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The Edgar Wright feature probably would've been more substantive (less so than the Stephen Chow, of course), but Peyton Reed acquits himself honorably and invests the key sequences with an understated irreverence. Of course, he is defeated and almost throws his hands up when dealing with the irredeemable surface nonsense of the Corey Stoll character, and the obligatory personal drama between Pym and his daughter. Marvel is no home to artists, after all. Watching this and Black Panther back to back it becomes obvious that if these movies are interesting at all it's because of the ways that the directors resist and struggle under the weight of corporate mandates. Perhaps Black Panther is the best of these because it allows a space within the film universe where this dynamic is dramatized, rather than just simply felt here and there.