Is it just me or was the arrival of “Solo: A Star Wars Story” a little underwhelming?

Despite the fact that Disney and Lucasfilm unleashed the usual merchandising and promotional blitz for the film months ago and despite much discussion and debate on the part of fans, “Solo” hit theaters without the fever pitch of excitement and near veneration that typically accompanies the release of a Star Wars movie.

Perhaps this was to be expected. After all, if we’re going to be experiencing a new Star Wars movie every year, we can’t sustain the level of enthusiasm and intensity that surrounded, say, “The Force Awakens.” We’ve got to pace ourselves, lest we burn out. Thus, the generally “meh” reaction.

“Solo” is the first of several planned prequel or spin-off films focused on popular characters from the original Star Wars trilogy. A Boba Fett movie was recently confirmed, for instance, while an Obi-Wan Kenobi prequel is rumored to be in the works.

Already there are two contingents forming on social media in regard to the merits of “Solo,” or lack thereof. They seem to be split evenly into one camp that thinks the movie is just fine and another that thinks it could have been much better.

It also feels to me like everyone is slightly nervous and bracing themselves for an outpouring of vitriol similar to the wave of pure hatred that crested after the release of “The Last Jedi.” I don’t think anybody has the strength or energy to go through that again, and this raises an interesting point.

Since we’re now living in a world where we have a virtually endless supply of Star Wars stories, we’re going to have to start allowing for subjectivity and personal taste and accept the fact that not every person is going to like every movie, nor should they be required to.

As a passionate fangirl, I’m preaching to myself when I say, let’s allow everyone to have their own opinions when it comes to the galaxy far, far away. Let’s not attack each other and squander our time and energy trolling each other. I’m issuing a call for a more tolerant, peaceful, pleasant Star Wars fandom.

With that said, I’ll open myself up to the trolling and declare that after seeing “Solo,” I’m leaning toward the more disappointed side of the spectrum of reactions.

There are many things I enjoyed about the movie, and considering its tortured production history – during which director Ron Howard pretty much rebuilt it from the ground up – perhaps the fact that it isn’t a complete catastrophe is impressive in and of itself. On many levels, though, I wouldn’t consider it a success.

Surprisingly, this has nothing to do with star Alden Ehrenreich, who plays the young Han and was subjected to many rumors during production questioning everything from his resemblance to Harrison Ford to his acting ability.

As it turns out, Ehrenreich does a fine job portraying the roguish smuggler in his formative years. He’s enough like Ford to be recognizable as the beloved character, but he’s not enslaved to showy imitation. Confidently tossing off some of the cocky Corellian’s best one-liners, he’s got the Solo swagger down and adds a touch of vulnerability, befitting a man who has yet to turn cynical.

A script by legendary Star Wars producer Lawrence Kasdan and his son, Jonathan, ushers us into the seedy underbelly of a galaxy under the control of ruthless mafia factions. It opens on Han’s home planet, where the scrappy survivor and aspiring pilot, and his resourceful girlfriend Qi’ra (Emilia Clarke), are forced to do the bidding of the “foul” Lady Proxima (voiced by Linda Hunt). Meanwhile, they scheme to procure their own ship and escape the planet to find freedom among the stars.

Han’s relationship with Qi’ra is sweet, I suppose, but it didn’t work for me because Clarke, out of necessity, plays her as such an enigma – she’s part femme fatale, part girl that got away, with a hint of a dark side – that I could never get a complete read on her and who she is. (She’s also the definite type of leading lady Lucasfilm is stuck on – the brunette, white female. Can we get a woman of color or maybe a redhead next time?)

Howard infuses “Solo” with vibes that are half “A New Hope,” half “Return of the Jedi.” The film is well stocked with weird, but likable aliens, eccentric scoundrels, and an underworld atmosphere that calls to mind the comically debauched palace and barge of that most famous of Star Wars gangsters, Jabba the Hutt. The movie is rough around the edges in a way that perfectly suits the story of a scruffy-looking nerfherder like Han. (It’s also annoyingly under-lit and has the most hyperactive soundtrack of any Star Wars film yet, but I digress.)

At the start, this is all very promising. Things are looking good as Howard treats us to a fun speeder chase and an unexpectedly visceral scene set on an Imperial battlefield that has all the grit of a World War II skirmish. It is here that Han hooks up with a band of thieves, led by Woody Harrelson’s Beckett and his right-hand lady, Val (Thandie Newton), one of several characters who exits the movie far too quickly.

Howard dutifully walks us through the requisite origin story details. We learn where Han got his name, how he met Chewbacca, how he came by his iconic blaster, and how he acquired his beloved Millennium Falcon.

The Falcon, of course, comes into his possession after he meets charming gambler Lando Calrissian, played in his younger incarnation by Donald Glover. Glover’s Lando is undoubtedly one of the highlights of “Solo.” Clad in a fabulous sleek and silky wardrobe, he oozes irresistible charisma, elegance, and deadpan humor. Every minute he’s on-screen, the movie feels more substantial and satisfying than it actually is.

Lando presides over one of the weirdest scenes in the film, which involves his droid sidekick, L3-37, a sassy, egalitarian ‘bot voiced by “Killing Eve” writer Phoebe Waller-Bridge. L3 carries on Lucasfilm’s tradition of creating lovably memorable droids, but as with many of the best personalities in “Solo,” she’s not around long enough to make much of an impact.

After the initial introduction of Lando, “Solo” struggles to find its footing. It’s a funny movie, but a lot of the humor falls flat, as does the romance between Han and Qi’ra. (The bromance between Chewie and Han, however, is timeless.)

There are large swathes of the script that just drag in terms of pacing and hooking the audience. Even a visual-effects-heavy sequence built around that legendary OT reference to making the Kessel run in 12 parsecs is depressingly blasé. For a large portion of the film, I just couldn’t muster up the enthusiasm to really care about what was happening.

When it ends, “Solo” feels incomplete. Perhaps that’s intentional given the rumors that Lucasfilm may be planning a sequel. However, the movie doesn’t earn that right in the way that, say, the recent “Avengers: Infinity War” did.

There is a moment in the film’s third act where we catch an electrifying glimmer of what “Solo: A Star Wars Story” could have been. I don’t want to spoil it, but it involves a character whose true identity is suddenly revealed and it is so stunning, I nearly leapt out of my seat.

Up until then, “Solo” displays a considerable lack of badassery for a film built around one of Star Wars’ biggest badasses.

I hope with all my being we see this magnificent character again in future chapters of the franchise.

Photos: Disney/Lucasfilm.