I’ve never been a big fan of the superhero genre of fiction, whether it’s comic books, TV cartoons, or the recent wave of movies set in the Marvel or DC universes. (I never collected or read comic books as a kid.) The characters never really work for me as fully realized individuals; the “it’s hard to have super powers” theme always felt rather silly, yet it keeps coming up in this corner of fiction. The Dark Knight is the only major superhero movie I’ve seen in the last decade, and I thought it was fine, but overlong and probably too ambitious for its execution. I never saw its sequel.

So I originally figured Black Panther would be another big hit that I skipped because it’s just not my kind of story; only when the critical praise was as effusive as the public’s reaction did I figure I should check the film out. There are two major elements here that I feel like I’m unqualified to discuss – how it compares to other superhero films, and the script’s attention to detail and and authentic depiction of sub-Saharan African culture – but I can at least break it down as a movie like any other work of fiction, and it is, of course, very good, with performances and visuals strong enough to overcome some flaws in the second plot and a sudden loss of momentum partway through the film.

Black Panther is both superhero and king of the (fictional) African kingdom of Wakanda, which appears to be located somewhere in the Great Lakes region of Africa near present-day Rwanda, a utopian society with technology well beyond that of any other country thanks to its location on top of the world’s largest deposit of the (fictional) metal vibranium. Wakanda has sealed itself off from the world, cloaking its location and its riches so the world doesn’t show up at its door with hands out or guns aimed. The story opens with a brief prologue showing the former king seeking out a traitor, his own brother, in Oakland, after which we see the coronation of the new king and Black Panther, played by Chadwick Boseman (42), and the first plot, around the theft of a half-ton of vibranium and the assassination of his father, kicks into gear.

That first storyline takes up about half the film, and it’s a chance for some great special effects and superhero-style combat, although the enemy, named Claue (no relation), is just a madman and not terribly interesting. That turns out to be a red herring of sorts, as the second half of the film involves a different, more politically-oriented plot, with a threat to the king coming from an unexpected outside source with connections to Wakanda, forcing the Black Panther to defend his throne and eventually retake control of the kingdom in a giant battle reminiscent of that in The Return of the King.

Boseman is solid as the title character, and apparently the ladies very much approve of his casting, but I thought he was overshadowed by the three leading actresses around him: His former lover, Nakia, played by Lupita Nyong’o; his sister, Shuri, played by Letitia Wright; and the head of the (all-female!) presidential guard, Okoye, played by Danai Gurira. are all more dynamic and fill roles more commonly filled by men in action films, especially Shuri, the tech expert who gets to make all the fun gadgets for Black Panther to wear, and who also gets the best one-liners in the movie. (“No, it’s Kansas,” was second only to the joke about vegetarians if I’m ranking the quips in the movie.) This isn’t just a movie that stars African-American actors in nearly every significant role, but it’s also one of the most female-forward action films I’ve ever seen, and never stoops to jokes about their femininity or contrasts their toughness with their gender. Boseman himself has somewhat less to work with, even in the titular role, because of what he has to be – the even-keeled statesman who sometimes puts on a mask and funny suit and kicks some ass – and there’s very little room for him to work beyond that, even when he tries to convince Nakia to stay in Wakanda and be his queen. Their chemistry is much better when they’re plotting and scheming than when they’re supposed to be in love.

The story itself starts to drag around the 2/3 mark, when Black Panther has been deposed by the usurper, even though we know he’s going to come back to fight to reclaim it. (Otherwise, there wouldn’t be much of a movie here.) The loss of momentum in the action comes as the script tries, with modest success, to delve into more contemporary political themes and into some perennial philosophical questions. Does Wakanda, a nation of endless prosperity (and great health care!), have a moral obligation to share its technology or resources with the world? Should Wakanda open its borders to refugees from war torn or famine-struck nations around it? With black populations in U.S. cities like Oakland (where the real Black Panther Party started) caught in a cycle of poverty and crime, does Wakanda have any responsibility to help its brethren?

The usurper arrives and all but promises to Make Wakanda Great Again with a “Wakanda First!” speech and belligerent mentality, arguing that Wakanda should show the world its greatness by force. His arrival and his words split the ruling council of tribal leaders, some of whom are rather quick to abandon their king’s pacificist-isolationist policies in support of the upstart. We know how this is likely to end, although the final battle is drawn out to try to infuse some drama into the inevitable outcome; there are few surprises, unless you still have a hard time seeing these badass women in every fight scene.

The cast is really strong across the board, with solid supporting performances by Daniel Kaluuya (Get Out), Martin Freeman (yep, that’s Watson, with an American accent), and Michael B. Jordan, and smaller but still notable contributions from Angela Bassett as the queen mother and Sterling K. Brown as the first King’s brother. (His name, N’Jobu, is a little unfortunate if you grew up with Major League, which I don’t think bothered as much with cultural accuracy or sensitivity.)

I’ll be very curious to see if the Academy of Motion Picture Arts and Sciences considers Black Panther seriously for any non-technical awards, given its critical reception and awareness of the awards’ tendency to overlook African-American films and actors in several recent slates of nominees. Star Wars earned a Best Picture nod in 1977, one of ten nominations for the film that year, and it’s probably the best historical analogue to Black Panther as a sci-fi action flick. It shouldn’t hurt that the cast includes two Oscar winners for acting (Nyong’o and Forrest Whitaker) and two more past nominees (Bassett and Kaluuya). If I had to bet money right now on one non-technical nomination, it’d be for Best Original Screenplay for Ryan Coogler (who directed this and also wrote and directed Creed and Fruitvale Station) and Joe Robert Cole (The People v. O.J. Simpson). I also wonder how many voters would check off Octavia Spencer’s name if she made the original ballot, even though she’s not actually in this movie.

As I said at the beginning, I’ve largely avoided superhero films because their stories just don’t speak to me, and I don’t think Black Panther will change that – it is so exceptional in the depth of its setting and back story while also bringing together as strong a cast as you could assemble that it’s not something other films in the genre could easily replicate. Even with that jarring momentum shift while Black Panther is temporarily off the throne is just a brief setback, one that made me more conscious of the film’s running time (a little over two hours) but didn’t truly detract form the experience. I will predict, however, that it ends the year as one of the top ten English-language movies I see.