Marvel Studios has been so busy developing and expanding their Cinematic Universe with sequels and team-ups that they haven't introduced a solo film-leading hero in four years. There is a thrill to being introduced to new characters that even the most sharply-plotted follow-up cannot recreate. That is one reason why Guardians of the Galaxy stands as arguably the most enjoyable film in this large, lucrative empire of Avengers-affiliated tentpoles.

As those who know their Marvel Comics can tell you, the original Avengers line-up consisted of Hulk, Iron Man, Thor, Ant-Man and Wasp. Captain America was discovered three issues later and soon joined their ranks. But both the 2012 box office behemoth and this year's slightly more coolly-received sequel were completely void of Ant-Man and Wasp. Not everyone made it into Joss Whedon's dream team and those that did had received their formal introduction in earlier movies. The insect-like resizable two were evidently not high priority for Marvel a few years back, but now the line is successful, productive, and interconnected enough that even a box office performance as modest as the first Ghost Rider seems unlikely.

Ant-Man sounded especially promising from conception. Firstly, there was the casting of Paul Rudd in the title role, an actor certainly talented and charismatic enough to endear as Robert Downey Jr., the three Chrises, and Mark Ruffalo have before. Even before that, though, the movie was being developed by Edgar Wright, a British filmmaker beloved for his Cornetto trilogy of genre comedies (Shaun of the Dead, Hot Fuzz, and The World's End) and Scott Pilgrim vs. the World. Sadly, Wright, attached to the independently-developed project as early as 2003, would bow out over creative differences, leaving the director's chair to be filled by Peyton Reed, an American whose filmography (Bring It On, Yes Man, The Break-Up) didn't breed the same amount of optimism. While we'll always be left wondering what if Wright's vision hadn't been deemed too far out for Marvel, the good news is that Reed has kept Marvel's hot streak going. With two phases now complete, the Cinematic Universe remains unsullied by anything you would feel comfortable labeling a bad movie.

The film opens in 1989, with widowed genius Dr. Hank Pym (a drastically digitally youthened Michael Douglas) butting heads with colleagues over his scientific corporation's visions. Jumping to the present day, we follow Scott Lang (Rudd) out of prison. Lang -- who likes to point out that he is a burglar, not a thief -- has done his time and come out reformed, ready to be straight and narrow. Unfortunately, ex-cons have difficulty finding work and even a stint at Baskin-Robbins ends abruptly when his boss (film buff Gregg Turkington) discovers his criminal record.

Sharing an apartment with three fellow offenders (Michael Peña, Tip "T.I." Harris, and David Dastmalchian), it's only a matter of time before Scott reverts to crime in a misguided effort to obtain visitation rights to see his young daughter (Abby Ryder Fortson). The plan calls to break into the mansion of a wealthy pensioner and Scott is up to the task, even some improvised safe-cracking following unforeseen complications. As you can guess, the house belongs to Dr. Pym. Unfortunately, the only thing inside his heavily-guarded safe is Pym's old Ant-Man costume. Scott tries it on, inadvertently shrinks himself down to the size of a bug and rapidly tries to adapt to his new dimensions, which make deadly threats out of dance shoes and sewer rats. With Pym giving directions in his ear, Scott narrowly survives and wants nothing further to do with the powerful suit.

Alas, one arrest later and looking at more jail time and less family time, Scott accepts Pym's escape and an offer to do his bidding. Pym's old protégé Darren Cross (Corey Stoll) has become obsessed with the legendary, officially disputed size-altering experiment. He's hard at work to develop a superior version of Pym's carefully-guarded secret, even testing the technology out on lambs and critical co-workers. Pym and his 35-year-old daughter Hope (Evangeline Lilly) are determined to stop Cross from realizing his dream and getting the power to do evil with it. They train Scott to use his shrinking abilities against opponents and teach him how to direct various kinds of ants to assist him in different ways.

Ant-Man does not depart from the solo Marvel superhero film formula in any significant way. Nor really does it have to. This is a character who's completely new to feature film. He has a unique origin story and powers dramatically different from the established Avengers. Armed with an old sage, an attractive love interest, and a diabolical opponent, Ant-Man easily wins our interest and sympathies. Add the always appealing Rudd and a custody plea into the mix and there's virtually no alternative but to be invested and enjoy yet another fantastical Marvel ride.

The fact that this is new terrain helps to distract from the fact that at their heart, these Marvel movies are all quite similar. Only one established hero -- Falcon (Anthony Mackie) -- appears at any length and that length is basically just a single fight scene. You can tell that Reed isn't as well-suited to the universe as other filmmakers like Jon Favreau, Joss Whedon, and Kenneth Branagh have been. There are little issues that could be cleaned up with sharper direction and better editing. There seems little doubt that the film would have been more exciting, both visually and in general, with Wright at the helm. But Wright is one of the most inventive filmmakers working today; you don't need him to deliver an entertaining adventure. Ant-Man certainly qualifies as that, even with its occasionally heavy exposition and glaring lack of surprises.

Perhaps the biggest surprise may be that the comedy-seasoned Rudd, who also picks up his second screenwriting credit, isn't asked to turn this into a laughfest. He gets his chuckles, but mostly defers to his character's criminal associates (led by the scene-stealing Peña) for comic relief duties. In fact, this movie is lighter on humor than most of the past Marvel movies, a fact that was clear from the largely muted crowd response at my screening. There are plenty of gently amusing moments, but there are few of the knee-slapping exchanges that have distinguished past Cinematic Universe productions.

Could Ant-Man be more dynamic, original, and suspenseful? Sure. But as is, it sets a standard for summer popcorn fare, doing more to win you over than the best-attended of its ilk, Age of Ultron and Jurassic World. Rudd's protagonist is someone you'll want to see more of. You might get excited just imagining what his interactions with the likes of Iron Man, Hulk, and Thor might be. Inevitably, the more movies Marvel and chief rival DC Comics put out, the more tiresome the superhero genre will become. The glut of entries is already starting to weigh down on viewers and rob the genre of some of its luster. There is obvious value in pausing the franchises to introduce new ones every once in a while.

You should expect it by now, but Ant-Man isn't done when the end credits start to roll. The first bonus scene appears about a minute into the closing titles and pertains specifically to this film, while the post-credits scene hints more at what is to come for Marvel at large (with appearances by Captain America and Bucky).

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