntarily entered the Quantum Realm, knowing she would not be able to return, because it was the only available means of averting a major catastrophe. Scenes illustrating the warm affection shared by Scott and Cassie, moreover, are likely to charm audiences.

The screenplay — on which Rudd collaborated with Chris McKenna, Erik Sommers, Andrew Barrer and Gabriel Ferrari — also sends a clear message about ends not justifying means. Thus Ghost, who is suffering from a molecular malaise, believes that the energy Janet has absorbed during her exile will cure her, and is willing to endanger Janet’s life to achieve this. The dialogue consistently labels this attitude morally unacceptable.

Less congenial for viewers of faith is the fact that the central romance between Scott and Hope, while it represents a positive partnership, develops in the wake of Scott’s split with Cassie’s mom, Maggie (Judy Greer). Maggie, too, is shown to have moved on from their marriage.

Though these factors are kept in the background, they still contribute to ruling this out for impressionable kids. Given its relatively restrained mayhem and infrequent lapses into cussing, though, “Ant-Man and the Wasp” is possibly appropriate for older teens.

The film contains much stylized violence, acceptability of divorce, a couple of uses each of profane, crude and crass language, several milder oaths and occasional wordplay. The Catholic News Service classification is A-III — adults. The Motion Picture Association of America rating is PG-13 — parents strongly cautioned. Some material may be inappropriate for children under 13.

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Ant-Man and the Wasp: Quantumania

Reviewed by: Raphael Vera CONTRIBUTOR

Over-the-top fantasy about quantum physics

Surrealism in movies

Violent and destructive people

S cott Lang a.k.a. Ant-Man ( Paul Rudd ) has become world famous for his hand in saving the world back in “ Avengers: Endgame ” (2019). Hope Van Dyne a.k.a. The Wasp ( Evangeline Lilly ) has built and runs a corporation that is meant to save the world. So how come Scott’s daughter, Cassie keeps landing in jail?

We see that Cassie Lang ( Kathryn Newton ) is a social justice warrior, and has a run in with the police while defending the homeless. Luckily, she has dad to bail her out and a brilliant Quantum scientist named Hank Pym ( Michael Douglas ) to confide in and become her new mentor. In fact, while Scott was away all those years she has become a brilliant scientist in her own right and managed to build a way to look into the Quantumverse. Little did she know that simply turning on her device would pull Scott, Hope, Dr. Pym, his wife Janet and herself into the sub-atomic universe.

Janet ( Michelle Pfeiffer ) is terrified at the prospect of returning and is very reluctant to talk about her past experience there. We learn that not only strange and bizarre creatures exist in this fantasy sub-atomic universe, but creatures both alien and human-like that live in abject fear of, “Kang the Conqueror”.

Kang ( Jonathan Majors ) needs Ant-Man’s help to take the empire he has built into our much larger universe and threatens anyone who gets in his way.

Janet’s secret life of 30-years spent in the Quantumverse will be revealed, new alliances will be made and an old villain from the past will emerge to threaten them. Can this rag tag group of heroes overcome one of comic-book’s most ruthless, powerful, time-travelling villain’s and find their way back to the ‘real’ world they know?

“Ant-Man and The Wasp Quantumania” is a surreal painted trip into a sub-atomic universe where buildings are alive, multiple alien races exist and ants from Pym’s lab can technologically advance in only a thousand years. Yes, time works differently on some, while the same on almost everyone else. This is just one of the film’s many inconsistencies and like other things introduced you are expected to just dismiss them and go along for the ride.

Objectionable Content

LANGUAGE: Moderate. The Lord’s name is taken in vain a lot in this film—“G*d” (3), “Oh My G*d” (5), and “G*d- d**n ” (1). Other offensive words include: Holy -s**t (3), Sh*t (4), A**-h*le (1), “Son of a …” (1), D**n (3) and H*ll is said several times before comically featured a dozen or more times as Scott’s variants show up and say the same thing. A former villain from the first Ant-Man film returns, and he is called a d**k (euphemism for male genitals) three (3) times, mostly by young Cassie.

VIOLENCE: Heavy. Kang can beat people to death, but he does so only for his pleasure or to make a point. He can crush people with his mind and commands force blasts that destroy or cut through anything. People/aliens are vaporized, tortured by whips, fall to their death, crushed, sliced, imploded/exploded—including an alien shown eating several in a fit of rage. Directors of films like this suggest that because the violence is shown so quickly, or comically, it will have less effect, yet it is impressive the amount of carnage we and our kids are being exposed to. We should not accept such gratuitous violence for the sake of the next generation.

FILM VIOLENCE —How does viewing violence in movies affect families? Answer

SEX/NUDITY: Mild. Minor kissing, but no sex is shown. A woman displays cleavage and her midriff. A human is shown being pulled from a liquid and his rear is shown briefly naked from a distance—another unnecessary bit of content that should not be seen in a ‘family’ Marvel/Disney venture, but was included none-the-less.

Janet admits to an affair during the 30-years she spent in the Quantum realm because she “has needs,” to which Hank admits to the same. This pleasure principle is a secular viewpoint promoted by our media, that humans are nothing more than our natural urges, and we cannot and should not resist them.

“Flee from sexual immorality . Every other sin a person commits is outside the body, but the sexually immoral person sins against his own body. Or do you not know that your body is a temple of the Holy Spirit within you, whom you have from God? You are not your own, for you were bought with a price. So glorify God in your body.“ — I Corinthians 6:18-20

WOKENESS: Moderate. Dr. Pym comments on how great Socialism can be, while Scott, as a father, is portrayed as weak, guilt-ridden and therefore not one to ever discipline his daughter Cassie. Cassie is an social justice warrior activist. Hope is focused on saving the world through “sustainable” energy and foods.

“No discipline seems pleasant at the time, but painful. Later on, however, it produces a harvest of righteousness and peace for those who have been trained by it.” — Hebrews 12:10-11

Symbolism and their deeper meanings used to be subtle and hard to decipher, but recent films have become much more blatant in their messaging, and Ant-Man is no exception. Perhaps the most obvious lessons we should take away is how the movie portrays God, Evolutionism, and The End-Times.

GOD. Kang is the obvious ‘ devil ’ character, who fell ‘from above’ to this world beneath ours, a terrifying world imbued with red tones, a surreal stand-in for h*ll. The devil imagery continues in a scene where Cassie appears to have drunk blood and her mouth and chin are still covered with it. The red ooze allows them to understand the other life forms, so by drinking it they gain understanding. This harkens back to the fruit of the tree of knowledge ( Genesis 3 ), but why is there blatant blood drinking imagery at all? This feels demonic and associated with worship of demons that some celebrities admit to. Plus, who among us doesn’t wipe their chin after drinking sloppily?

As for who sent Kang to this place, we learn that he was banished to this nether world by a trio of beings, a not so veiled reference to God’s holy Trinity , who are very much like Kang in both strength and character. This is the story no doubt the devil tells himself, that he is God’s equal when he and other angels are mere creations of God, and it was the devil’s own conceit that made him fall as Jesus himself testifies.

“And He said to them, “I saw Satan fall like lightning from heaven .” — Luke 10:18

Regarding the Trinity that is God , the New Testament has numerous references to this. However, I truly appreciate how the Gospel According to Matthew closes by speaking on this distinction that belongs only to the one true God.

“Therefore go and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit ” — Matthew 28:19

EVOLUTIONISM . The movie begins with Dr. Pym showing how his ants are becoming intelligent, and this is done as a throwaway scene as if to say this is perfectly normal. This point is further hammered in, when some of Pym’s ants are likewise accidentally pulled into the Quantum zone, but experience a time shift granting them with a thousand years of Evolution in a moment. This Evolutionary jump enables the ants to build their own tech savvy civilization.

The very existence of sub-atomic intelligent life let alone Pym’s advanced ‘socialist’ ants is just more promotion of a theory that still has no actual proof. Evolution has never been proved, only suggested, and when evidence is found it has always been eventually proven false. In the Marvel cinematic universe, there’s no mention of God, nor need for Him. Not to mention the ‘multi-verse’—another fantasy concept that runs counter to rational, logical thought and is being foisted upon our culture without a single shred of evidence.

END TIMES. The time-traveling Kang has seen the ‘end of time’ and it is not a pleasant one for him. If we remember that he represents the devil , then it makes sense why there is hopelessness in his voice when he says, “I know how it ends.”

“And the Devil that deceived them was cast into the lake of fire and sulfur, where are also the beast and the false prophet; and they shall be tormented day and night for ever and ever.” — Revelation 20:10

What are the signs that the end is near? Way too many to recount here, but I will say that The Gospel will be everywhere (Matthew 24:14), nations will talk of coming “peace and security” and it won’t (1 Thessalonians 5:2-3), earthquakes , famines and disease will be prevalent (Luke 21:11), unholy spirits worshiped, evil things taught (1 Timothy 4:1), and many will claim to be Christ (Matthew 24:5). On that last point there are now thousands who follow men around the world who claim to be Christ returned.

As you might have guessed, many signs point to how near we are to the final chapter of history, and I pray that you have received the Lord Jesus as your personal savior. But, if you haven’t it is not too late to seek Him for you will find Him.

What is a TRUE BIBLICAL CHRISTIAN ?

“And this is eternal life , that they know you, the only true God, and Jesus Christ whom you have sent.” — John 17:3

“Draw near to God, and he will draw near to you. Cleanse your hands, you sinners , and purify your hearts , you double-minded.” — James 4:8

Are you good enough to get to Heaven? Answer

How good is good enough? Answer

Will all mankind eventually be saved? Answer

Concluding Thoughts

“Ant-Man and The Wasp Quantumania” is a stunning visual spectacle, lacking a cohesive storyline and is filled with so many plot holes that you are required to ‘suspend your disbelief’ time and time again . Why leave Kang a ship at all if he was meant to never return? How does a thousand years produce in ants the great awakening that the past thousand haven’t? A teenager is able to read the notes a scientist took a lifetime to write and improve on his theories in only 5-years? Why does Janet continue not to share anything about the Quantum realm even after they arrive?

Admittedly, Paul Rudd’s Ant-Man has an easy going sense of humor that rarely seems forced and is the best feature of his franchise. Unfortunately, aside from the surreal spectacle that is the Quantum universe, this is the weakest Ant-Man film. Add to that the demonic imagery and disjointed story-telling, and I cannot recommend seeing this latest Marvel entry. Your money and your focus could be better spent almost anywhere.

• Violence: Heavy
• Profane language: Moderate
• Vulgar/Crude language: Moderate
• Occult: Moderate
• Wokeism: Moderate
• Nudity: Mild
• Drugs/Alcohol: Mild— • Various people shown drinking alcohol • Hank requests a drink that will make him drunk from a bartender

Learn about DISCERNMENT —wisdom in making personal entertainment decisions

See list of Relevant Issues—questions-and-answers .

PLEASE share your observations and insights to be posted here.

Ant-Man and the Wasp: Quantumania (Christian Movie Review)

Verdict: Unfortunetly, the decision to “go big” with the smallest Avenger results in a giant-sized mess that leans into all the worst tendencies of the MCU.    

About The Movie

Ant-Man is a delightfully silly and simplistic character. He’s just a dude who can shrink down into the size of an ant. His initial entries into the Marvel storyline largely reflected this playful spirit, paving the way for some fun Honey, I Shrunk the Kids hijinks, and providing a refreshing contrast from the more cosmic powers and scope of Marvel’s other super-powered heroes. Along the way, Ant-Man eventually gained the ability to change his size in the other direction, growing into a towering giant. If the original two Ant-Man films were reflective of his shrinking power, then Quantumania attempts to channel this newfound growing ability, thrusting its bug-inspired hero into a massive, cranked-to-eleven, otherworldly conflict with immense stakes for not just the world, but for the entire multiverse and countless timelines. The movie certainly goes big, but sadly, the result is an equally giant-sized mess.

Personal tastes will vary, but Quantumania leans hard into all the worst tendencies of the Marvel Cinematic Universe—a bombardment of empty CGI spectacle, a convoluted plot that primarily exists to set up future movies and shows, a surprisingly joyless and sarcastic tone, and a “more is more” approach that mistakes “bizarre” for “fun.” Even the endlessly fun potential of Ant-Man’s “shrinking” ability is uninspired and lacks any sense of invention or cleverness (in an unintentionally meta moment, Rudd essentially explains to his daughter that it’s just a matter of shrink-grow-punch-repeat).  

It is not all bad. A few positive elements from the original films still faintly echo up from the distant Quantum realm. Paul Rudd continues to be overpoweringly charismatic, almost single-handedly making the film watchable. The film has issues, but Rudd is never one of them. He is joined by Jonathan Majors in the role of Kang the Conqueror (Thanos’ successor as the new “Big Baddie” in the overarching Marvel narrative). Majors is a superb actor, and there are moments that hint toward some interesting layers in his character. But the apparent need to save the exploration of those layers for future films prevents him from being as captivating as he might have been.

Unfortunately, outside of Rudd, the hinted potential of Kang’s character, and some occasional humor, almost nothing else works. The relentless “more is more” approach muddies the story into an unappetizing stew of disconnected ideas and distracting subplots. An over-reliance on unimpressive CGI makes the Quantum Realm feel more like a green screen soundstage than a cohesive or believable place. The movie constantly introduces new characters, only to quickly abandon them. Bill Murray shows up for an extended scene that adds nothing to the story (other than getting Bill Murray into the movie). The heroes also meet an interesting cast of Quantum Realm natives, who are then quickly sidelined for the next hour until finally called upon again at the end to have soldiers for a climactic battle against an army of (literally) faceless bad guys. Most egregiously, despite getting her name in the title, Evangeline Lilly’s “Wasp” is entirely inconsequential, left to do little more than emote as other characters shower her with exposition-heavy monologues.

Speaking of exposition, this movie is filled to the brim with it. There is so much explaining going on. Any time the plot starts inching forward, it immediately screeches to a hault to have characters fill the audience in on necessary information. Kang gets a flashback backstory. Michelle Pfeiffer’s character gives multiple long exposition dumps about her first time in the Quantum Realm. A previous MCU character makes a return as a big, floating head…and gets a flashback backstory. Even a bunch of ants suddenly enter the plot in the third act for no real reason other than it being an Ant-Man movie and to add to the spectacle in the climax…and, yes, even they get a backstory exposition dump and flashback! Despite so much plot, the movie itself feels directionless. There are no clear themes, or character arcs, or cohesion between scenes and set pieces. Instead, the entire story feels like an excuse to introduce Kang and foreshadow his involvement in future movies.

In the end, with Ant-Man and the Wasp: Quantumania, the MCU feels like it is at a crossroads. The overarching narrative that once gave deeper meaning and purpose to the individual stories now seems to suck the life out of them, making each entry feel like homework or a chore that exists only in service to an increasingly burdensome larger narrative. The film is lesson that often “less is more,” and sometimes it’s better to go smaller rather than bigger; a lesson that perhaps a movie about diminutive ants should have understand all along.    

For Consideration

Language: Frequent minor profanities (“H—,” “Sh—”, “D—”). There are also multiple uses of “OMG” and “My G—.” There is a gag where characters repeatedly use a crude word for male genitals (“d—k”). Another repeated gag has a goo-like alien fascinated by how many “holes” humans have. 

Violence: Typical Marvel violence, with the extent being characters who get their faces bloodied in a fist fight.   

Sexuality: A married couple who spent 30 years separated in different dimensions talk openly about their sexual encounters during that time, both seemingly okay with the extramarital sexual acts since they “had needs.”    

Spirituality: The bad guy is accused of elevating himself to the position of “a god.” Upon arriving in the Quantum Realm, Hank Pym remarks how the dimension could hold answers to life and evolution.

Engage The Film

Embracing time.

Perhaps the one consistent theme is time , and how different characters view and relate to it. For some, it is a blessing; for others, it is a burden. At the start of the film, Scott Lang (aka Ant-Man) is living in the past, coasting on the glory of his accomplishments of saving the universe. His activist-driven daughter reprimands him for not living in the moment, and not concerning himself with the present needs around him. Scott has lived well but is not current living well (in the eyes of his daughter, at least).  

There is also a motif of “lost” time. This is explored in the relationships between Lang and his daughter, Cassie; Hank Pym and Janet (due to her 30 years spend trapped in the Quantum Realm); and Janet and her daughter, Hope (aka The Wasp). Each has regret, hurt, or disappointment from these missed opportunities.

Similarly, Kang is at war with time in both a literal and figurative sense. His abilities are not fully explained, but he possesses the power (or, at least, the technology) to “step outside” of time, and speaks about coming to understand time for the “small prison” it really is. Yet, it becomes evident that by not experiencing time as intended, the knowledge is not a blessing, but a curse.

Kang is accused of trying to elevate himself into the role of a god. In some ways, he reflects the plight of Adam and Eve in Genesis 3 , who eat the forbidden fruit in order to “be like God,” and yet their prize of knowledge and understanding brings pain rather than enlightenment or liberty. Kang often alludes to his knowledge of “how it all ends,” and is driven toward his obsessive and violent acts of conquering because of this knowledge. His cosmic view of existence, outside of time, prevents him from appreciating the good, smaller things in life.

By the end, the film presents a message that we are all “at war” with time. The Bible also speaks frequently about the importance time, and the need to live well the precious years allotted to us ( Ephesians 5:15-16 , Colossians 4:5 , Ecclesiastes 3:1 ). There is a touching scene at the end of the movie where the victorious heroes celebrate Cassie’s birthday, despite it not actually being her birthday. Life is intended to be lived with forward motion, and while lost time may steal some opportunities that cannot be recovered, the beauty of time is that it also provides new opportunities to change, grow, and invest in the things that really matter.

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Film Reviews

Ant-man movie review.

• Superhero , Action/Adventure , Film Review
• 7/20/2015 4:22:00 AM
• View Count 5092

If you’re a big fan of the ever-expanding Marvel cinematic universe, you’ll love the addition of Ant-Man to the mix. If you’re just out to see a movie and pick this one because it sounds weird and the show time is right, you’re in for some laughs but probably won’t be overly impressed by the standard super hero plot.

Following in the style of Guardians of the Galaxy, Ant-Man could be pegged as a comedy, heist, sci-fi, family, or superhero movie. It’s actually more like all-of-the-above. Scott Lang (Paul Rudd), a cat burglar who doesn’t like violence, pulls one last job after getting out of prison in order to pay his daughter’s child support. Instead of finding money and jewels, he finds a vintage-looking suit. Frustrated, he takes it and when he puts it on…let’s just say the shower hasn’t looked this scary since Psycho but for different reasons.

The suit’s creator, Dr. Hank Pym (Michael Douglas), recruits Scott to pull off yet one more heist—this time to stop Darren Cross (Corey Stoll), Pym’s one-time friend and colleague gone rogue, from selling his own version of the shrinking suit as a weapon to HYDRA. To prepare for this job, Scott trains with Pym’s daughter, Hope (Evangeline Lilly). The training scenes provide much of the humor of the film, especially when Scott practices switching from normal size to ant size and back really fast to dive through a keyhole, and when he meets his six-legged allies for the first time.

Superb acting is the glue that holds this movie together. Rudd is the charming ex-con who stumbles across more than he bargained for. Michael Douglas and Evangeline Lilly play father and estranged-daughter-returned-home with a lot of heart and humor. But it’s Michael Peña’s Luis who steals the show with his gloriously convoluted storytelling and shiny outlook. The scene when he and his henchmen talk about the Titanic movie had me seriously cracking up.

Ant-Man showcases the lighter side of the Marvel universe although the Avengers are not forgotten. Make sure you stay through the credits to get the scene at the very end. The stakes are not as high in this film as in this summer’s earlier Marvel offering Avengers: The Age of Ultron. The smaller scale seems appropriate for a small hero and Ant-Man despite its reliance on the title insects, delivers a big load of action and fun.

About the Author

Sister Hosea Rupprecht is a member of the Daughters of St. Paul, a religious community dedicated to evangelization with the media. She holds a Master of Theological Studies degree from the University of St. Michael’s College in Toronto and an MA in Media Literacy from Webster University in St. Louis. 

Sr. Hosea is director of the East Coast office of the Pauline Center for Media Studies, based in Staten Island, NY, and speaks on media literacy and faith to catechists, parents, youth, and young adults. Together with Father Chip Hines, she is the co-host of Searchlight, a Catholic movie review show on Catholic TV. Sr. Hosea is the author of  How to Watch Movies with Kids: A Values-Based Strategy,  released by Pauline Books & Media. 

For the past 15 years, she has facilitated various film dialogues for both children and adults, as well as given presentations on integrating culture, faith and media.

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Ant-man and the wasp: quantumania, common sense media reviewers.

MCU threequel falls short on humor; violence, language.

A Lot or a Little?

What you will—and won't—find in this movie.

Promotes forgiveness, redemption, teamwork, and "l

Scott/Ant-Man, Hank, Janet, and Hope are all brave

The main human and humanoid characters are mostly

Typical superhero/Marvel movie violence, with seve

Scott and Hope kiss and embrace, as do Hank and Ja

Several uses of "holy s--t," plus "d--k," "damn,"

Baskin-Robbins ice cream plays a prominent role as

A long sequence takes place in a quantum realm tav

Parents need to know that Ant-Man and the Wasp: Quantumania is the Marvel Cinematic Universe's third stand-alone Ant-Man movie. It follows Ant-Man/Scott (Paul Rudd) and the Wasp/Hope (Evangeline Lilly) as they face a new adventure in the dangerous quantum realm with Hank (Michael Douglas), Janet (Michelle…

Positive Messages

Promotes forgiveness, redemption, teamwork, and "looking out for the little guy." Encourages selflessness and helping others (including strangers), even if that means putting yourself at risk. Flawed characters are given the opportunity to redeem themselves for past mistakes. As with most superhero movies, courage, trust, and working toward a common goal are valued.

Positive Role Models

Scott/Ant-Man, Hank, Janet, and Hope are all brave, smart, capable, selfless. Characters with flawed/uneven pasts redeem their previous mistakes. Scott's daughter, Cassie, is clever, curious, brave. She wants to help communicate with, rescue, and fight alongside all sorts of underdogs throughout the quantum realm.

Diverse Representations

The main human and humanoid characters are mostly White. Powerful antagonist Kang (Jonathan Majors) is Black. Background characters are from unspecified alien cultures. Women are strong, brave, good fighters, intelligent, and just as likely to save the day as the brave and capable men.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Typical superhero/Marvel movie violence, with several fight sequences and battles, both between groups and one-on-one. It's revealed ( spoiler ) that the villain of the story, Kang, is a world destroyer who has committed genocide. Unlike previous villains (including Thanos), he has no real attachments and seems content to kill whole armies, timelines, and universes of beings. Many background characters are killed while fighting Kang and his minions; he seems able to disintegrate them. M.O.D.O.K. is a literal killing machine. A climactic fight leaves Scott bloodied, bruised, and near death.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Scott and Hope kiss and embrace, as do Hank and Janet. A character makes suggestive jokes about how wild his time with Janet was during the 30 years she was stuck in the quantum realm. A woman warrior is scantily clad. A character expresses interest in Hope.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Several uses of "holy s--t," plus "d--k," "damn," "God" (exclamatory), "ass," "a--hole." Conversation about how many "holes" human bodies have.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Baskin-Robbins ice cream plays a prominent role as Scott's former place of employment. The uniform, the store, and the ice cream (particularly an ice cream cake) all feature in the movie. All Marvel movies have tons of tie-in merchandise, apparel, games, and more.

Drinking, Drugs & Smoking

A long sequence takes place in a quantum realm tavern, where alien creatures and humans drink mind-altering drinks, including a cocktail that translates what everyone is saying around them. Adults drink at meal, and Hank asks a bartender what he has that will help get him drunk.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Ant-Man and the Wasp: Quantumania is the Marvel Cinematic Universe's third stand-alone Ant-Man movie. It follows Ant-Man/Scott ( Paul Rudd ) and the Wasp/Hope ( Evangeline Lilly ) as they face a new adventure in the dangerous quantum realm with Hank ( Michael Douglas ), Janet ( Michelle Pfeiffer ), and now-teenaged Cassie (Kathryn Newton). There they encounter a supervillain who's even more mysterious and powerful than Thanos: time-traveling Kang the Conqueror ( Jonathan Majors ). Expect typical MCU/superhero movie violence: There's a combination of bloody one-on-one fights and large-scale, war-like battles. Many background characters die, are injured, or narrowly escape death. Two couples occasionally embrace and kiss briefly, and there's a bit of suggestive humor courtesy of secondary characters who discuss bodily "holes" and how "wild" someone was earlier in their life. Strong language isn't frequent but includes "s--t," "ass," "d--k," and "damn." Characters drink and make references to getting drunk. Like the other Ant-Man movies, this one focuses on themes of redemption and the importance of communication, courage, empathy, and teamwork. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Community Reviews

• Parents say (18)
• Kids say (47)

Based on 18 parent reviews

What's the Story?

ANT-MAN AND THE WASP: QUANTUMANIA begins with the theme from Welcome Back, Kotter playing as Scott Lang ( Paul Rudd ) explains how great life is now that Thanos has been thwarted and he's recognized around San Francisco as an Avenger (although he's occasionally misidentified as Spider-Man). He's even written a biography called Look Out for the Little Guy and enjoys family dinners with his now 18-year-old daughter, Cassie (Kathryn Newton), who's a budding activist; partner Hope ( Evangeline Lilly ); and her parents. But when Cassie's science experiment with "Grandpa Hank" ( Michael Douglas ) goes unexpectedly, the entire crew is sucked back into the quantum realm -- the very place Scott and Hope rescued her mother, Janet ( Michelle Pfeiffer ), from after she'd been stuck there 30 years. They find out rather quickly that Janet had kept some important details about her three decades in the quantum realm a secret. There's an entire universe of Star Wars- meets- Guardians of the Galaxy -style creatures and worlds down there, and they're all quaking in fear of the movie's tyrannical, genocidal Big Bad, Kang the Conqueror ( Jonathan Majors ). He has a plan to escape the quantum realm and get revenge -- and he needs Pym particles to do it.

Is It Any Good?

This serviceable third installment strips the Ant-Man franchise of its best qualities in order to promote yet another seemingly indestructible MCU villain. Rudd is so charming that the movie's opening segment in San Francisco will garner laughs and reminders of how Ant-Man, like Hawkeye, is one of the humblest Avengers: a flawed guy who's never been afraid of doing shady stuff to get things done with his crew of misfit (and hilarious) friends. But all of Scott's comic relief X-Con Security pals are gone without explanation (Michael Peña's scene-stealing Luis is especially missed), and all that's left is Scott, Hope, Cassie, and the Pyms. Perhaps because Cassie is basically a brand-new character here (since she was a tween in the last movie), there's less feeling between her and Scott than there was before. She's also simultaneously self-righteous and naive, making her both sweet and unlikable.

The quantum realm is a creature fest, with so many beings that it's hard to get a hold on who's from where. Of course, none of it really matters, because the star of Ant-Man and the Wasp: Quantumania isn't Ant-Man, the Wasp, or their loved ones. It's the villain, played by the excellent Majors with a solemn gravitas that's usually reserved for DC characters. The time-jumping Kang's backstory isn't deeply explored (there must be more to come in the next film, one imagines), but he's definitely a Big Bad. Kang is a supervillain with no complicated familial or romantic attachments -- just an unquenchable thirst for revenge, even if wiping out entire planets and timelines is what he needs to do to sate that desire. Since Janet is partially to blame for Kang's genocidal antics (in the quantum realm, at least), she's on a redemption tour, while Scott tries to keep Cassie free from harm. Is it worth watching this to keep up with the MCU? Sure. It's hard not to root for the "little guy." But this movie is "just fine" instead of particularly funny, thrilling, or memorable. And in the MCU world, that means it's second (or third) tier.

Talk to Your Kids About ...

Families can talk about the violence in Ant-Man and the Wasp: Quantumania . How does it compare to that of other MCU movies? Is the i mpact of close-up, weapons-based combat different from that of wide-scale destruction and death?

Discuss the differences between Kang the Conqueror and other MCU villains. Why do you think he's so much more serious than many of the other antagonists?

Who are the movie's role models , and what character strengths do they display? What are the movie's messages about teamwork and courage ?

Michael Peña's lovable side character is missing from this installment of the series. Did you miss him? Was the lack of his humor filled by the presence of other minor characters?

Movie Details

• In theaters : February 17, 2023
• On DVD or streaming : May 16, 2023
• Cast : Paul Rudd , Evangeline Lilly , Jonathan Majors , Michael Douglas , Michelle Pfeiffer
• Director : Peyton Reed
• Inclusion Information : Female actors, Black actors
• Studio : Disney/Marvel
• Genre : Action/Adventure
• Topics : Superheroes
• Character Strengths : Courage , Teamwork
• Run time : 125 minutes
• MPAA rating : PG-13
• MPAA explanation : violence/action, and language
• Last updated : May 26, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

Our editors recommend.

Ant-Man and the Wasp

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Marvel cinematic universe (mcu) movies and tv shows in order, best superhero movies for kids, related topics.

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Movie Review: Ant-Man

By Joseph McAleer

Catholic News Service

NEW YORK – Better think twice before squashing that insect invader at your summer picnic – it could be “Ant-Man” (Disney), the diminutive superhero of the Marvel Comics universe.

Shrunk to bug size by means of a special suit, Ant-Man, a.k.a. Scott Lang (Paul Rudd), acquires super-human strength and a nifty ability to control his fellow invertebrates, who bow before their leader.

Ridiculous, yes, but “Ant-Man” is nonetheless great fun, with swarms of creepy-crawlies rendered in glorious 3-D.

Ant-Man technology was invented by Dr. Hank Pym (Michael Douglas), a genius connected to the elite “Avengers” superhero team. Years ago Pym himself wore the suit and crawled around fighting baddies. But age has caught up with him, and Pym seeks a successor.

Just why Pym chooses Scott, an ex-con, is uncertain, although this cat burglar’s knack for breaking and entering certainly comes in handy.

Freshly sprung from prison, Scott is determined to reform his life and earn the respect of his young daughter, Cassie (Ryder Fortson).

“Second chances don’t come around all that often,” Pym tells Scott. “This is your chance to earn that look in your daughter’s eyes, to become the hero that she already thinks you are.”

There’s no time to lose. Pym’s former prot,g,, Darren Cross (Corey Stoll), wants to steal the technology to develop the ultimate weapon to bring peace to our time.

Needless to say, beneath Darren’s flashy version of the suit – nicknamed “Yellowjacket” – lies the beating heart of a megalomaniac bent on world domination – de rigueur for comic book movies.

Hoping an ant can stop a fly, the chase is on. At Scott’s side is Pym’s comely daughter, Hope van Dyne (Evangeline Lilly). When she’s not making eyes at Ant-Man, Hope dreams of wearing the suit herself.

Along for the wild ride are Scott’s jive-talking buddies, led by Luis (Michael Pena). They are amazed by his heroic transformation and likewise inspired to turn away from the dark side.

Part of the charm of “Ant-Man” is its scale and tone. Director Peyton Reed keeps tongue firmly in cheek as he downsizes the usual over-the-top violence of a Marvel film in favor of a clever heist picture, seasoned with plenty of humor and nice messages about honor and redemption.

The climactic battle, featuring a backyard bug zapper and a Thomas the Tank Engine train set, is a far cry from the apocalyptic destruction in this year’s “Avengers: Age of Ultron.” And that’s a good thing.

The film contains cartoonish but bloodless violence, brief innuendo, and a few mild oaths. The Catholic News Service classification is A-II – adults and adolescents. The Motion Picture Association of America rating is PG-13 – parents strongly cautioned. Some material may be inappropriate for children under 13.

McAleer is a guest reviewer for Catholic News Service.

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The Catholic Review is the official publication of the Archdiocese of Baltimore.

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Top 10 movies for Catholics now on Netflix

Touchstone Pictures and Warner Bros. Pictures. All Rights Reserved.

Sometimes, you just need a movie night with your spouse, or your friends, or yourself, and if you’re at all like my husband and me (okay, mostly me…), you’d prefer not to spend a dime on it, beyond your Netflix subscription fee.

But what’s good on Netflix? What’s entertaining? And especially when it comes to those lesser-known offerings, like Netflix originals, what doesn’t make you feel like you need a shower — or a good confession — after you’ve watched it? Here are a few selections that can keep a Netflix movie night humming along…

Trouble with the Curve

Clint Eastwood and Amy Adams in a father/daughter/baseball flick. A fairly light PG-13 rating with only some language and some brief traumatic back-story material; a pretty uplifting story on the whole. Read full review here .

The Impossible

Drama/thriller about a family on vacation in Thailand when the 2004 Indian Ocean Tsunami hit. They struggle through the terrible aftermath and must beat all odds to find one another in the chaos. Very compelling, though a bit grisly at times. Rated PG-13 for those grisly, frightening elements.

Masterminds

Often hilarious, if pretty dumb, comedy starring Kristen Wiig, Zach Galifianakis, and Owen Wilson about some stupid southerners who decide to commit a huge robbery. Rated PG-13 for language and a refreshingly sparse amount of sexual humor.

War Machine

Netflix original movie starring Brad Pitt, about a general who is given the impossible task of winning the war in Afghanistan. While the movie doesn’t fit neatly into any one specific genre, it is at times funny, exciting, and deep. Rated M, mostly for language, as well as some war-violence. Read full review here .

Deidra and Laney Rob a Train

Netflix original movie about a teen who decides to take desperate measures in order to support herself and her two younger siblings when their mom lands in prison. A well-done and entertaining coming-of-age story without too many moral issues, it’s rated TV-14 mostly for language.

The latest Star Wars movie, a must-watch for the sci-fi geek and not too bad for those of us that aren’t huge fans of the genre. Features a surprisingly awesome female protagonist. Rated PG-13 for violence, with one instance of killing that felt a little morally cringe-worthy. Read full review here .

The Fundamentals of Caring

A Netflix original movie about a guy with some past demons who takes a job as a caregiver to a handicapped teen; the two end up setting off on a road-trip of self-discovery. Often hilarious (sometimes with pretty black humor), somewhat sweet. Rated M, mostly for language issues, though there’s also occasional brief sexual dialogue.

2016 Oscar winner, about the priest abuse scandal in the Church. If not exactly a lighthearted or fun watch, it is a decent and surprisingly well-rounded portrayal of the Church in a difficult past time, and it’s pretty worthwhile for Catholics to watch and know about. Read full review here .

The Prestige

A Christopher Nolan-directed, Christian Bale-starring mystery about an 1800s British magician and his arch-rival. Very compelling, but a bit grisly. Rated PG-13 for violence and disturbing images, though there’s also some brief sexuality.

Pirates of the Caribbean

The Curse of the Black Pearl: The Pirates movie that started it all. A must-see if you somehow haven’t watched it yet, and in my opinion worth the re-watch if you already have. Rated PG-13 for violence, in addition to a couple of mildly suggestive instances.

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Recent movies reviewed on the basis of moral suitability

Photo Caption: Amy Adams and Henry Cavill star in a scene from the movie “Man of Steel.” The Catholic News Service classification is A-III — adults. The Motion Picture Association of America rating is PG-13.

The following movie reviews are supplied by Catholic News Service in conjunction with the United States Conference of Catholic Bishops’ Office of Film and Broadcasting.

For full reviews of these films, as well as earlier releases, visit the CNS movie site here .

This list will be updated regularly, and all reviews are copyright (c) 2013 Catholic News Service/U.S. Conference of Catholic Bishops.

—–

“The Bling Ring” (A24 Films)

The Catholic News Service classification is O — morally offensive. The Motion Picture Association of America rating is R — restricted. Under 17 requires accompanying parent or adult guardian.

Disturbing fact-based account of a gang of high school students who targeted their favorite stars and burgled the celebrities’ homes, stealing clothing, jewelry, and cash to fill their own closets and pockets. Five teens (Israel Broussard, Katie Chang, Emma Watson, Taissa Farmiga and Claire Julien) crave the A-list lifestyle, and so decide to steal the expensive accoutrements that go along with it. They rely on tabloid reports to tell them who’s out of town — then descend on empty mansions like locusts. Writer-director Sofia Coppola withholds judgment on the youngsters’ actions and winds up glamorizing a rootless, immoral — not to mention criminal — lifestyle. A benign attitude toward stealing, pervasive drug use and underage drinking, occasional profane and crude language.

“Monsters University” (Disney)

The Catholic News Service classification is A-I — general patronage. The Motion Picture Association of America rating is G — general audiences. All ages admitted.

This 3-D animated prequel to the 2001 hit “Monsters, Inc.,” directed by Dan Scanlon, features a hilarious sendup of college life. It also reinforces familiar but important messages for young people (and their parents): Make friends, study hard, and apply your unique talents for the greater good. Two best pals (voices of Billy Crystal and John Goodman) were not, it seems, always so fond of one another. Years before the action of the earlier movie, they met in college, locked horns, and were dismissed from the elite program in which they had enrolled by the institution’s stern dean (voice of Helen Mirren). Joining forces with a misfit fraternity, they must learn to work together to achieve their goal of being readmitted. The movie is preceded by a charming short film, “The Blue Umbrella,” about love among parasols. Both are clean and wholesome fun for the entire family.

“World War Z” (Paramount)

The Catholic News Service classification is A-III — adults. The Motion Picture Association of America rating is PG-13 — parents strongly cautioned. Some material may be inappropriate for children under 13.

Zombies swarm the planet, and a United Nations troubleshooter (Brad Pitt) learns that the only defenses are guns, knives, duct tape and perhaps a vaccine. Loose adaptation of Max Brooks’ novel by director Marc Foster and screenwriters Matthew Michael Carnahan, Drew Goddard and Damon Lindelof respectfully observes all the cliches of the zombie/pandemic genres without much gore, possibly because there are thousands upon thousands of zombies to shoot at, blow up, or hit with flamethrowers. Gun and physical violence, fleeting crude language. Possibly acceptable for older teens.

“Man of Steel” (Warner Bros.)

Action adventure recounting the life of iconic comic book hero Superman (Henry Cavill). Born on distant Krypton, as an infant his parents (Russell Crowe and Ayelet Zurer) send him to Earth so that he can escape his doomed home planet’s imminent destruction. His adoptive human parents (Kevin Costner and Diane Lane) instill positive values and try to protect his secret. But, once grown, an investigative reporter (Amy Adams) is on the verge of disclosing his true identity when an old enemy (Michael Shannon) of his father’s arrives from space and threatens humanity with annihilation unless Superman surrenders. Director Zack Snyder’s take on the familiar narrative has the makings of an engaging drama and includes Christian themes and an anti-eugenics message that viewers of faith in particular can appreciate. But this positive potential is squandered in favor of endless scenes of high-powered brawling and the pyrotechnics of innumerable explosions. Much intense but bloodless violence, a fleeting sexual advance, occasional crude and crass language.

“”This Is the End” (Columbia)

Tedious comedy in which an ensemble of actors playing themselves (most prominently James Franco, Jonah Hill, Seth Rogen — who directed, with Evan Goldberg — and Jay Baruchel) are holed up in a Los Angeles mansion during the Apocalypse. Rogen and Goldberg, who also wrote the script, celebrate altruism and loyal friendship. But no other virtue dividing those caught up in the rapture from those left behind seems comprehensible to them, certainly not moderation in the pursuit of worldly pleasures. As for their treatment of matters religious, it might best be described as frivolous affirmation. Comic treatment of sacred subjects, scenes of gruesome bloody violence, strong sexual content including a graphic glimpse of aberrant sexual activity with rear nudity, a benign view of drug use, much sexual and some scatological humor, occasional instances of profanity, pervasive rough and crude language.

“The Internship” (Fox)

The Catholic News Service classification is L — limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association of America rating is PG-13 — parents strongly cautioned. Some material may be inappropriate for children under 13.

When two middle-aged watch salesmen (Vince Vaughn and Owen Wilson) suddenly find themselves unemployed — and with nothing to show for their years of enthusiastic peddling — they apply to the internship program at corporate giant Google, a domain dominated by tech-savvy college-age kids. Director Shawn Levy, working from a script co-written by Vaughn, strains to wring laughs from the generational and cultural divides. But humor and inventiveness are in short supply in this predictable comedy, while a topical message concerning the virtues of adaptability and perseverance in difficult economic times is canceled out by a stream of vulgarity and off-color references. An implied nonmarital encounter, several uses of profanity, at least one rough term, frequent crude and crass language, considerable innuendo, passing approval of a same-sex relationship.

“The Purge” (Universal)

Set in a dystopian future America during the one night each year when any crime may be committed with impunity, writer-director James DeMonaco’s thriller — a potentially challenging study of the conflict between lifeboat ethics and personal decency — degenerates into an orgy of the very violence it sets out to question. When the chosen target (Edwin Hodge) of a bloodthirsty mob (led by Rhys Wakefield) manages to take refuge in the home of a security specialist (Ethan Hawke), his presence threatens to bring the wrath of the gang down on the whole family (including wife Lena Headey and kids Max Burkholder and Adelaide Kane) unless they give the fugitive up to his pursuers. Inept social commentary — the victim is a homeless black veteran, the marauders are crazed preppies — and pointless religious overtones hobble the proceedings even before the gore goes off the charts. Excessive graphic violence, including torture, a scene of underage sensuality, a few uses of profanity and of rough language, a couple of crass terms.

Frances Ha” (IFC)

The Catholic News Service classification is L — limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association of America rating is R — restricted. Under 17 requires accompanying parent or adult guardian.

When her best friend and roommate (Mickey Sumner) decides to move out, the eponymous heroine (Greta Gerwig) — a feckless 27-year-old New Yorker — is cast adrift, suddenly homeless with no real job and few prospects. Not that this especially bothers her, as she flits from party to party — and from drama to drama — dispensing empty commentary on her own life and unintelligible advice to others. As she waits for her life to happen, and wallows in self-absorption, the proceedings are shot by director and co-writer (with Gerwig) Noah Baumbach in black-and-white, casting Gotham in a warm and fuzzy glow. Cohabitation, frequent sex talk, many uses of profanity, much crude language.

“Now You See Me” (Summit)

A quartet of professional magicians (Jesse Eisenberg, Woody Harrelson, Dave Franco and Isla Fisher) is caught in a high-stakes game of cat and mouse in this entertaining caper film directed by Louis Leterrier. Brought together by a mysterious capitalist (Michael Caine), the four become a world-famous act. But one outrageous stunt they manage to pull off — a long-distance and very public bank robbery — attracts the attention of an FBI agent (Mark Ruffalo), his Interpol counterpart (Melanie Laurent) and a reality show host (Morgan Freeman) whose mission is to expose the secrets of the trade. Though it contains a slightly disturbing pagan element, in the end, Leterrier’s film is a harmless and witty romp for grown-ups, yet one that lingers in the memory no longer than the time required to shout, “Abracadabra!” Mild action violence, a vulgar gesture, sexual innuendo, some crude and profane language.

After Earth” (Columbia)

Grueling sci-fi adventure set 1,000 years after humans have been forced to evacuate an environmentally despoiled Earth. While on an intergalactic military mission, a general (Will Smith) and his teen son — played by Smith’s real-life son Jaden — become the sole survivors of a crash landing on the Blue Planet. With Dad temporarily disabled as a result, the lad must brave a hostile array of predators in order to reach the other part of their wrecked spacecraft — and the signal beam that represents their only hope of rescue. While the filial relationship at the heart of director and co-writer M. Night Shyamalan’s plodding coming-of-age drama is ultimately characterized by self-sacrificing love, the code by which the father lives — and which he strives to instill in his offspring — seems to have more in common with Zen Buddhism than with the values promoted in Scripture. The script’s glib portrayal of the bonds uniting veterans will also strike at least some viewers as either jingoistic or exploitative. Much action violence, some of it bloody, gory medical images, a stifled crude term, a few mildly crass expressions.

“Epic” (Fox)

The Catholic News Service classification is A-I — general patronage. The Motion Picture Association of America rating is PG — parental guidance suggested. Some material may not be suitable for children.

Pleasant 3-D animated fantasy in which a 17-year-old girl (voice of Amanda Seyfried) finds herself magically transported to a miniature world within nature where the champions of growth and life (their leader voiced by Colin Farrell) battle the dark forces of decay (their commander voiced by Christoph Waltz). While becoming caught up in the conflict, she falls for a youthful warrior (voice of Josh Hutcherson) whose freewheeling ways make him an initially unreliable ally for his fellow good guys. With some of its characters drawn from William Joyce’s book “The Leaf Men and the Brave Good Bugs,” director Chris Wedge’s cheerful journey into the undergrowth sends innocuous messages about environmental stewardship, teamwork and responsibility. There’s also some familial bonding via the protagonist’s ultimately appreciative interaction with her stereotypically absent-minded professor of a dad (voiced by Jason Sudeikis). Though the impact falls well short of Wedge’s overly ambitious title, some lovely imagery compensates for various hit-or-miss attempts at humor. Potentially frightening clashes, themes involving death.

“The Reluctant Fundamentalist” (IFC)

The Catholic News Service classification is A-III — adults. The Motion Picture Association of America rating is R — restricted. Under 17 requires accompanying parent or adult guardian.

A thought-provoking — yet flawed — exploration of the wide-ranging impact of the 9/11 terrorist attacks both on individuals and on whole cultures. In 2011 Pakistan, a journalist (Liev Schreiber) has been recruited by the CIA to interview the chief suspect (Riz Ahmed) in the kidnapping of an American professor. Things may not be as they appear, however, as the self-professedly peace-loving radical recounts his experiences in the United States — including his meteoric rise to the top within a wicked corporation (run by Kiefer Sutherland), his romance with a bohemian artist (Kate Hudson), and his fall from corporate grace as a result of post-Twin Towers discrimination. Working from the novel by Mohsin Hamid, director Mira Nair lets the audience pass judgment, for better or worse. The result is an absorbing story with a flawed conclusion — one that seems to prioritize the force of circumstance over conscience when choosing between good and evil. Fleeting action violence and gunplay, a gruesome image, brief sensuality, some profane and crass language.

“Star Trek Into Darkness” (Paramount)

Snappy follow-up to director J.J. Abrams’ 2009 reboot of — and prequel to — the long-lived sci-fi franchise that stretches back to 1960s television. In this second chronicle of their early professional lives, dynamic, impetuous Capt. Kirk (Chris Pine) and his seemingly emotionless half-Vulcan, half-human first officer Spock (Zachary Quinto) lead their intrepid crew on a high-stakes, sometimes morally fraught crusade against an intergalactic terrorist (Benedict Cumberbatch). The fundamental message of Abrams’ spectacular adventure — a warning against employing immoral means to overcome evil — is both scripturally resonant and timely. But the parents of teen Trekkies will need to weigh the profit of that lesson against the debit of some sensual imagery and vulgar talk. Possibly acceptable for older adolescents. Much bloodless battling but also occasional harsh violence, some sexual content — including a trio glimpsed waking up together and scenes with skimpy costuming — a few uses of crude language, a half-dozen crass terms.

“Fast & Furious 6” (Universal)

Lured by the promise of pardons for their past misdeeds, a crew of law-flouting underground car racers — led by Vin Diesel and Paul Walker — reassemble to help a federal agent (Dwayne Johnson) thwart the civilization-threatening schemes of a criminal mastermind (Luke Evans) who uses hotrods to speed his heists of top-secret military equipment. The fact that the gangster’s number two (Michelle Rodriguez) is Diesel’s not-dead-after-all love interest is another draw. Director Justin Lin’s barroom brawl of a movie features well-orchestrated chases, and softens the tone of its grunting machismo with the occasional flourish of vague religiosity. But the self-determined code which its heroes substitute for civil obedience is morally dubious and certainly not for the impressionable. Murky moral values, considerable stylized violence including a scene of torture, cohabitation, partial nudity, a few uses of profanity, at least one rough term, much crude and crass language, an obscene gesture.

“The Hangover Part III” (Warner Bros.)

On its surface, this is a defanged, declawed version of the first two “Hangover” installments with no sex, no alcohol or drug abuse and almost no nudity. Director Todd Phillips, who co-wrote with Craig Mazin, focuses the plot on the long-overdue maturation of a spoiled rich boy (Zach Galifianakis), a process in which two of his friends (Bradley Cooper and Ed Helms) try to assist by transporting their unstable pal to a mental health facility in Arizona. En route, the trio is waylaid by a gangster (John Goodman) who wants them to help him retrieve stolen loot purloined by an archcriminal (Ken Jeong). While the shenanigans that made the earlier entries repellent may mercifully be absent, there’s a different, deeper — and philosophically, at least, potentially more troubling — recklessness at work in this picture. In the inkiest vein of nihilistic black humor, the frequent intrusion of death — whether that of disposable animals or of equally disposable people — is presented as a cue for guffaws. Stylized gun violence, a fleeting glimpse of frontal male nudity, a brief but vulgar reference to sexual activity, some profanity, pervasive rough and crude language.

“The Great Gatsby” (Warner Bros.)

Splashy, sometimes cartoonish 3-D adaptation of the classic 1925 novel by F. Scott Fitzgerald. Narrator Nick Carraway (Tobey Maguire), scion of the WASP establishment, recounts his friendship with the iconic self-made man and would-be social insider Jay Gatsby (Leonardo DiCaprio) whose obsessive love for Nick’s alluring but married cousin Daisy Buchanan (Carey Mulligan) leads first to adultery, then to a confrontation with Daisy’s caddish husband Tom (Joel Edgerton) and finally to tragedy. As director and co-writer Baz Luhrmann revels in the frenzied decadence of Gatsby’s Jazz Age party-giving, he creates a fable-like setting that distances viewers from Fitzgerald’s characters and lessens the impact of their downfall. His film also tends to glamorize the sinful relationship at the heart of the story, suggesting that an unpleasant spouse and the inherent superiority of the illicit lovers — who initially fell for each other before Daisy’s marriage — are reason enough to ignore the Sixth Commandment. Scenes of both lethal and nonlethal violence with minimal gore, an uncritical view of adultery, brief semi-graphic adulterous activity as well as some other sexual content, a glimpse of partial nudity, a few uses of profanity, a couple of crude terms, a religious slur.

See the full CNS review at CNS Reviews .

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December 4, 2019 // National

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Christmas movie tells story of orphans helped by guardian angels

SAN DIEGO (CNS) — When it debuted in late 2018, “Buttons: A Christmas Tale” boasted an impressive number of famous names and familiar faces, and it was shown in select theaters only Dec. 8, 2018.

Fortunately for the many who missed their one chance to see it last year, the film is being released on DVD Dec. 3, just in time for the holidays. It was released on digital platforms Nov. 19.

Dick Van Dyke and Angela Lansbury star as guardian angels in “Buttons: A Christmas Tale.” The 2018 musical film is being released on DVD Dec. 3, 2019, just in time for the holidays. (CNS photo/Paramount Home Entertainment)

The musical film tells the interconnected stories of two orphans who overcome heartbreak and adversity at Christmas time, thanks to the watchful care and timely help of a pair of guardian angels, played by Hollywood legends Dick Van Dyke and Angela Lansbury.

The star-studded film’s cast also includes Jane Seymour (“Dr. Quinn, Medicine Woman”), Roma Downey (“Touched by an Angel”), Ioan Gruffudd (“The Fantastic Four” movies), Robert Picardo (“Star Trek: Voyager”), John de Lancie (Q from “Star Trek: The Next Generation”), Charles Shaughnessy (“The Nanny”), and Abigail Spencer (then the star of NBC’s time-travel drama “Timeless”).

If that weren’t enough, Academy Award-winners Robert Redford and Kate Winslet are the film’s narrators.

American composer Tim Janis, who co-wrote, composed the music for and made his directorial debut with “Buttons,” said the film is a reminder “that you’re not alone and that you should have hope.”

During a Nov. 25 telephone interview with The Southern Cross, San Diego’s diocesan newspaper, Janis said that in addition to the celestial beings depicted onscreen, he “cannot say that there weren’t angels helping and supporting” his efforts to make the film and to bring it to audiences.

It was his first film and, not only was it blessed with a cast that many veteran filmmakers would envy, but after being shown in theaters for one night only through Fathom Events, it secured a DVD release through Paramount Home Entertainment.

All of this, he said, is “like a miracle in itself.”

An admitted fan of the many classic Christmas films that have become perennial favorites, Janis said those movies were a source of inspiration for him. He acknowledged that his own contribution to the genre bears some similarity to Frank Capra’s “It’s a Wonderful Life,” another Christmas film concerned with prayer, heavenly help and the triumph of hope over despair.

In Janis’ film, “Buttons” in the title is the nickname of one of the orphans helped by the guardian angels. Forced to work in a mill but too small to work the machines, the girl instead sews on buttons.

What makes Van Dyke and Lansbury so well-suited for the role of guardian angels?

For Janis, it has something to do with the fact that the two nonagenarian actors are “so much a part of our youth” thanks to their lengthy filmographies. And, in such beloved films as “Mary Poppins” (starring Van Dyke) and “Bedknobs and Broomsticks” (with Lansbury), he said, they project “such a warm, caring presence.”

“You just almost instinctively want to think of them as your guardian angels, if they could be,” he said.

As one who has enjoyed watching Van Dyke sing and dance on film over the years, Janis said he made sure to give the veteran performer a few more opportunities to demonstrate those talents in “Buttons.”

The film’s one-day theatrical run last year represented such “a small window of time,” Janis said, that even some of his own family members were concerned about whether they would be able to see it in theaters.

Of the film’s debut on digital platforms and DVD, he said he considers this “the movie’s real release.”

“I’m glad that people now can have it in their home, and they can purchase it and watch it,” he said. “I think it’ll be able to reach more people, which I really want it to do.”

Among its potential viewers, he hopes, will be those in particular need of having their spirits lifted and hearts touched at Christmas.

Grasska is assistant editor of The Southern Cross, newspaper of the Diocese of San Diego.

Elsa, voice of Idina Menzel, and other animated characters appear in the movie “Frozen II.” The Catholic News Service classification is A-II — adults and adolescents. The Motion Picture Association of America rating is PG — parental guidance suggested. Some material may not be suitable for children. (CNS photo/Disney)

‘Frozen II’

NEW YORK (CNS) — Both the filmmakers and the central voice cast of the much-loved 2013 original are reunited in “Frozen II” (Disney). They deliver an exuberant animated musical adventure that’s suitable for a wide demographic.

While generally wholesome, however, this sequel is not appropriate for all. Too scary for the littlest patrons, the film’s nature mythos — which deals, among other things, with the “spirits” of the four elements, earth, air, fire and water — may also be confusing for impressionable moviegoers. Teens solidly instructed in the faith, by contrast, will easily let such ideas go.

Queen Elsa of Arendelle (voice of Idina Menzel), having succeeded her father on the throne and healed the breach with her younger sister, Princess Anna (voice of Kristen Bell), is reigning contentedly over her realm and has little use for the magical power to create ice and snow with which she’s endowed. But such placidity will never do, so a complication necessarily arises.

Elsa begins to hear a mysterious voice calling her into the wilderness beyond Arendelle and holding out to her the prospect of discovering the origins of her supernatural gift. Rather than consult a psychiatrist, she responds by embarking on a quest.

Along with Anna, Elsa is accompanied on her journey of discovery by Kristoff (voice of Jonathan Groff), the iceman who would like to make Anna his own, and by merry sentient snowman Olaf (voice of Josh Gad).

As the quartet, together with Kristoff’s faithful reindeer sidekick, Sven, become entangled in a long-standing conflict between the Inuit-like Northuldra tribe and some exiles from Arendelle, Kristoff’s repeated attempts to propose go disastrously — and amusingly — awry. Irrepressible Olaf provides further comic relief.

Screenwriter and co-director Jennifer Lee and her partner at the helm, Chris Buck, stress teamwork, family solidarity and upright values. But, along with the somewhat unscriptural outlook on the natural world Lee’s script establishes, at least some adult viewers may find its exaltation of the life of indigenous people over industrialized societies heavy-handed.

But why look beyond the obvious charm of “Frozen II” and the fun it evokes? Its flaws are ultimately outweighed by sympathetic characters, visual flair and skillful, if sometimes overly complicated, storytelling.

The film contains stylized combat and considerable peril. The Catholic News Service classification is A-II — adults and adolescents. The Motion Picture Association of America rating is PG — parental guidance suggested. Some material may not be suitable for children.

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Breaking news, trump found guilty of all 34 counts in hush money case, ‘ant-man and the wasp: quantumania’ review: threequel goes big, busy and sci-fi heavy, with pros and cons.

Paul Rudd and Evangeline Lilly reprise their roles as the titular characters in this latest Marvel offering, with Jonathan Majors playing a genuinely scary villain.

By Frank Scheck

Frank Scheck

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Ant-Man and the Wasp may have the ability to get really small, but Ant-Man and the Wasp: Quantumania goes really big.

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Mileage will vary in terms of fan reactions; personally, I enjoyed the previous comically inclined Ant-Man movies as refreshing palate cleansers from the overblown histrionics of the Avengers films. It helped, of course, that the title character is played by Paul Rudd , an actor so endearing and naturally funny (not to mention apparently ageless) that watching him play a superhero feels like sharing a joke with an old friend.

Although this film features some laughs — many of them revolving around the visually hilarious, homicidal organism MODOK (more on that later) — humor is generally in shorter supply. Which is probably appropriate for a film featuring one of Marvel’s scariest-ever villains in the form of Kang the Conqueror (a truly fearsome Jonathan Majors , instantly establishing a career annuity) and a potential cataclysm involving … actually, I don’t know what, to be honest. I just know that it’s really, really, bad, and that between the Multiverse and the Quantum Realm, you practically need an advanced physics degree to figure out what the hell is going on in Marvel films these days.

The extended family’s contentment is soon shattered when they all get accidentally sucked into the Quantum Realm as a result of unfortunate scientific tinkering by Cassie, who is obviously following in her father’s footsteps. While there, Janet gets reunited with some old friends, including the smarmy but menacing Lord Krylar (Bill Murray, doing the Bill Murray thing), with whom she apparently had some sort of fling, much to Hank’s consternation. Janet also has a history with Kang, whom she previously prevented from escaping the Realm and who really wants to get out now. Because, how else is he eventually going to go up against the Avengers?

For better or worse, Ant-Man and the Wasp: Quantumania is the most overtly sci-fi film in the series, and on that level, it succeeds very well. To ascribe credit for the Quantum Realm’s onscreen depiction would basically involve reprinting dozens of pages of credits, but suffice it to say that the visual design of the multi-faceted settings, imaginative costumes and outrageous creatures on display is truly outstanding on every level. A stunning climactic battle, involving a “probability storm” (don’t ask) that results in multitudes of Ant-Mans who at first don’t get along but eventually learn to collaborate for their survival, is the sort of mind-blowing sequence that you don’t even need consciousness-altering substances to appreciate.   

It’s frustrating to see the main characters separated into various groups for long stretches of the film, but Lilly’s Wasp has plenty of moments to shine and Douglas seems to be thoroughly enjoying playing bemused — as when Hank accurately observes about one particularly odd Quantum Realm creature, “Holy shit, that guy looks like broccoli!” (It’s not a line to rival Gordan Gekko’s “Greed, for lack of a better word, is good,” but it’s pretty funny.) And Pfeiffer is terrific in her expanded role, given the opportunity to be a badass heroine and making the most of it.

But it’s Majors who brings real gravitas to the proceedings. While it’s not surprising that the actor’s imposing physicality perfectly suits his iconic villainous character, he also invests his performance with such an arrestingly quiet stillness and ambivalence that you’re on edge every moment he’s onscreen.

Still, he’s not the villain who steals the picture. That would be MODOK, Kang’s “Mechanized Organism Designed Only for Killing,” who looks like a giant head in a tiny body and is played by a former Ant-Man actor not listed in the film’s credits. The other characters’ reactions upon first encountering the bizarre creature are priceless, and so is the saying inspired by him, which ultimately serves as the film’s unofficial motto: “It’s never too late to stop being a dick.” Which, for Marvel, is as profound as it gets.

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Ant-Man vs. Daredevil

( As a bit of light-hearted reading before the issuance of the Holy Father’s Apostolic Letter later today, here are some thoughts on two superheroes, such as they are .  Editor).

Yes, I must admit, I did watch Ant-Man, in two instalments, for a I had to sort of motivate myself to finish it.  The campy film was better than it might have been, but worse also.  Carried along by the charisma of its male lead, the movie has a child-likeness about it, refreshing in the age of jaded superheroes (and heroes in general).

Need I discuss the physical impossibilities of the whole premise?  Michael Douglas’ character, Hank Pym (I was surprised to see him, sort of thinking that original Wall Street-guy was nearly dead).  Anyway, Pym is the inventor of the ‘technology’ of the ant-suit, based on his discovery of a way to shrink creatures to miniscule size, while maintaining their strength and speed, by reducing the ‘space between their atoms’.  The problem is that such creatures would still have the same mass, and thus be just as heavy.  Ant-Man would not be as nimble as he is, and would wreck things as he stomped around.

But why bother with all the science stuff?  It is a cartoonish movie, with a few humorous bits to move the plot along, but also with some rather garish violence, unsuitable for the young (and old, for that matter), such as when the villain uses a defective ‘shrinking gun’ on someone, turning him into a reddish blob of bloody tissue, which he wipes up and flushes down the loo.  I don’t know, but I found that quite disturbing for some reason.

My main concern was with the subplot of Scott’s (the Ant-Man’s real name) domestic life, such as it is.  He apparently abandoned his wife and young daughter to commit a Robin Hood-esque heist, for which he spends a number of years in the slammer.  When he gets out, his finds his wife shacked up with a middle-aged cop, with her seven-year girl old in tow.  It was a bit embarrassing to see these two middle-aged men, Scott and the cop, vie for the affection of this young girl through the film, all the while her Mum committing open adultery, and her father falling in love with Hank Pym’s daughter.  No one seems desirous of any further children, just enjoying themselves.  Is it just me, or am I weird in thinking that this messed-up moral situation, with all the ‘adults’ in her life seeking juvenile pleasure, would do far more harm to the young girl-to-be-rescued, than anything the villainous ‘Yellow Jacket’ , arch-enemy of Ant-Man, could ever do?

So, ho-hum, she was saved, only to face a world where growing up normal is all but impossible.  But, then again, there are lots of little girls in her situation, and no one seems able to save them, Ant-suit or not.

They try to bring this out in the series, with some limited success.  Hollywood has little idea of the complexities and nuances of Catholicism, nor of its complementary stark lines of evil and good.  Matt Murdoch (Daredevil’s real name) is a New York lawyer by day, vigilante by night.  He has certain moral lines he will not cross, especially killing anyone, which seems odd, for he will bash, crush and wreak havoc on people, often presented in gory and voyeuristic violence (more vivid when done by the ‘bad guys’).  One must wonder that the Daredevil is at the very least causing potentially-lethal harm, itself an evil, unless done strictly in a proportionate manner in self-defense.

Matt is portrayed as Catholic who does not seem to live any sort of regular religious life, a familiar theme, even though he is shown going into his local church, struggling with his conscience, and speaking with his priest now and again.  This man of the cloth is presented with more masculinity and moral certainty than most in films. However, he is still weak and wavering, offering often vague advice, allowing Matt to continue with his life of ambiguous and, I would argue, immoral vigilantism.

That allows the comic-book show to continue, but I am glad to see that they at least raise moral questions in this series, leading the jaded viewers, I hope, perhaps to begin the process of asking questions about themselves, and life in general, in however inchoate a Socratic fashion.  What indeed is the proper response to violence, especially as such violence creeps ever closer to our own milieu?

As we question, we may at least hope, along with Daredevil, that some good comes out of the evil.  The problem with which Daredevil must wrestle, pun intended, lies in doing the evil in the first place, and becoming as dark, brutal and coarse as those against whom he fights.

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Scott " Ant-Man " Lang may be a superhero, but his accomplishments are all so heavily qualified—mostly because he never manages to save the day without alienating his friends and loved ones—that his sense of self-worth is constantly reduced to human scale.

Lang is reminded of his character-defining shortcomings throughout the messy, but satisfying super-sequel "Ant-Man and the Wasp" every time he tries to puff out his chest. Lang ( Paul Rudd ) helped Captain America that one time—but only after he stole a shrinking super-suit from his reluctant mentor Hank Pym ( Michael Douglas ). But he saved the world in " Captain America: Civil War "—without consulting his training and romantic Hope van Dyne ( Evangeline Lilly ). He's starting his own security business in San Francisco—but is still under heavily-monitored house arrest. Like writer Nick Spencer's recent run on the Ant-Man comics, “Ant-Man and the Wasp” presents Lang as a hapless but well-meaning small fry who tries, and often fails, to live up to expectations.

Macho pride may be a generic flaw for a superhero movie, but "Ant-Man and the Wasp" is the rare super-film in which actions have consequences, and the characters overcome their ego-driven tendencies long enough to work together as a raggedy team. Supporting characters—like smug weapons dealer Sonny Burch ( Walton Goggins ), mysterious super-villain Ghost ( Hannah John-Kamen ), clueless FBI agent Jimmy Woo ( Randall Park ), and Pym's estranged former colleague Dr. Bill Foster ( Laurence Fishburne )—frequently throw Lang and Pym off their best-laid plans, particularly their shared goal of securing the equipment that Pym needs to rescue his long-missing wife Janet ( Michelle Pfeiffer ) from the trippy, sub-atomic (and very dangerous) Quantum Realm.

But the discursive, tangent-filled nature of Lang's story is the most charming aspect of "Ant-Man and the Wasp." Lang's narrative is a revolving door of well-meaning outsiders—here comes his ex-wife Maggie ( Judy Greer ) and her amiable wet blanket husband Paxton ( Bobby Cannavale ) with Lang’s eager-to-please daughter Cassie ( Abby Ryder Fortson )—and neurotic colleagues, like Lang’s "X-Con" security crew team of Kurt ( David Dastmalchian ), Dave (T.I.), and Luis ( Michael Peña , predictably stealing every scene he's in). Many of these characters are also struggling to suppress their own habitual catastrophizing: if Ghost doesn’t steal and fire up Pym’s equipment now, she will die; if Pym doesn’t get Lang’s help in recovering his equipment, his wife will vanish; and if Lang doesn’t get back to his house before Woo returns to check up on him, his new post-“Ant-Man” life is over.

Thankfully, director Peyton Reed (“ Bring It On ,” “ Down with Love ”) and the film’s five credited screenwriters capably (though not always gracefully) juggle these various plot points. They don’t develop every thread, but they do follow through with enough subplots and ideas that most moviegoers will be superficially invested in the characters by the time “Ant-Man and the Wasp” inevitably devolves into a series of well-choreographed set pieces.

There are, however, several scenes during the film’s first half where Reed and his writers don’t meaningfully advance Lang’s character development beyond pushing their messy plot along. During these early scenes, Lang randomly loses control of his super-suit, and consequently behaves like a sulky, Peter Parker-like post-adolescent. He also sometimes behaves like a relatively mature caregiver who relishes taking care of his daughter and sighs heavily whenever he can’t independently figure out how to solve his domestic problems. "Ant-Man and the Wasp" arguably doesn't do enough to reconcile the difference between these two dueling aspects of Lang’s personality.

Speaking of personality: the first half of “Ant-Man and the Wasp”—the part that’s most reliant on plot-pushing expository dialogue—definitely feels like it was cobbled together by a creative committee that includes five credited writers. This minor, but noteworthy shortcoming is why I spent much of this review praising the film’s characters and ideas and not its brick-and-mortar storytelling. Like many films produced by Marvel Studios, this one is sometimes marred by uninspired cinematography (by Dante Spinotti , Michael Mann regular director of photography!), and over-edited set pieces.

But only sometimes. “Ant-Man and the Wasp” really takes off once its creators stop setting up their shaggy dog plot, and start focusing on plugging their better ideas into dynamic car chases, fight scenes, and comedic routines (I especially love the bit where Lang, after being knocked out and tied up, asks his kidnapper to help him video-chat with Cassie).

So for most of two hours, Reed and his colleagues take super-fans on a long, strange trip with some of the most sympathetic cinematic crime-fighters in the Marvel Cinematic Universe. Taken in its entirety, “Ant-Man and the Wasp” may not be the best anything, but, like its perpetually challenged hero, it is plenty good enough.

Simon Abrams

Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in  The New York Times ,  Vanity Fair ,  The Village Voice,  and elsewhere.

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Ant-Man and the Wasp (2018)

Rated PG-13

118 minutes

Paul Rudd as Scott Lang / Ant-Man

Evangeline Lilly as Hope van Dyne / The Wasp

Hannah John-Kamen as Ghost

Michael Douglas as Dr. Hank Pym

Michael Peña as Luis

Walton Goggins as Sonny Burch

Laurence Fishburne as Dr. Bill Foster / Goliath

Bobby Cannavale as Paxton

Judy Greer as Maggie Lang

Randall Park as Jimmy Woo

T.I. as Dave

David Dastmalchian as Kurt

Michelle Pfeiffer as Janet van Dyne

• Peyton Reed

Director of Photography

• Dante Spinotti
• Dan Lebental
• Chris McKenna
• Erik Sommers
• Andrew Barrer
• Gabriel Ferrari
• Larry Lieber

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'Kidnapped' tells the historical horror story of an abducted Jewish child

John Powers

Enea Sala (center) plays the young Edgardo in Kidnapped: The Abduction of Edgardo Mortara. Anna Camerlingo/Cohen Media Group hide caption

We’re living through days of powerful, often violent religious feeling — stories that might have felt like old dead history now take on a stinging new relevance.

That’s the case with Kidnapped: The Abduction of Edgardo Mortara , the ferocious true story of a young Jewish boy forcibly taken from his parents by emissaries of the Pope in 1858. It was made by Marco Bellocchio, the great Italian filmmaker who first burst on the scene 59 years ago with his scorched-earth debut Fists in the Pocket .

Now 84 but still far from mellow, Bellocchio takes us back to the 19th century to tell a historical horror story steeped in Roman Catholic antisemitism.

The action begins in 1850s Bologna, which was then under the rule of the unpopular and highly conservative Pope Pius IX. The just-born Edgardo is the sixth son of a Jewish Bolognese family, whose housemaid, unbeknownst to them, baptizes the baby to save his soul.

When the Church’s inquisitor in Bolgona learns of this baptism six years later, he declares Edgardo a Christian. And because it’s illegal for non-Christians to raise a Christian child, he grabs the 6-year-old boy away from his agonized parents and ships him to Rome. There, as he yearns for his mother, Edgardo’s put into a boarding school for the children of converted Jews, where he’s surrounded by images of the crucifixion.

Naturally Edgardo’s parents are shattered and do everything they can to get him back — even waging a huge international PR campaign. Going to Rome, they make heartrending appeals to stony-faced priests who say they understand their sadness but can do nothing to alleviate it. After all, they are helping the boy become a proper Christian.

To avoid seeming politically weak, Pius IX refuses the world’s calls for Edgardo’s freedom. In fact, he doubles down on the kidnapping, personally guiding the boy’s Catholic education and having him baptized a second time.

Although Kidnapped is a straightforward historical drama about religious oppression, Edgardo’s tale is filled with startling twists and turns, especially when, in 1860, nationalist rioters overthrow Pius IX’s rule in Bologna. With new people in charge, the Bologna inquisitor is arrested for the kidnapping and we see how Edgardo has fallen through one of the trap doors of history. Had he simply been born a few years later, he wouldn’t have been taken from his Jewish home and forcibly made a Christian.

Even as the rebels go after the pope, we keep worrying about Edgardo’s fate in Rome. What happens to a young Jewish boy who’s cut off from his family and trained not just to be a good Catholic but to become a priest? What core of the original Edgardo remains? Who does he become as he moves into manhood? The answers are unsettling.

Now, at moments Kidnapped feels old-fashioned. Yet Bellocchio never falls into boring costume drama realism. Working in a painterly style, he pushes things toward the operatic — laying on surging music and endowing Edgardo with innocent good looks that border on the angelic. Actor Paolo Pierobon plays Pope Pius as a kind of opera buffa figure, hammy in a Marlon Brando sort of way — at once silly and creepy and sinister. In one of the film’s best scenes, Edgardo has a hallucinatory encounter with a crucifix that directly answers the falsehood that the Jews killed Christ.

Like me, Bellocchio was raised a Roman Catholic and is clearly appalled by the Church’s cruelty to the Mortara family and to all Jews, whom they treated as inferiors who must literally kiss the pope’s feet for decent treatment. He wants us to be appalled and angry, too.

Yet what gives the movie its timely resonance is not merely its depiction of antisemitism but what it shows about the dangerous politics of religious belief. Although religion officially deals in timeless universal truths, Kidnapped reminds us that these timeless universals are always bound up with historical questions of power. And where there’s power, there will be abuse.

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A Cinematic Plunge Into Faith: ‘Wildcat’ Is an Experience, Not Just a Movie

FILM REVIEW: Wildly unconventional movie plays like a short story written by the enigmatic, gifted O’Connor feels.

Ron Austin is a veteran TV writer and astute cultural philosopher and has been the Yoda of a new generation of serious Catholics in Hollywood for more than two decades. Ron used to tell us, “It might be that the traditional model of the Hollywood film, with the classic three act structure, relatable protagonist, and invisible filmmakers behind it all, may not suit a truly Catholic storytelling.” 

Ron was developing the idea that because the Gospel is fundamentally unconventional as a narrative — the victories are largely interior — visionary Catholic filmmakers would need to probably break through the conventional hero’s journey, which has been the backbone of the American movie storytelling since the Golden Age. 

Writer/Director Ethan Hawke is not a Catholic filmmaker. But his new biopic about the enigmatic Catholic Southern writer, Flannery O’Connor, is wildly unconventional as a movie, and plays brilliantly — very much the way an O’Connor short story feels. Wildcat is weird, jerky, brooding, unsettling, and full of the profound conviction that — as O’Connor put it — “grace is out there.” 

Early on in the movie, there is a confrontation between the still very young writer and a New York publisher in which O’Connor protests that her book, Wise Blood is not a traditional story and shouldn’t be judged that way. Intentionally, Wildcat itself is not a traditional story-movie. Hawke described his main preoccupation in making the movie as, “Is there a cinematic way to tell the story of Flannery O’Connor?”

The two key aspects that set Wildcat apart from most faith-based films is the high level of cinematic talent in evidence, and the beautiful creativity that Hawke uses to make O’Connor’s Catholic faith and spirituality more “visceral,” using Pope St. John Paul II’s word from the Letter to Artists. The four-time Oscar nominee knows what he is doing in creating worlds and crafting characters on the screen. So, too, does the professional team he assembled as actors, production designers, and especially editors. 

It’s quixotic why a movie about a Catholic icon made largely by unbelievers abounds in expressions of our faith, even as the recent movie about a nun and saint, Cabrini, made by committed Catholics, shied away from any presentation of Catholic spirituality — or even just Christianity. Wildcat is a religious experience. Cabrini was not. It is vital that we start to ask why it is that non-Christians invariably make the best Christian films?

The creativity in Wildcat is first in the way Hawke uses O’Connor’s stories themselves as the principle metaphors for her spiritual journey as an artist. There are many intercuts in the film that achieve the effect of connecting the stories and their psychological impact on O’Connor. These moments might be lost on some viewers who are unfamiliar with O’Connor’s oeuvre, but for O’Connor fans, they are wonderful. 

Hawke has an instinctive sacramental vision of cinematic art and knows that imagery must play a key role in any movie about the ineffable. So, Wildcat is brilliantly edited to weave moments from the stories seamlessly into O’Connor’s real life. 

The story vignettes we see are indicative of what’s going on inside her, “outward signs of inward grace.” For example, the moment when the Misfit from “A Good Man is Hard to Find,” fires his gun into the camera ostensibly killing the grandmother in the story, there is a sharp cut to O’Connor collapsing onto her typewriter. Just great use of what cinema can do, which is to say very powerful things but with cinematic technique and mainly without words. 

O’Connor herself noted about the need for writers who are wrestling with the transcendent to use symbols in her essay on her story “Good Country People.” She wrote, “The reader makes the connection and it works on him, even if he isn’t aware of it.” This kind of storytelling is built on a fundamental faith in the audience — that the viewers are smart enough to read the lyrical poetry in a movie without having to be told what everything means. The absence of this kind of trust is what makes so many faith-based films banal. Faith-based artists often have no faith in people.

As mainly a work of art instead of a work of story, Wildcat is less concerned with an arc of transformation for Flannery O’Connor, and more focused on where she came from as an artist and what motivated her to create her wondrous and — to many conventional Christians and publishers — offensive stories. 

Wildcat is reminiscent of The Passion of the Christ in that way of not meaning to be a regular story. Mel Gibson noted to me about his movie, “Everybody knows the story, right?” This conviction freed him up to instead focus in his movie on rendering the Stations of the Cross for cinema. He wasn’t at all invested in plot development and structural act breaks, and if you go to The Passion of the Christ or Wildcat looking for them, you will think these movies are bad stories. 

I have frequently heard people new to O’Connor assert that her stories are bad, too. They’ll wag their heads and say, “The characters are unlikeable,” or ‘There never seems to be a clear ending.” I always want to respond with what a brilliant Catholic literary scholar said to me when I was in college and also missing the genius of O’Connor: “It’s going to take the Church a hundred years to figure out where Flannery left us in terms of story.”

Still, even without the niceties of three-act structure, Wildcat absolutely does show O’Connor’s deepening struggle to please both God and men in her work. The movie borrows heavily from the prayer journal O’Connor wrote while she was in graduate school at the Iowa Writers’ Workshop. Her prayer in that period was to write something very good that would also be holy. This desire forms the character’s clear motivation in Wildcat . 

Hawke has noted, “Instead of trying to make a traditional cradle-to-grave biopic, I set out, with my writing partner Shelby Gaines, to use the work of Flannery O’Connor to explore the creative process as an act of “faith.” Once that came into focus, the form of the film came naturally.”

Any review of the film would be incomplete without commenting on the exceptional acting performances here, and particularly the stunning use of the two main actors — Maya Hawke and Laura Linney, to each play seven parts. This was another way that Hawke explored the escalating tension between Flannery and her mother, Regina, weaving into their interactions the stuff of the stories. The actors truly commit to the often difficult material — O’Connor’s stories always feature sinners deep in their self-deceptions. Both women deserve Oscar nominations.

Wildcat is a beautifully made art movie that tries to show where a writer’s real life and beliefs, and her literary creativity meet. It makes the viewer feel the effects on an artist of what O’Connor called “the plunge into reality” that is storytelling. It is thoughtful throughout in writing, acting, filming, and editing. 

In a letter about the making of the film, Ethan Hawke noted, “I saw Ms. O’Connor’s spiritual journey as a perfect opportunity for a film about the intersection of faith, imagination and human creativity.” As an art film that somewhat depends on the viewer knowing something about Flannery O’Connor, it isn’t everyone’s cup of tea. But for people who love Flannery O’Connor, it’s a piece of heaven.

Wildcat doesn’t have an MPAA rating. It has adult themes and the suggestion of some violence and sexuality.

• ethan hawke
• flannery o'connor

Barbara Nicolosi Screenwriter and producer, Barbara Nicolosi, PhD was the founder of the globally recognized Act One program (www.actoneprogram.com) to mentor Christians for mainstream entertainment careers. She was the writer of the film Fatima (2020) and is on the Board of the Catholic Art Institute.

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Movie Review: ‘Furiosa: A Mad Max Saga’

NEW YORK (OSV News) – Among aficionados of dystopian cinema, Australian director and co-writer George Miller’s 1979 feature “Mad Max” is widely regarded as a classic. On a more practical level, the film made a record profit, provided Mel Gibson with a breakthrough role, and, by 1985, had acquired two sequels.

After an interval of decades, the franchise returned with 2015’s “Mad Max: Fury Road,” the opening entry in a proposed second trilogy. Taking a step back within its own chronology, the series now continues with an origin story for one of the main characters in the last outing, “Furiosa: A Mad Max Saga” (Warner Bros.).

Anya Taylor-Joy takes on the role of Furiosa, previously played by Charlize Theron. Before she does so, however, we’re given an extended look at Furiosa’s tumultuous childhood, during which she’s portrayed by Alyla Browne.

Kidnapped by marauding bikers, young Furiosa is torn away from her family’s relatively tranquil life in an abundant oasis and ends up in the clutches of a ruthless, off-the-wall warlord aptly named Dementus (Chris Hemsworth). Although he protects his captive in certain ways, she’s fully exposed to his brutalizing methods of gaining and maintaining power.

Thus hardened, and armed with formidable fighting skills, the grown-up Furiosa has a series of adventures among other, equally savage barbarian leaders battling for scarce natural and military resources in a vast desert wasteland. Eventually, though, she manages to ally herself with a more civilized figure, Praetorian Jack (Tom Burke), and the two fall for each other.

Along with his script collaborator, Nico Lathouris, Miller continues to limn an imagined future full of dust and rust and mostly devoid of morals. It’s a desolate environment in which people eat sausages made with the blood of their enemies and Furiosa pursues a lifelong quest for revenge against Dementus.

The movie includes some potentially interesting Biblical imagery — when first seen, for instance, the youthful Furiosa is reaching for an apple that presumably symbolizes her impending expulsion from the relative paradise in which she’s been living. Yet the repeated phrase “May the stars be with you” suggests that some form of astrology prevails in Miller’s world.

His presentation of this alternate reality is sweeping and cinematically accomplished in some ways, as when Furiosa and Jack communicate wordlessly with each other. But a two-and-a-half hour ride-along with Miller’s heroine makes for a grueling journey across a stark landscape.

The film contains mature themes, including cannibalism, pedophilia and vengeance, much gory violence, torture, gruesome sights, nonscriptural religious beliefs and occasional crass language. The OSV News classification is L — limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association rating is R — restricted. Under 17 requires accompanying parent or adult guardian.

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Chiefs kicker Harrison Butker addresses commencement speech backlash: ‘I do not regret at all’

Kansas City Chiefs kicker Harrison Butker said he doesn’t have any regrets about his commencement address at Benedictine College earlier this month, saying in his first public comments since the speech that he received “a shocking level of hate” but also support for his views.

“It’s a decision I’ve consciously made and one I do not regret at all,” Butker said Friday night at the Regina Caeli Academy Courage Under Fire Gala in Nashville, Tenn.

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Butker, in the commencement speech, referred to Pride Month as an example of the “deadly sins” and he wanted the graduating class to prevent political leaders from interfering with social issues that impact their relationship with the Catholic church. He also addressed gender ideologies and said a woman’s most important title is “homemaker.”

“It is you, the women, who have had the most diabolic lies told to you,” Butker said during the speech. “Some of you may go on to lead successful careers in the world but I would venture to guess that the majority of you are most excited about your marriage and the children you will bring into this world.”

Butker also used the speech to criticize President Joe Biden on several issues, including abortion and the COVID-19 pandemic, and questioned Biden’s devotion to Catholicism.

“At the outset, many people expressed a shocking level of hate,” Butker said Friday. “But as the days went on, even those who disagreed with my viewpoints shared their support for my freedom of religion.”

Since Butker’s speech, several members of the Chiefs addressed the kicker’s comments. Chiefs quarterback Patrick Mahomes said he doesn’t agree with all of Butker’s comments in the speech, but considers Butker a close friend and “good person.”

“I’ve known (Butker) for seven years,” Mahomes said. “I judge him by the character he shows every day and that’s a good person. … We’re not always going to agree. He said certain things I don’t agree with.”

Chiefs coach Andy Reid said that he believes Butker will go with the team to the White House on May 31 to celebrate its Super Bowl LVIII victory, despite the kicker’s views on Biden.

“I didn’t think I need to (address it). We’re a microcosm of life,” Reid said. “We all respect each other’s opinions. We all have a voice.”

Chiefs tight end Travis Kelce said he doesn’t agree with “the majority” of Butker’s commencement speech but he won’t judge the kicker by his views.

“He’s treated friends and family that I’ve introduced to him with nothing but respect and kindness,” Kelce said on Friday’s episode of his “New Heights” podcast . “And that’s how he treats everyone. When it comes down to his views and what he said (in his) commencement speech, those are his.”

A few days after Butker delivered his speech, the NFL released a statement distancing itself from his comments and said Butker’s views are not the same as the league as an organization.

When asked about Butker’s speech at the league meetings in Nashville, NFL commissioner Roger Goodell said the league has a “diversity of opinions and thoughts.”

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• Chiefs kicker Harrison Butker says Pride Month is example of ‘deadly sin’ during commencement speech
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• Patrick Mahomes: I didn’t agree with all of Harrison Butker’s speech comments, but he’s ‘a good person’
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(Photo: Luke Hales / Getty Images)

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Lukas Weese is a Staff Editor of News at The Athletic. Before The Athletic, Lukas was a freelance sports journalist, working as an associate editor at Sportsnet, an OHL reporter for the Toronto Star and had bylines in outlets such as ESPN's Andscape, USA Today, Complex, Yahoo Sports, GOLF Magazine, Just Women's Sports and Raptors Republic. Lukas also does freelance play-by-play broadcasting. Follow Lukas on Twitter @ Weesesports