Light up the Night with Shamu and Ignite at SeaWorld Orlando during Electric Ocean!

I finally made it to the Electric Ocean Celebration at SeaWorld Orlando, and it was spectacular! With the never-ending rain we have had in Florida this summer, especially on weekends it seems, it took me until this past Saturday to make it for the summer seasonal special offering. And I am so glad that I did. Comparing last year’s summer celebration to this year’s, it is clear that SeaWorld Orlando stepped up their game exponentially! If you haven’t had a chance to visit SeaWorld this summer, you have through Labor Day to enjoy Electric Ocean including Shamu’s Light up the Night and Ignite at Bayside Stadium.

Before I talk about both shows, I’ve a neat story for you! After I arrived at SeaWorld, I went to Sharks Underwater Grill as I typically do in order to grab a drink (2 for 1) and slice of Key Lime Pie during happy hour! As is par for the course, I was sitting at the bar by myself at a table in the corner by the window so my phone would work. Shortly thereafter, another young lady arrived by herself at the bar. Since we were both there alone, we started chatting and struck up quite the conversation. As the restaurant got more crowded, we decided to consolidate since two people by themselves shouldn’t take up two tables. When you’re by yourself in the parks, it’s always nice when you can strike up a conversation because you never know who you will meet. Turns out she is one of the trainers at the Clyde and Seamore Show and just got off work, and was waiting for her husband and 14mo daughter! How cool is that! I enjoy the Clyde and Seamore Show a lot, so it gave me a chance to learn more about it, and develop an even greater appreciation of it. After her husband and daughter arrived, they were kind enough to invite me to join them at the Shamu show and Ignite since I was planning to go anyhow. Just when I thought I was going to enjoy both shows by myself, I was able to make new friends and enjoy pleasant company! You never know where you’ll make connections and meet new friends. So remember, even if you are alone in the parks, do not be afraid to talk to someone new. I’m certainly glad that I did.

High energy! Shamu’s Light Up the Night is a phenomenal nighttime show that is, start to finish, the most exciting Shamu show I’ve seen in a long time. Beautiful, non-stop, jaw-dropping aquabatics will entertain and inspire you! Prior to the show, the SeaWorld Shamu Stadium DJ will take you on a musical journey through the decades with familiar favorite songs that will have you dancing and singing along. Different from the daytime show, this special seasonal nighttime offering includes more performances from the orcas and less educational content. There is still a clear conservation message, but this particular show greatly increases the showmanship, which I appreciate! One of the most magical parts of the show is the quad backflip! To the best of my knowledge, never before has there been a show featuring four orcas simultaneously backflipping. It was fantastic! The music and lights that accompanied the show created a festive atmosphere filled with excitement. From beginning to end, your attention will be held by this incredible show.

After Shamu’s Light Up the Night, you’ll want to head over to Bayside Stadium for Ignite. When you arrive, you’ll be in the midst of a electric party full of lasers, fog, and colorful lights! The dance floor on the lagoon will be teaming with exuberance! With the music thumping and the lights illuminating the night sky, it will be no wonder why SeaWorld is calling the summer celebration Electric Ocean. High above the stadium seating, you’ll be mesmerized by the incredible synched choreography of the master of ceremonies. Watch as he manipulates the lasers and directs the lights. Reminds me of something you would see at a circus or Blue Man Group show. On the dance floor, party starters and movers guide the audience through an electrifying bank of songs to kick the bayside party into high gear. If you enjoy EDM, then you’re in the right place! As the DJ counts down to the start of the show, other puppeteers and character performers some out to join the party. Once the countdown ends, the choreographed water fountains put on a wonderful show! All around Bayside Stadium, fountains dance, lasers cut through the mist, and lights create magic over the water. Instead of holding off on pyro until the finale of the show, you will be in awe at the spectacular display of fireworks and other pyrotechnic effects for the entirely of the show. Fire shoots up out of the water and more! Of all the nighttime shows I’ve seen this summer, I have to say that SeaWorld Orlando is my pick for the most spectacular show!

Here are some highlights from both shows!

Although the Electric Ocean celebration has been going on for the whole summer, I am so glad that I finally had a chance to see it without fighting the perpetual state of rain we’ve had all summer. I got to make a new friend and enjoy two amazing shows. Definitely a great time! If you haven’t been to Electric Ocean yet, you have the rest of August through Labor Day weekend to enjoy the festivities.

Disney’s “Christopher Robin” full movie review

Silly ol’ movie. Disney’s latest live-action re-imagination of a classic property is Christopher Robin, directed by Marc Forster with a story and screenplay by several writers. And that is likely where the fault lies with a movie that should have been heartwarming and magical. Although the movie has a whimsical fancy about it, and there are moments that will tug at your heartstrings, those moments are very few. It is as if each contributor to the story/screenplay had his or her own idea of how to handle a middle-aged Christopher Robin returning to the Hundred Acre Wood; but instead of selecting one story, one plot, we have bits and pieces of the different takes on how to write a story dealing with a rediscovery of the inner child and realizing that friends and family are more important than work. Plots such as the aforementioned are commonplace, almost cliche. So, it needed a fresh take on it. Needless to say, the movie plays it safe and paints by number. Not to say the film is not without its accolades. The quality of the CGI for Pooh and his fellow Hundred Acre Wood residents is outstanding. There are moments that you forget that they are not actually real. However, I am confused as to why Owl and Rabbit are based on real animals whereas the others are based on stuffed animals–that decision is a little odd. Suffice it to say, the best scenes in the movie are the ones with Pooh, because McGregor’s Christopher Robin ultimately fails to genuinely connect with the audience. Although the past iterations of Winnie-the-Pooh (animated and live action) have more heart than this film, you can still enjoy waxing nostalgic as the film takes you back to the Hundred Acre Wood and displays a little heart despite the cumbersome story.

Faced with having to find 20% in cuts at the Winslow Luggage Company or be forced to lay off a significant number of employees, Christopher Robin (Ewan McGregor) is forcibly asked to work the weekend to prepare for a big presentation Monday morning. Unfortunately, that means he has to send his family away to his boyhood countryside home without him. When his childhood best friend Winnie-the-Pooh pays him a surprise visit in London, Pooh asks that Christopher return to the Hundred Acre Wood in order to help find Tigger, Piglet, Rabbit, Eeyore, Owl, Kanga, and Roo. Resistant at first, Christopher Robin returns to the wood where he spent most of his early childhood. It is in these whimsical woods that he is reminded of the child he once was. But after finding Pooh’s friends, Christopher Robin must return to London for his big meeting. Returning all the help and friendship Christopher Robin showed the Hundred Acre Wood all throughout his childhood, Pooh, Tigger, Eeyore, and Piglet embark on an xpadition to London in order to help Christopher Robin to rediscover the joy of life.

At its core, Winnie-the-Pooh author A.A. Milne would likely approve of the story Forster attempted to tell. Unfortunately, Milne would likely be unhappy with the final product. “Too many hands in the pot will spoil the sauce.” When a film or movie has multiple writers contributing to the story and screenplay (in this case 7), the plot typically suffers from too many ideas and too little direction. Clearly the movie is trying to be a cross between Finding Neverland and Hook. Two excellent models to follow for rediscovering childhood magic, Christopher Robin would have benefited from relying upon one or two writers to extract the best elements of the aforementioned and use them as supporting structure upon which to build the present Winnie-the-Pooh concept. For those of us who are familiar with Winnie-the-Pooh through the years from the books, TV shows, and theme park attractions, the story includes many nods to past stories and contains several Easter eggs. And these will be some of the fondest moments from the film. There is one pounding question left from the film. And that is whether or not Winnie-the-Pooh and his friends are toys that have come to life or actual living creatures that Christopher Robin abandoned, which complicates what it means for Christopher to leave them behind for more than three decades. It also doesn’t help matters any that Christopher comes across as a jerk, and not older equivalent of Toy Story‘s Andy who brought tears to our eyes.

A far riskier plot, but one that allows for more introspect, is the one used in 2017’s Goodbye Christopher Robin. In short, Goodbye Christopher Robin takes audiences on a journey that explores the literary success of author A.A. Milne and the estranged relationship with his son who came to resent the character of Pooh. Emotional depth is missing from Christopher Robin. Much of the mild emotional connection between the audience and the characters feels forced. So, yes there is a bit of a relationship between the audience and the characters but not enough of one that takes you on the journey that this film could have been. Some of this lack of a connection can be explained by spending way too much time in the factory to the point it feels tedious. Imagine if you will, spending most of Mary Poppins at the bank? That is precisely what you have here. Another aspect to the film that takes away from its ability to successfully connect with the audience is the lazy plot device used to get Christopher Robin back to the Hundred Acre Wood. His own daughter and wife couldn’t get him to spend even a day in the countryside, but he quickly decides to return once he encounters Winnie-the-Pooh on a park bench. The story would have been so much more compelling and the childlike wonder could have been increased if Robin’s daughter stumbled across the Hundred Acre Wood to discover her father’s drawings were of real creatures. And together with Pooh’s friends, Robin’s daughter could have been more instrumental in helping her father rediscover the joys of life.

The overall message of this film is to “do nothing.” Although it is explained what that means, it is not terribly constructive. There was such potential here to comment on friendship and family, but the movie barely moves beyond the surface level. Moreover, Christopher Robin struggles to connect the audience to the characters and make Robin a relatable character with whom you can sufficiently empathize. You will definitely enjoy the moments in the movie that feature Robin and Pooh together and nods to the past Pooh stories. And Tigger even sings his song! Whereas I never felt on the verge of tears, I enjoyed the moments that made me smile and giggle. I just wish there were more of those.

“Mamma Mia! Here We Go Again” movie musical review

You won’t be able to resist the singing and laughter! A major summer box office win for Universal Pictures! Ten years ago, I loved Mamma Mia! and now I equally enjoyed the sequel that seemingly came out of nowhere. I danced, I jived, I had the time of my life, and you will too! The entire original cast is back, and not only them, but select supporting and atmospheric characters as well. Mostly filled with new additions to the Mamma Mia! musical soundtrack, you still get the crowd favorites, those showstopping numbers Dancing QueenSuper Trouper, and of course Mamma Mia. Selections from other songs from the original motion picture (and ABBA Gold album) also make appearances. In our world that seems to be filled with so much negativity, hate, and sadness, a movie like this is needed to lift the human spirit, let go of all your cares, and give yourself over to the timeless music of ABBA and the hilarious antics of Mamma Mia: Here We Go Again. Just like I will be the first to tell you that if you’re searching for the most fun show on Broadway, to select Mamma Mia!, the same rings true for the sequel to the original adaptation. It is so much fun! It might be kitschy fun, but immensely entertaining and very well produced. While some movies and movie musicals comment on society or deal with hard topics, this is a refreshing film that reminds us that it is okay to attend the cinema for no holds barred fun in order to uplift the human spirit.

It’s been ten years since Sophie (Amanda Seyfried) threw her wedding to find her dad, and she is working diligently to remodel and reopen her mother’s hotel. Sadly, Donna (Meryl Streep) has passed away and left the responsibility of running the hotel to her daughter. In order to do her mom proud, Sophie is putting the finishing touches on the grand opening party when she receives some troubling news and a storm wreaks havoc on the hotel. Channeling inspiration from her mother, Sophie reflects on all the stories her mother told her about how she met her dads and came to the island. We get to spend a significant amount of time with young Donna (Lily James) as she makes her way in this world. From graduation to making a home out of the farmhouse and falling for Harry, Bill, and Sam along the way. Sophie learn how her life parallels her mom’s in so many ways. Reuniting with Rosie (Julie Walters) and Tanya (Christine Baranski), she moves forward with determination to see her mother’s dream all the way through. Just when she’s had enough surprises in her life, Sophie finally comes face to face with her estranged grandmother Ruby (Cher).

There is beauty in simplicity. Mamma Mia: Here We Go Again delivers an amazingly fun movie musical built upon a simple plot with iconic songs. It’s a juke box musical. While it may lack the depth, introspect, or critical value of other movie musicals, it possess a power to make an emotional connection that doesn’t hit you hard or seek to change your worldview on an issue, but instead uses the power of song and dance to make you smile. Genuinely smile. The kind of infectious smile and laughter that fills the auditorium at the movie theatre. Sometimes filmmakers are so concerned with upholding the art of cinema, packing in powerful messages, or visualizing deep themes that the desire to entertain for fun gets forgotten. Not only is this the most fun at the movies you will have this summer, but it’s a movie that is solidly produced. It has a command cast featuring performances by Meryl Street and Cher and a lovable cast of familiar and new characters. Whereas the original movie relies mostly on top tier ABBA songs that are generally known to fans and public, this movie employs mostly second and third tier ABBA songs. Fortunately, these lesser known songs will soon find their way into karaoke libraries and mix tape play lists on Spotify and AmazonMusic.

Do yourself a favor and head to the movies this weekend to smile, laugh, and sing along with Mamma Mia: Here We go Again! I enjoyed it so much, that I could definitely watch it again myself. But tomorrow night I need to watch Universal Pictures’ other release this week Unfriended: Dark Web (coincidentally, another sequel that came out of nowhere).

Sinister Summer: Friday the 13th Retrospective Review

Ch ch ch, ah ah ah. The sleepaway summer camp experience was forever changed in the summer of 1980 when a slasher slaughtered a bunch of horny teenagers along the shores of Crystal Lake. Spanning more than three decades and a dozen feature films (too bad it’s not a baker’s dozen, wink), the Friday the 13th franchise made us never look at a hockey mask in the same way after Part 3. This iconic franchise has also found its way back into the headlines with the legal battle over the rights to the Friday the 13th name between the original screenwriter Victor Miller and producer/director Sean S. Cunningham. I recently ran a Twitter poll to determine which is the crowd favorite in the series, and the majority of respondents voted for the original movie, followed by Jason Lives. Like the majority of the 80 respondents in the poll, the original is also my favorite, although it is not a “Jason” movie per se. Releasing in 1980, Friday the 13th helped shape the modern slasher along side Texas Chainsaw Massacre and HalloweenA Nightmare on Elm Street would arrive in 1984. With his trademark hockey mask and machete, very few have lived to tell the tale of their encounter with one of the most terrifying slashers to ever appear on the silver screen. His body count is in the triple digits! From screen to screen, Jason has gone from the cineplex to your TV and computer by way of interactive media. Unlike the campy-ness of Freddy or more focussed kills of Michael, Jason is by far the scariest of his iconic counterparts. My friend Dani is a diehard Jason girl, while I am Freddy and our friend Derek is Leatherface. Let’s take a stab at exploring why this franchise continues to be a favorite!

Variety! That is what you get with Jason as opposed to Michael. Although Leatherface and Michael began the teen slasher genre, it was Jason who revolutionized it by his variety of gruesome methods of killing his victims. Whereas Freddy, much like a cat, loves to toy with his victims before going in for the final kill, Jason is a death machine who wastes no time in taking out all those who stand in his way. Motivated by his death brought about by teenage lifeguards making love while he drown in the murky waters of Crystal Lake, Jason typically murders those who are engaging in promiscuous activities. Sometimes, he will throw you for a loop by taking out someone in a wheelchair or another passerby. He is relentless. And before universe crossovers were commonplace between franchises, Freddy vs Jason got together for a terrifyingly good time in 2003, and then again at Halloween Horror Nights in 2016. While installments 2–12 feature the mask-wearing (burlap sack followed by goalie mask) machete yielding hulking man, the first film features Mrs. Pamela Voorhees (Jason’s mom) as the killer. It’s because of this that the original film feels much different than the others. But it certainly inspired the rest of the franchise. Think of the first one as Hitchcock’s Psycho in reverse,  precisely how Norman thought it was happening. A killer mother who’s overprotective of her son. Although it’s not a “Jason” movie, it did lay the groundwork for the rest of the series and the ending of the film provides the haunting moment that gave birth to the lore and legend of Jason that would carry through the remainder of the films.

Keeping the identity of the killer a secret, until the very end of the film, sets this movie apart from its predecessors Halloween, Texas Chainsaw Massacre, and Jaws. Furthermore, Friday the 13th adds more gore, kills, and gruesome makeup effects that look cheesy today but were quite shocking, back in ’80, to up the ante against the competition. The news of the gruesome effects was so intriguing that horror fans turned out in masses to see the film. By all accounts the characters are not terribly memorable–we certainly don’t have a Laurie Strode–and the killer’s identity isn’t revealed long enough to truly form an opinion; but it’s that jump scare/twist at the end that gave birth to a mammoth of a franchise that has lasted for over thirty years on big and little screens alike.

The perspective of the killer. One of the most memorable elements from the original Friday the 13th is being in the shoes of our mysterious killer. Unlike other slashers that preceded, the identity is kept secret as I mention in the previous paragraph. But it’s HOW this is accomplished that still fascinates horror fans today. We are the killer, or at least, we see through the eyes of the slasher. By Miller writing this element into the screenplay, we are forced to see things from the killer’s perspective in order to relate to and empathize with the killer. Brilliant, really. Although we sometimes assume an objective position just before or during a kill, we spend enough time as the killer’s eyes that we begin to identify with the killer. Not only can we identify with the killer, but because the main characters are teenagers, and slasher horror films are particularly of interest to teens, teenagers can easily relate to the characters in the movie. Essentially, we have a perfect combination of relatability in this film. Audience members are forced, at times, to view characters and events from the killer’s perspective but many in the audience can and will concurrently identify with the main characters. A great way to scare the audience is to place them in a situation that is close enough to reality that the prospect of something similar happening is terrifying.

First appearing in Part II but not fully taking his iconic form until Part III, Jason Voorhees has endured as one of the most recognizable horror villains who still terrifies people today. Furthermore, he has evolved to represent various thematic symbols that provide ample opportunity for analyses and close readings. While Freddy’s motivation is clear–revenge, plain and simple but still solid–Jason’s motivation(s) is a bit more complex. His mother’s motivation is clear; much like Freddy, her motivation is revenge against the camp and those who represent the horny teenagers who allowed her son Jason to drown while “getting it on,” so to speak. Jason, on the other hand, demonstrates motivations that must reach beyond classic revenge. For starters, we cannot ignore his physiological deformities that undoubtedly affected his emotional and psychological health, predisposing him to atypical or abnormal behavior prior to his untimely drowning. Judging from the misty flashbacks in the original Friday the 13th while Mrs. Voorhees is delivering rushed exposition, we can gather from Jason’s shadowed body that he is likely afflicted with hydrocephalus, a condition that traps excess fluid in the cranial cavity that compresses the brain causing a significant loss of neural activity (essentially, born with brain damage). Beyond the internal problems from hydrocephalus, this abnormally developed cranium often causes the eyes to be widely spaced and the subject typically has an enlarged skull.

Now that we have established his cognitive and physiological disabilities, we can explore just how the aforementioned plus the persistent taunting, teasing, and physical abuse from the other campers in 1957 all formed the perfect storm to motivate Jason to be the unstoppable slasher we know today. If we follow the lore of the later films, we are prevued to Jason being forcibly thrown into the lake where he eventually drown while the camp counselors were engaging in the horizontal mamba. There is sufficient evidence from the cannon of Jason films that he likely suffers from schizophrenia. As many of us are aware, this emotionally and cognitively debilitating disease causes sufferers to hallucinate imagery and voices that are controlling their mind. Jason’s ability to communicate with his mother and Mrs. Voorhees’ ability to communicate with her son, is also evidence that the schizophrenia was passed from mother to son. In real life, this disease can be hereditary. So, it is not a far reaching plausible idea to hypothesize that Mrs. Voorhees passed her schizophrenia on to Jason. But unlike mother, Jason suffered from additional disabilities that increased the intensity of the cognitive disease.

Formerly known as multiple personality syndrome, dissociative identity disorder (DID) is another affliction that Jason demonstrates through his abnormal behavior. DID is a severe psychological disorder that fragments an individual’s personality into two or more distinct personalities (or identities) coexisting, switching from one to another. Think of it as two or more people inhabiting the same body. Although one can be predisposed to DID, as Jason likely was, this disorder is often brought on by repetitive childhood trauma (which Jason experienced). Perhaps sometimes “a cigar may only be a cigar” but in this case, a mask is more than a mask. The trademark hockey goalie mask! What is it? It’s a mechanism or tool that enables Jason to disconnect himself from the murders he commits. By wearing the mask, he figuratively dissociates himself from the gruesome murders. The wearing of the mask is a direct result of DID because the mind processes the mask as conduit through which to engage in abnormal behavior because the abnormal behavior cannot be reconciled against the true self. In a sense, the mask allows for active cognitive dissonance because the behavior is opposite of how the brain wants to process information or experiences. This dissociation with the violent behaviors, enables Jason to continue on his murderous campaigns without his conscience ever prompting him to question his choices. Without the mask, he is vulnerable and may even question what he is doing; but with the mask, he is a killing machine.

The setting of Friday the 13th is also something of note. Much like Hitchcock did with the privacy of one’s bathroom in Psycho, Miller set the events of the original at a summer camp in order to shock the mind because it’s an innocent place that is about to play host to something traumatic and uncanny. Kids and teenagers attend sleepaway summer camps every year. They are traditionally seen as places where you form platonic or romantic relationships with your fellow campers or counselors. They are places of innocence that get a violent treatment in this film. Unlike Psycho where we are not prevued to the violent past of the iconic location and thus proceed through the story with our guard down, we are immediately introduced to Camp Crystal Lake’s violent past between the opening scene and the townsfolk. So, we are primed to expect something macabre at the camp. This does one very important thing. The camp immediately possesses an eerie feel, a feeling of dread of what is about to happen. The once popular summer camp falls prey to something sinister that makes the grounds incredibly creepy. Loss of innocence can be read as a theme throughout the films because we have an innocent camp that is plunged into violence, camp counselors losing their virginity, or campers engaging in dangerous behaviors. When innocence is lost, that’s when the violence begins.

Violence and gore are commonplace today (perhaps to the detriment of horror films as it has become cliche), but back in 1980, most audiences were not expecting to see closeups of murderous acts, even after Halloween and Texas Chainsaw Massacre. Despite the cheesy nature of the practical effects with blood bags and prosthetics, the violence in Friday the 13th was unexpected. In many ways, this film revolutionized the genre. But the F13 franchise didn’t start out with overstuffing itself with gore. The body count in the original is the least of the series, but it is certainly the favorite in the series by a moderately wide margin, according to my personal poll and other polls online. Therefore, we have to draw the conclusion that it’s not Jason’s kills or the gore that prompt audiences to like one over the other. If seeing Jason kill people was what audiences were looking for, then the original would not be the favorite. Now, don’t get me wrong, Jason has some pretty awesome kills and he’s fun to watch; however, don’t assume that it’s the kills or violence themselves that make a horror movie a favorite. Interestingly, the original is quite tame compared to the rest, but it’s still regarded as the crowd favorite.

If you follow the horror community on the Twittersphere or Blogosphere or even just caught the story in the news, you’ve likely heard of the fight over the rights to the Friday the 13th name between the original writer Victor Miller and Sean S. Cunningham. As to not complicate this story with the details, the long and short of it is the copyright on the Friday the 13th title is expiring soon, and according to “Mickey’s Law” (an unofficial name for what I am about to describe because it was started by the Walt Disney Company in order to continually retain the rights to Mickey), it is time for the rights to be renegotiated or the name and original plot fall into the public domain. That’s right. This iconic name Friday the 13th is on the verge of belonging to the public. Miller urges that he has the rights to the name because the title along with the story was his original concept. Cunningham argues that Miller’s screenplay was work-for-hire. Under work-for-hire, Cunningham retains the rights and is able to make decisions with it. This is a classic IP lawsuit. But one that has major implications. Essentially, Miller wants to be (and in my opinion, rightly so) compensated for using the names Friday the 13th and Jason in future films and interactive media. While he does not have the rights to Jason’s trademark look, he could own the name itself. This legal battle surfaced after the launch of the recent Friday the 13th video game, and caused the next installment in the long-running franchise to be put on hold. The decision will likely boil down to whether Miller was hired to write the original screenplay or he developed it himself then sold/optioned it to Cunningham.

It’s been 38 years since we were first introduced to Camp Crystal Lake, and the horror landscape was forever changed. Mrs. Voorhees and Jason have been terrifying audiences since before I was born, and will continue to cause you or your kids to think twice about going to summer camp. I think summer camp was made more fun because there is a little piece of you that thinks Jason could be lurking outside your cabin. I don’t always ch, ch, ch but when I do, I always ah, ah, ah.

Happy Friday the 13th!

Ryan is a screenwriting professor at the University of Tampa and works in creative services in live themed entertainment. If you like this article, check out the others and FOLLOW this blog!

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Marvel “Ant-Man and The Wasp” movie review

fANTastic! Although this installment may lack the grandeur of many of the Marvel Studios films, including the recent Avengers: Infinity War, director Peyton Reed delivers a fun, heartfelt, action-packed movie in the Ant-Man series that is sure to be a crowd pleaser. As someone who doesn’t typically fawn over superhero movies, with some exceptions like Batman Returns, I went into this movie with moderate expectations at best. Needless-to-day, my expectations were exceeded and I had a great time. Perhaps the story is rather shallow and even paint-by-the-numbers, but the straight-forward story is made fun and exciting by the incredible cast. This installment in the MCU is also marked by the significance of the captivating Michelle Pfeiffer’s return to the superhero genre. It’s been more than 26yrs since she wowed audiences with her roll as the definitive Cat Woman, and she still packs a punch during her short time on screen in Ant-Man and The Wasp. Is this a movie that requires a close reading or in-depth analysis? Certainly not. But, there is a running theme of change/size that is both literal and metaphoric. This may not be the at the top of your MCU favorites, but I can honestly state that you will not feel as if your time is wasted if you choose to take the quantum leap into this micro superhero movie.

After the events in Germany, Scott Lang (Paul Rudd) is under house arrest. Dealing with the consequences of being both a superhero and a father, Lang is challenged to still be a loving father to Cassie while figuring out how to continue his role as Ant-Man. Compounding the demands of being a father and superhero, Lang is also working diligently from home to build his security company in order to be the provider he wants for his daughter. Just when he has his routine down, and is getting close to being released from house arrest, he is kidnapped by Hope van Dyne (Evangeline Lilly) and Dr. Hank Pym (Michael Douglas) to help with a mission to rescue Janet van Dyne (Michelle Pfeiffer) from the quantum realm, a result of disarming a nuclear bomb many years prior. The search and rescue operation is thwarted by a ruthless southern businessman and a mysterious new ghost-like adversary. Under the ever-oppressing constraint of time and place, Ant-Man and The Wasp must cooperate in order to protect the quantum technology from falling into the wrong hands that could prohibit Dr. Pym from rescuing his wife.

While the movie, by in large, is pretty basic (solid, but basic), there is a great example of Hitchcock’s MacGuffin! If you’re unaware, a MacGuffin is the object that drives the plot forward, begins the domino effect, but ultimately does little more than trigger the plot. The definitive example of this is the money Marion Crane steals from the real estate office that sends her on the journey that lands her at the Bates Motel in Psycho. Not nearly as macabre, the MacGuffin in Ant-Man and The Wasp is the size-shifting office building of Dr. Hank Pym. Sometimes it was as large as a city block, and other times it was the size of a roller suitcase. In fact, if it isn’t already, I imagine that we will soon see this AS luggage that can be purchased at a Disney Park near you. The theme of size is demonstrated through small objects that become large and large objects that become small. Furthermore, this idea of playing around with size can also be witnessed figuratively through egos. Some egos are inflated–large–and need to shrink down to size or others are barely there and need to grow in order to not be overrun or overlooked. This theme is also displayed in how small people or objects can rise to the occasion, become a metaphoric giant in order to stop those who pose as obstacles to the goal. It is well-known that ants can carry several times their body weight, and we see characters in this film shouldering more than their fair share, but still manage to overcome any resistance or hurdles to accomplishing the mission.

Be sure to state for the mid-credits scene because it will answer the question that has been on your mind, “where was Ant-Man during Infinity War”? There is also a post-credit scene that is cute but won’t provide any further insight into the next Ant-Man or Avengers movie. With the return of Michelle Pfeiffer to the superhero genre, I am excited to see how the MCU will integrate her into the narrative because she possesses a powerful screen presence that should not be under-utilized. Unfortunately, this could mean that we may not get to see her reprise her role as Cat Woman in a future DCEU film, but her beauty and charisma will certainly add a touch of class and strength to the MCU.

While most MCU movies are suitable for all audiences, there is some content in the dialogue that may not be appropriate for those under 13. So parents and siblings, just be aware of this before taking children to this film. It’s not nearly as adult as Deadpool but it leans more toward a teen and adult film more than kids.