Even with a round dozen films under their collective belt, Marvel Studios are still finding new ways to play within the confines of the comic-book genre. And in the case of Ant-Man, they've created something you really haven't seen for a long time: a superhero who sweats the small stuff.Scott Lang (Paul Rudd) doesn't deal in ruined cities or plummeting spacecraft. He trains in his mentor's back garden and fights his arch-nemesis in the bedroom of his seven-year-old daughter.Of course, when Scott shrinks to near-microscopic size, these ordinary locations turn into hyperreal landscapes alive with threat. A lawn becomes a forest teeming with monstrous insects, while a room full of computer servers transforms into a neon-bright skyscraper district.But Ant-Man's switches in scale aren't just a colourful gimmick - although it should be said that on colourful gimmick grounds alone, they're pretty wonderful. They're part and parcel of a general shift from macro to micro. The three years Scott has just spent in prison for a Robin Hood-like burglary, and away from his daughter, Cassie, feel enough like the end of the world that impending Armageddon isn't required to raise the stakes. Scott just wants to prove to his wife (Judy Greer) and her new partner (Bobby Cannavale) that he's still a fit father - although that takes money, the pursuit of which leads him to the house of maverick inventor Dr Hank Pym (Michael Douglas) and his business whizz daughter, Hope (Evangeline Lilly).They need him to undertake some corporate espionage - or "break into a place and steal some s**t", as Hank puts it - and retrieve a copy of his incredible shrinking-suit technology.In its very best moments, the film zings with an Aardman-esque zaniness. The strain tells only in its unusually blocky structure, which more or less comprises a long, funny, inventive training montage followed by a long, funny, inventive heist.Plenty of sequences, build towards climaxes that unexpectedly turn into anti-climaxes, and the sudden shrinking of the scene's horizons has a disorienting effect that's both funny and startling.Perhaps that's what makes Rudd so peculiarly well-suited to the role. In films like Wanderlust and I Love You, Man, his comic delivery has an endearing, half-fumbled quality, with the effect that he seems to end every scene a little shorter than he was at the start of it.What we've seen since the beginnings of the Marvel serial in 2008 is a continuing stretching: bigger casts, grander set pieces and more intricate interplay between characters, with no clear end in sight.Ant-Man scuttles off in the other direction. Brisk humour, keenly felt dramatic stakes, and invention over scale. You know: Small pleasures. What others say"In its medium-stupid and mismanaged fashion it's not so awful." Andrew O'Hehir, Salon.com"A film that will surely be popular, given Marvel's marketing might, but one that's woefully short on coherence and originality." Joe Morgenstern, Wall Street Journal"Glides us over trouble spots in tone and pacing. The little bastard from Marvel's second-tier gets the job done." Peter Travers, Rolling StoneAlso openingWOMAN IN GOLDA plain-folks-prevail heartwarmer with a blandly educational undertow, and with flashbacks to an escape from Nazi Austria that are crowd-pleasing rather than nail-biting. Jonathan Romney, The GuardianGALLOWSBlandly combines low-budget horror with a found-footage approach, in hopes of selling the fading novelty to the uninitiated, or to die-hard horror fans. Lenika Cruz, The AtlanticTHAT SUGAR FILMSprinkled with starry cameos, including Hugh Jackman, Stephen Fry and Russell Brand, the film tries to personalise a potentially dry subject with actor-turned-director Damon Gameau spending two months on a high-sugar diet and recording the damage it causes to his physical and mental health. Stephen Dalton, hollywoodreporter.comBIG GAMEIts fixation on recreating the feel of a 1990s American blockbuster verges on the academic. Ignatiy Vishnevetsky, avclub.com..