Anyone who has been to a comic-book movie lately can tell you that should any interlude dare to linger more than about 37 seconds in a situation where not much is taking place except people talking, the theater will start twinkling like a galaxy as viewers take out their phones to check their messages.
To forestall such fidgeting, superhero sagas grow increasingly desperate not to let any period appreciably longer than a Toyota commercial elapse without a frenzied chase, thunderous battle, jolly musical interlude, display of things not seen on this earth, or instance of the universe being turned inside out.
The latest hectic example, “Ant-Man and the Wasp: Quantumania,” inaugurates Phase Five of the Marvel Cinematic Universe, which is as financially hale as it is creatively tired.
Thanks to a few sweet father-daughter moments and a relatively direct plot, this entry is a notch better than some even-more-febrile recent efforts such as “Doctor Strange in the Multiverse of Madness” and “Thor: Love and Thunder.” But overall it’s another lackluster blockbuster.
It does contain one genuinely awe-inspiring visual spectacle (the face of Paul Rudd , the only American man who looks nearly as good now as he did during the Clinton administration) and one truly scary concept (teen activist daughters bent on achieving universal social justice when you wish they’d just do their homework).