Love ‘em or hate ‘em, superhero movies have defined the industry for well over a decade and show no signs of slowing. If anything, we’re just going to keep getting more and more of them – they’re appointment films in a business that is dying for anything that will ensure big box office receipts. Considering the faltering movie theater model, expect studios to keep pushing this kind of franchise-friendly fare.

Me? I love superhero movies. Do I recognize the more cynical motives behind them? Sure! Do I care? Not in the least!

So I was thrilled to finally see “Wonder Woman 1984.” As someone who, despite my job, is still steering clear of movie theaters, having the opportunity to see this movie in my own home via HBO Max was fantastic. Given the extended drought of superhero cinema, I was primed to dig this movie even though Marvel > DC, in my opinion.

And guess what? I dug it!

Directed by Patty Jenkins – who returned to the franchise after helming 2017’s excellent “Wonder Woman” – from a script she co-wrote with Geoff Johns and Dave Callaham, “Wonder Woman 1984” is engaging enough, though it doesn’t quite capture the same lightning in a bottle energy of the previous film. There are some great set pieces, solidly charismatic lead performances and a couple of really going-for-it supporting turns – enough to make for a flawed-but-satisfying moviegoing experience.

Film’s flawed storytelling offset by vivid aesthetic, ideas

Superhero film the best yet in DC’s cinematic universe

Third 'Star Trek' film a solid franchise offering

The reinvention of a beloved pop culture property is never going to be easy. Finding the proper balance between loyalty to preexisting fans and finding ways to welcome new ones has proven to be the downfall of numerous films in recent years.

Historical rescue drama mostly mediocre

The moviegoing public has always had an affinity for films that are based on a true story. Of course, there's always a degree of interpretation and dramatic license that goes into bringing those narratives to the big screen too often, reality simply isn't deemed interesting enough.

'The Finest Hours' is an example of a movie that seemingly sticks fairly closely to its original source material. The story of a 1952 Coast Guard rescue operation off the Massachusetts coast has plenty to recommend it, with heroic actions in the face of overwhelming odds and the uncaring rage of Mother Nature and all of that.

Alas, while the pieces are there for something really good, the end result is ultimately less than memorable.

Star Trek Into Darkness' raises the bar

There's always a level of risk when a beloved work of popular culture is reworked. Striking the proper balance between loyalty to the source material and creating something fresh is difficult. With the possible exception of Christopher Nolan's work with Batman, no filmmaker has managed to walk that tightrope as deftly as J.J. Abrams has with the world of 'Star Trek.'

The 2009 reboot of the series was handled brilliantly, keeping true to the spirit of the original Trek mythos while still allowing this new crew to follow its own unique path. So there were high hopes for 'Star Trek Into Darkness,' the second installment of this new Trek voyage.