A movie can sometimes be judged on the length of its title.

This can happen when the film-makers seem to need to qualify the subject, as if they think that movie-goers will miss the point.

Generally, there’s no need to do that with a great movie. Think: “Citizen Kane” (1941), “Casablanca”(1942) and “Chinatown” (1974).

Roughly, the “At The Movies” inverse ratio of movie titles states: The longer the title, the worse the movie.

A prime example: “Ant-Man and the Wasp: Quantumania.”

“Ant-Man” (2015) apparently wasn’t enough. Nor was “Ant-Man and the Wasp” (2018). Thus, “Ant-Man and the Wasp: Quantumania,” which, rather than expansive, is reductive.

The Marvel Comics character of Ant-Man is ridiculous and amusing enough, as is The Wasp.

For the Marvel Cinematic Universe (MCU), however, enough is never enough.

Thus, we have the Quantum Realm, where anything goes, and does.

“Ant-Man and the Wasp: Quantumania” is one-part lecture series, one-part real-world, one-part “Star Wars” cantina scene outtakes and-two-parts science-fiction other-world scenescapes.

Paul Rudd brings his cheeky charm to the role of the Scott Lang, aka Ant-Man, who is bopping around San Francisco promoting his memoir, “Look Out for the Little Guy.” Rudd reprises his easy-going ways from ”Ant-Man” and “Ant-Man and the Wasp.”

Evangeline Lilly has a diffident charm as Hope van Dyne, aka The Wasp.

There are missed opportunities for scenes between Rudd and Lilly. After all, the movie is titled “Ant-Man and The Wasp.”

The lecture series is courtesy Janet van Dyne (Michelle Pfeiffer), who prattles on with plot points that are supposed to fill in the blanks, but only make matters more vacuous and confusing.

Janet isn’t helped by the connect-the-plot dots responses by her husband, Hank Pym (Michael Douglas), whose deer-in-the-headlights presence gives him the appearance of an old actor reminiscing about the good old days in “Romancing the Stone” (1984).

Cassie Lang (Kathryn Newton), as Scott Lang’s daughter, brings some needed youthful energy to the movie, as does Katy O’Brian (Jentorra), a warrior in the Quantum Realm.

Perhaps the silliest and weirdest character is Darren Cross, aka M.O.D.O.K (Corey Stoll), a no-torso, dangly short legs and short arms flying Humpty Dumpty with the face of Don Rickles.

The odd denizens of the Quantum Realm look like characters who were left on the cutting-room floor for the cantina scene in “Star Wars” (1977).

Speaking of denizens, Bill Murray has what amounts to a cameo as Lord Krylar. Apparently, Krylar isn’t a kind of futuristic Teflon because Murray’s hambone acting sticks.

Call me an old white guy, which I am, but I found the character of Kang the Conqueror (Jonathan Majors), as written and presented, to be an example of African-American racial stereotyping of the angry black man, especially in scenes with Ant-Man and The Wasp. In a final scene, Kang is felled by a swarm of ants, summoned by Hank Pym. In a fisticuffs fight between Kang and Ant-Man, with Paul Rudd’s face reduced to a bloody pulp, and Kang getting stomped on by Ant-Man, I couldn’t help but think of phone-cam footage of George Floyd.

This is one example of the egregious missteps in the clumsy screenplay by Jeff Loveness (Primetime Emmy, “Rick and Morty,” 2013) based on characters created by Jack KIrby and directed by Peyton Reed (director: “Ant-Man and The Wasp,” “The Ant-Man,” “Yes Man,” 2008; “ “The Break-Up,” 2006; “Down With Love,“ 2003; “Bring It On,” 2000).

That said, the movie has spectacular visuals, special effects and thrilling scenes of going down the rabbit hole of the Quantum Realm.

Even so, movies are about story. This film, like so many other contemporary superhero movies, deploys platoons of computer artists to fill in for subpar screenplays.

”Ant-Man and The Wasp: Quantomania,” the 31st film in the MCU), may provide “fan service,” to quote a cliché, for the fan boys and fan girls in launching Phase 5 of the MCU.

As for me, to quote another cliché: “moving forward,” I could care less.

“Ant-Man and The Wasp: Quantomania,”

MPAA Rated PG-13 (Parents Strongly Cautioned: Some material may be inappropriate for children under 13.) for violence, action and language; Genre: Science-fiction, action, adventure; Run time: 2 hours, 4 minutes. Distributed by Walt Disney Studios Motion Pictures.

At the Movies:

“Ant-Man and The Wasp: Quantomania” was seen in the Dolby Theatre at AMC, AMC Center Valley 16. Several scenes might merit seeing the movie in 3-D, Imax or 3-D Imax, including the kaleidoscopic sequence at the start of the closing credits.

Credit Readers Anonymous:

In “Ant-Man and The Wasp: Quantomania,” the “Welcome Back, Kotter” (1975) TV show theme written by John Sebastian is heard during Scott Lang’s San Francisco ambling. The movie was filmed in Pinewood Studios, England; Los Angeles, San Francisco, Atlanta and Turkey.

Toward the beginning of the end credits (Are you confused yet?) is the Council of Kang: Kang the Conqueror (Jonathan Majors) as Rama-Tut, an Egyptian pharaoh; Scarlet Centurion, a cyborg, and Immortus, in blue skin and beard.

At the end of the end credits (Are you still with me?), Kang is seen as Victor Timely, giving a lecture in 1920s’ America while Loki (Tom Hiddleston) and Mobius M. Mobius (Owen Wilson) look on.

At the very end, it states: “Kang will return.” Thanks for the warning.

Theatrical Movie Domestic Box Office,

Feb. 24-26: “Ant-Man and the Wasp: Quantumania” stayed at No. 1 for a second week in a row, with $32.2 million in 4,345 theaters, $167.3 million, two weeks, as “Cocaine Bear” opened at No. 2 with $23 million in 3,534 theaters, and “Jesus Revolution” opened at No. 3 with $15.5 million in 2,475 theaters.

4. “Avatar: The Way of Water” dropped two places, $4.7 million in 2,495 theaters, $665.3 million, 11 weeks. 5. “Puss in Boots: The Last Wish” dropped one place, $4.1 million in 2,840 theaters, $173.4 million, 10 weeks. 6. “Magic Mike’s Last Dance” dropped three places, $1.8 million in 2,918 theaters, $22.1 million, three weeks. 7. “Knock at the Cabin” dropped two places, $1.8 million in 2,115 theaters, $33.9 million, four weeks. 8. “80 for Brady” dropped two places, $1.8 million in 2,397 theaters, $36.4 million, four weeks. 9. “Missing” stayed in place, $1 million in 1,006 theaters, $31.46 million, six weeks. 10. “A Man Called Otto” stayed in place, $850,000 in 1,118 theaters, $62.2 million, nine weeks.

Movie box office information from Box Office Mojo as of Feb. 26 is subject to change.

Unreel,

March 3:

“Creed III,”

Rated PG-13: Michael B. Jordan directs himself, Jonathan Majors and Tessa Thompson in the Sport Drama. Adonis Creed faces childhood friend Damian Anderson back in the ring.

Movie open dates information from Internet Movie Database as of Feb. 26 is subject to change.

One Popcorn Box out of Five Popcorn Boxes