By Dwight Brown, Film Critic for DwightBrownInk.com and NNPA News Wire
(***)
“The old protect the young. The young protect the old.” Those prophetic words are also the premise of this Star Wars chapter. It’s perhaps the most visually disappointing film in the franchise. Still, it’s filled with enough commotion to capture and keep action/adventure audiences intrigued and satisfied.
Those old enough to remember the original Star Wars, released May 25, 1977, are in for a surprise. This entry is based on the Disney+ streaming series The Mandalorian. It stars Pedro Pascal as Din Djarin, aka Mando, aka The Mandalorian. He’s a helmeted bounty hunter and warrior living on the edge of the Star Wars world. He’s become the adopted father/mentor of a Baby Yoda, named Grogu, who has Force-sensitive powers. Telekinesis (lifting heavy objects), force shields, force healing and telepathic animal bonding are among his keen abilities as he learns how to survive and fight courtesy of Mando. That’s valuable information for Star Wars devotees who aren’t familiar with the show and are now getting a flash course in integrating the series’ aesthetics into a feature film. The other important factor is that in the great pantheon of Star Wars vehicles, this entry fits somewhere between Return of the Jedi and the numerous sequels.
Those looking for the same kind of visual elegance that was prevalent in some of the last Star Wars movies should look elsewhere. It’s gone. The stunning production quality (Rick Carter, Kevin Jenkins) and gorgeous cinematography (Dan Mindel) last seen in Star Wars: Rise of Skywalker, are absent. Writer/director/producer Jon Favreau (Iron Man) is the creator/showrunner on The Mandalorian series. He spins this tale alongside executive producer/writer and Lucasfilm veteran Dave Filoni and co-screenwriter Noah Kloor. New team. Different sensibility.
When Mando (Pascal) is tasked with a dangerous assignment by the high-ranking official for the New Republic, Colonel Ward (Sigourney Weaver), his orders are clear and strict. Ward says, “Protect what the rebellion fought for.” Just find the subject of the hunt, Rotta the Hutt (voiced by Jeremy Allen White, The Bear). Bring the subject to the recipients who want him and return to base. The fate of the New Republic depends on it and their enemies, the Imperial Warlords, are looking for them to make a mistake. Mando accepts the restrictions, almost proud that he’s working for the good guys. He sets out on his mission, with his tiny apprentice Grogu, and their sojourn begins.
It’s noticeable from the Ward/Mando hand off scene that there’s way too much dialogue. Some of it banal, like most of the conversations in that aforementioned sequence. Some occasionally profound. E.g., when Mando gives words of wisdom to his student or Rotta divulges key plot devices. What the script gets right are great character arcs for Mando, Grogu and Rotta. It’s nice to watch them grow. Easy to take these characters to heart and want to see them resurrected in another sequel. So, though the writing is longwinded, it has its finer points.
For the first hour, the visuals look inferior. It feels like the tech crew from the series couldn’t find a way to make their production skills transfer to the big screen. What works on TV is sometimes too obvious on a big screen. Watching Grogu on a massive IMAX screen makes him look like a tiny, stiff troll doll that can’t be manipulated in captivating ways. Other creatures that are Grogu’s height, the Anzellan droidsmiths, reap the same fate. Little kids might think they’re cute. Adults might wonder why a more agile and mesmerizing computer-generated figure wasn’t used.
Some may also question why the spaceship Mando flies looks like a tin cup on a giant screen. Like a little toy. The effect is so tacky and cheap-looking that it becomes off-putting. As is the command headquarters where Ward and her crew gather. With palm trees and California sun, it’s about as exciting as a mobile home park in Encino and not an intriguing intergalactic command center.
The cinematography (David Klein, The Mandalorian) doesn’t dazzle. The production design (Doug Chiang, Andrew L. Jones) doesn’t astound. The sets (Amanda Moss Serino) and costumes (Mary Zophres) don’t impress. Oddly Ludwig Göransson’s (Sinners) score, with its overly blaring horns in the film’s initial moments, is a loud, annoying distraction. Almost makes you want to hit the ceiling with a broom and tell your upstairs neighbors to turn the music down. However, as the film progresses, there are times when the score becomes more subtle, and has its wonderful moments. Fortunately, the photography, lighting, colors, special effects, sets and sense of danger all gel during a fascinating sequence in a Hutt palace. A gigantic albino snake steals the movie from all the actors. In fact, “Dragonsnake” should get top billing. It and its makers deserve that.
Favreau remains a master at staging action scenes even if the action choreography is never as striking as a John Wick: Chapter 4, or the space chases don’t compare with those in other Star Wars films. His version of action has a steady rhythm. His direction is helped greatly by editors Dylan Firshein and Rachel Goodlett Katz who stitch together various scenes into a discernible travelogue that holds attention for two hours and twelve minutes. Folks won’t be bored. Not at all.
There’s a stoic quality to Pedro Pascal’s performance. But as in the series, the character is a creation of three talented actors. The helmeted Mando is played by two stuntmen with two functions. Brendan Wayne has the swagger walk down pat. Lateef Crowder, a martial artist, handles the fights and tumbling. Altogether, they’re the Mando persona. Weaver seems authentic but stiff. Allen’s voice as Rotta creates an aura that is stronger than anyone else in the cast. Grogu’s voice is provided by David Acord and the magic of Lucasfilm sound. You almost wish it had a more authoritative sound as Grogu becomes braver and more in charge.
Whatever early apprehensions Star Wars movie fans may have with this new edition will fade during the second hour. That’s when there’s plenty of well-timed action, enough to entrance all. That said, surprisingly, the climatic action scenes and all the adrenaline they muster still are secondary to the father/son, mentor/student storyline that flourishes at the right time and blossoms fully. In the most cathartic ways. The ending is worth the price of admission. Once Mando asks, “Do we run, or do we fight?” it’s on. Big time.
“The old protect the young. The young protect the old.” Keep that in mind.
