The new Star Wars movie isn’t enough to rejuvenate the franchise.
When *The Mandalorian* first premiered on Disney Plus, it was a refreshing reminder of how engaging *Star Wars* stories could be when they weren’t centered around familiar characters. The first season seemed like a shift in direction after fans were left disappointed by the last trilogy of big-budget films. However, as *The Mandalorian* continued, it became overwhelmed with supporting characters and sporadically introduced lore that failed to make the show must-see TV.
The relatively weak recent season of *The Mandalorian* made it surprising when Lucasfilm announced plans to bring the beskar-clad warrior and his young charge to the big screen. It was unclear if *The Mandalorian and Grogu* was meant as a straightforward extension of the series or a launchpad to elevate its central characters’ prominence within the franchise. Although the film was expected to perform well at the box office, there was a possibility that audiences might feel disappointed and doubtful about *Star Wars*’ future.
*The Mandalorian and Grogu* is neither a hit nor a complete letdown. The film features excellent puppetry and cleverly inverts the show’s established character dynamics. However, its by-the-numbers story and lackluster action sequences make it feel like a phoned-in film that might have been better as a new season of *The Mandalorian* rather than a standalone project.
Set after the events of *The Mandalorian*’s third season, the movie follows Mando and Grogu as they adjust to a new life of bounty hunting for the New Republic. Though the Galactic Empire is defeated, the galaxy remains plagued by Imperial outlaws aspiring for power resurgence. They pose a constant threat to the fragile peace that the New Republic supporters have strived to uphold. Despite the danger, few can challenge Din Djarin/The Mandalorian (Pedro Pascal) and Grogu when they arrive with weapons and training darts at the ready.
Mando and Grogu are so adept at handling Imperial war criminals that they aren’t overly worried for their safety when New Republic commander Ward (Sigourney Weaver) requests they investigate the disappearance of Rotta the Hutt (Jeremy Allen White). Ward believes finding Rotta — Jabba the Hutt’s son — will persuade his crime lord relatives to reveal information about one of the New Republic’s most-wanted targets. While Mando isn’t thrilled about dealing with the Hutts, the promise of a substantial bounty convinces him to accept the mission.
Though the movie references several plot points from the Disney Plus series, it’s evident that writer/director Jon Favreau, along with co-writers Dave Filoni and Noah Kloor, intended the film to be a standalone story accessible without prior show knowledge. It’s a refreshing shift for *Star Wars* given the lore-heavy nature of recent films and series. However, the narrative simplicity limits its potential to captivate audiences.
The frequent reiteration of key plot details, like Rotta’s identity as Jabba’s son, suggests that the filmmakers doubt the audience’s ability to follow the story. This aspect caters to the film’s young audience who may simply enjoy watching baby Yoda alongside his stoic father defeating villains. Yet, it also reflects the trend among streaming services to offer content suitable for viewers who may not be fully engaged.
The film’s straightforward approach might not be as bothersome if the narrative and battles were more imaginative. As the film progresses, its stakes and urgency remain stagnant, lacking full engagement. *The Mandalorian and Grogu* feels like a reasonable, yet unremarkable collection of *The Mandalorian* episodes that would have benefited from more action and lively dialogue from familiar characters like Zeb Orrelios (Steve Blum) and Carson Teva (Paul Sun-Hyung Lee). The dramatic energy only picks up significantly when Mando and Grogu are separated midway through the film.
While Mando’s character arc may not be extraordinary, the film succeeds in portraying Grogu as a tiny character with autonomy and complex emotions. It highlights the charm of *Star Wars*’ animatronic/puppet characters when positioned as the story’s focus. As endearing as the baby is, its charm alone isn’t enough to prevent the film from feeling unpolished.
With more depth and intrigue, *The Mandalorian and Grogu* could have been a strong TV season. However, after years of struggling to release *Star Wars* films, Disney seems to be experimenting with discovering what types of movies audiences actually wish to see. Instead, *The Mandalorian and Grogu* serves as a reminder of how these side stories can greatly improve with more room to develop.
*The Mandalorian and Grogu* also features Martin Scorsese and Matthew Willig. The film arrives in theaters on May 22nd.