For years, author Tom Clancy’s Jack Ryan character was a fixture of the multiplex, with movies providing reluctant-leading-man-of-action opportunities for Alec Baldwin, Harrison Ford, Ben Affleck and Chris Pine. Most of them were hits. (Sorry, Chris!) In that context, it might seem a little low-rent that the newest character’s newest adventure, Jack Ryan: Ghost War, is actually a made-for-streaming continuation of an Amazon TV series, where John Krasinski takes over the CIA analyst role. But there are potential advantages to this approach, too: four seasons of the show can establish the character and his world, relieving the movie version of the full reboot burden. (No small thing for a familiar character who’s nonetheless been played by five different guys.) In particular, the existence of the hit show eliminates the standard waffling over what stage of Ryan’s career he should start in. Let the TV show handle the salad-days stuff, and the movie can join him mid-career without requiring several box office successes to get there.

And to its credit, Jack Ryan: Ghost War manages to stand alone quite well despite the preceding 30 episodes of set-up. (I certainly don’t remember them all with crystal clarity, and I was never lost on a plot level.) Less fortuitously, it’s more coherent than competent, especially compared with the previous movie versions. That might not seem like a fair fight, but Ghost War does position itself as some kind of movie after four seasons of serialized television; there must be some reason for this new framework, whether it’s a bigger budget, a more pulse-pounding story or a chance to put Krasinski alongside his predecessors. (He’s already played Ryan for more hours than any of them.) By the end of its 105 minutes, though, the movie seems to eliminate the most obvious possibilities, and its reason for being hangs in the air.

Ghost War rejoins Ryan, who has quit the CIA and landed a job with a hedge fund, hoping for a shot at the normal life his cloak-and-dagger past has denied him. (His normal life apparently must involve unfathomable wealth.) Then his old boss James Greer (Wendell Pierce), deputy director of the CIA, resurfaces to ask Ryan for a minor favor during an upcoming business trip to Dubai. But a quick (if elusively described) meet and drop-off becomes more complicated when the other guy is murdered mere feet away from Ryan. Soon the ex-agent and his former colleague/current contractor Mike November (Michael Kelly) are tenuously joining forces with MI6 agent Emma Marlow (Sienna Miller), tracking a plot to reactivate terrorist groups.

A plot to reactivate terrorist groups could also describe Jack Ryan: Ghost War. Obviously terrorism still exists, but there’s something about this movie’s geopolitical outlook that feels firmly rooted in the late 2000s, when 9/11 was still a relatively recent world event and countless government norms remained in place, no matter how morally murky foreign policy might get. Ryan’s questioning of the American dream, which is more or less how he puts it in a howler of an argument he has with Greer, focuses almost entirely on shady international affairs, in the vaguest and most fictionalized terms possible. The harder the movie ignores political realities of the 2020s, the more it feels like a period piece drifting through the ether.

Krasinski has a greater degree of accountability for the bad speeches than past Ryans; he’s the first actor to play Jack Ryan from a script he co-wrote. It’s dire stuff, especially considering the decent work he did on those Quiet Place movies; here, there are no less than three lines predicated on the phrases “that’s a thing” or “that’s not a thing”, dialogue that wouldn’t pass muster in a sitcom or a Marvel movie, let alone something aiming for more substantial gravity. If it seems like four seasons of TV would be more than enough time to work out feeble jokes about espionage earpiece etiquette, think again. Ryan has been variously played as gruff, nerdy, charming, self-righteous and slick. Krasinski is the first actor to make him look like a smug lightweight. (Yes, Pine’s underseen version was vastly more likable.)

Surely Ghost War must at least work as a bigger-canvas action movie, then? Not really. There’s a moderately entertaining car chase and some high-volume shootouts, and director Andrew Bernstein certainly keeps it all moving along at a pace. But the film’s thrills are sadly limited and small-screen-y, with only flashes of globe-hopping intrigue. The big climax takes place in an anonymous-looking skyscraper under construction, which beats the green-screened anti-locations of a few early scenes, but not by much. Diehard fans of the show might find more enjoyment in seeing Krasinski, Pierce, Kelly and Betty Gabriel back again, or adding the believably hard-bitten Miller to the mix. The movie does set up potential for a continuing movie franchise. Mostly, though, Jack Ryan: Ghost War feels like a sad state of affairs for the world’s dads (and dads at heart), who deserve to see airport-novel espionage brought to less chintzy life.

“I forgive” are the first words uttered by Vénéranda in Ben’Imana, but her ferocious gaze and the clamp of her arms across her chest tell a different story. At the center of a fine cast of mostly nonprofessional actors, Clémentine U. Nyirinkindi brings Vénéranda’s resolve and all her painful contradictions to life in Ben’Imana, a searing and intimate portrait of a nation’s reckoning.

Writer-director Marie-Clémentine Dusabejambo’s drama is set in the Rwandan village Kibeho in 2012. It’s the final year of the Gacaca courts, community tribunals focused on addressing the genocidal crimes committed, neighbor against neighbor, in the previous decade. Through the character’s complex and often tense relationships with her teenage daughter, her sister and her mother, as well as with other women in her village, Dusabejambo has crafted a story that’s both emblematic and achingly specific.

The person Vénéranda officially forgives in the opening scene is Karangwa (Aime Valens Tuyisenge), the man accused of murdering her siblings and other relatives. Of the eight children their mother (Arivere Kagoyire) raised, only Vénéranda and her sister Suzanne (a riveting Isabelle Kabano, who starred in Eric Barbier’s Small Country) survive. Suzanne’s fury is as explosive as her sister’s is contained. Contending to the judge (Adelite Mugabo) that Vénéranda “has no right to forgive on behalf of our family,” she’s determined to bring Karangwa to justice.

And she has no use for the community meetings that Vénéranda has begun leading, in her role as the district’s social affairs officer. Local women are invited to share still-raw memories, to grapple together with the kinds of things that would be immaterial to the courts. Their sessions are part of the country’s “Rwanditude” program, designed to reunite Rwandans after years of ethnic conflict and bloodshed.

Just as mentions of ethnicity are verboten in the courts, there’s no such identification in these gatherings, no way of knowing whether any of these women is Tutsi or Hutu, whether her husband was murdered or is in prison for murdering, until she stands to tell her harrowing story. (The film’s title is a Kinyarwanda word that emphasizes a collective identity, rather than the ethnic divisions of Tutsi and Hutu that Rwanda’s European colonizers encouraged and enforced.)

The younger generation, personified by Vénéranda’s spirited daughter, Tina (Kesia Kelly Nishimwe), and her boyfriend, a low-key photographer named Richard (Elvis Ngabo), has grown up without ethnic labels. But while Vénéranda holds herself as a model of forgiveness to women in the group, she can’t see past Richard’s Hutu heritage, and she turns a cold heart to Tina when she becomes pregnant and is kicked out of school. “Neither Richard or his family has harmed me,” Tina points out reasonably, while her mother fumes with shame and judgment, her inner turmoil finding expression in a baffling hypocrisy.

As harsh as she can be, Vénéranda is a devoted caretaker of her mother, who has lost her voice as well as her memory and is the regal, silent watcher of the unfolding family drama. Vénéranda also tends to her sister, whose health was taken from her, along with her husband and child, during the attacks. Suzanne is electric with anger even as her physical strength dwindles. “Can’t you stop your bullshit on forgiveness?” she hisses at Vénéranda, and urges her to reveal certain long-hidden truths to Tina.

What binds these two is the depth of what they’ve endured, the unspeakable brutality; what divides them is how they respond to it. Ben’Imana offers no simple definitions of courage, but rather a feverishly human group portrait of its possible expressions, with the exceptional triumvirate of Nyirinkindi, Kabano and the radiant Nishimwe forming the story’s broken but still hopeful heart.

Dusabejambo, working from a screenplay she wrote in collaboration with Delphine Agut, is attentive to her characters’ pain and their resolve, mirrored in the vibrancy of the setting. With strong contributions from cinematographer Mostafa El Kashef, production designer Ricardo Sankara and editor Nadia Ben Rachid, the movie is cinematic in an utterly unforced way, from the first images of gently rolling hills and the sound of birdsong to the bright interiors of Vénéranda’s home and the gentle, lilting score by Igor Mabano. Just as a brief piece of voiceover narration notes that a single word, ejo, means yesterday and tomorrow, Ben’Imana contains whole worlds in one very specific here-and-now.

Nearly 50 years on from “Star Wars” and the launch of a media empire (large or small “e”? You decide), the fandom has become its own galaxy of warring planets. But based on the success of the streaming series “The Mandalorian,” set around the title bounty hunter, we can all agree that his charge Grogu — green, wrinkled, big-eyed Baby You-Know-Who — is still adorable. Of the many “Star Wars” offshoots, this seems to be the sturdiest.

The brand is back together for “The Mandalorian and Grogu,” which is a movie, a hoped-for franchise revival, a fourth season of sorts and an affable throwback. But it’s never quite riveting enough as canon or fodder to supplant anyone’s memories of [insert favorite “Star Wars” film here].

The expectations game was never going to help series creator Jon Favreau’s big-screen version, written with Dave Filoni and Noah Kloor. Granted, this upscaled, agreeably rangy treatment of an adventure storyline that wouldn’t have been out of place on the show could have attempted more. Especially when it puts sci-fi icon Sigourney Weaver in an X-wing pilot uniform as a veteran of the Rebellion, but barely gives her anything to do besides secure Mando a job and keep tabs on his progress. (Gang, try harder. It’s Sigourney Weaver.)

Aimed squarely at kids of all sizes, “Star Wars” has become a glorified tour of a billionaire’s expanding playworld and “The Mandalorian and Grogu” wants the track well-oiled, not bumpy. The simple pleasures here of good vs evil, IMAX hugeness and composer Ludwig Göransson’s space-opera-hits-the-club score, go down easy enough to not be aggravating. It’s a lot.

But it’s not this reviewer’s position to tell you what “a lot” is — loose lips spoil scripts. When the moment comes at an appropriately dangerous time for our heroes, we sense the kind of thing that only movies can do well when they’re myths writ large: slow things down, shift momentum away from the tyranny of exposition and let emotion, humor, wonder and character co-exist. “The Mandalorian and Grogu” takes the series’ thematic underpinnings — what parenting looks like between a masked human loner and an otherworldly toddler — and deepens them.

The movie takes place in wonderfully detailed environments that evoke the earlier, beloved films. You’re not being pandered to, however; the payoff is a lovely echo. Elsewhere, the action set pieces are serviceably handled by Favreau. (One of them plays like, of all things, an homage to “The French Connection.”)

Otherwise, this is another hunt-and-retrieve narrative for the bounty hunter voiced by Pedro Pascal, physically embodied in armor by Brendan Wayne and, in combat, by fight choreographer Lateef Crowder. Still independent but New Republic-curious, Mando is tasked by Weaver’s Col. Ward to find a wayward scion of the slimy gangster Hutt clan, Rotta (voiced by Jeremy Allen White), whose return will unlock some important information. Of course, things don’t go as planned, which for a while is interesting — are the Hutts like the Corleones, perhaps? — until it’s not, because then the dialogue would need to rise above the level of a middle-school play.

That being said, one of the movie’s strong points, absent its story deficiencies, is that, across its many wordless scenes, it’s at heart a solidly rousing, delightfully icky creature feature, in the vein of a supercharged Ray Harryhausen-meets-Guillermo del Toro joint. “It’s a hard world for little things,” Lillian Gish famously says in “The Night of the Hunter,” a movie nobody will ever confuse with “The Mandalorian and Grogu.” But we all know summer fare like this is only ever as enjoyable as the monsters conjured up for conquering.