Courtney Howard // Film Critic
STAR WARS: THE MANDALORIAN AND GROGU
Rated PG-13, 2 hour and 12 minutes
Directed by: Jon Favreau
Starring: Pedro Pascal, Jeremy Allen White, Lateef Crowder, Brendan Wayne, Sigourney Weaver, Jonny Coyne, Steve Blum
Credit to director/ co-writer Jon Favreau and co: I never suspected that STAR WARS: THE MANDALORIAN AND GROGU would’ve included can’t-miss references to John Woo’s HARD BOILED, specifically its homage to the tea house shootout sequence. But then again, this film is part of the STAR WARS franchise, which has paid tribute to many Asian classics over the years – starting with Akira Kurosawa’s films THE HIDDEN FORTRESS and SEVEN SAMURAI, and decades later with Kazuo Koike and Goseki Kojima’s manga LONE WOLF AND CUB (and its many screen adaptations) inspiring the Disney+ series THE MANDALORIAN. That show, which ran for 3 seasons, focused on a Beskar-helmeted bounty hunter and his precocious pint-sized apprentice joining up with various allies to fight against the remaining forces of the Galactic Empire.
STAR WARS: THE MANDALORIAN AND GROGU is certainly not the first show to make the leap from the small screen to the silver screen. Still, after firmly establishing its identity as a streaming series, its toughest task is to steer away from its episodic ways to deliver an entertaining, large scale tale that relies only on a very basic knowledge of the series. Thankfully, it does. This standalone feature is a ton of fun and a fully cinematic journey meant to be seen on the biggest screen possible. It’s a perfect summer movie, action-packed and crowd-pleasing, containing thrills, wonderment, humor, heart and an adorable lil’ guy stealing the show. Plus there’s a ripped giant slug who defeats his enemies by belly-flopping on them. What’s not to love?!
Mandalorian bounty hunter Din Djarin (played by Pedro Pascal, man-in-suit Brendan Wayne, and stunt performer Lateef Crowder) and his adorably doe-eyed, toddler-sized sidekick Grogu are now exclusive private contractors for the New Republic, defending their jurisdiction by stopping threats from Imperial baddies. They can abruptly end an evil warlord quorum and decimate an AT-AT patrol on a snow-covered cliffside. However, they’re about to meet their toughest challenge yet when their tough-as-nails, no-nonsense handler Colonel Ward (Sigourney Weaver) assigns them their latest, multi-pronged mission. She needs the dynamic duo to bring in Lord Janu (Jonny Coyne), a criminal syndicate boss once believed to be dead. Trouble is, they don’t know what he looks like or where he might be located.
Col. Ward has brokered a backroom exchange deal with Jabba the Hutt’s slippery brother and sister, who’ve agreed to lead them to their person of interest on the condition that Din Djarin returns with their nephew Rotta (Jeremy Allen White), who’s been kidnapped by Janu. Upon Din Djarin’s arrival in Shakari, a Hong Kong-esque/ modestly neon lit BLADE RUNNER-inspired city, he quickly ascertains Rotta is working off a debt for Janu by fighting in gladiator style arena matches. It comes as a surprise when he learns that Rotta has no interest in leaving his newfound glory, and that his aunt and uncle have ulterior motives for his return. Naturally, Din Djarin’s plan to make everyone happy goes pear-shaped, leading to fates colliding and a thoroughly enjoyable, escapist intergalactic fantasy ensuing.
As long as audience expectations are kept in check, Favreau, along with co-writers Dave Filoni and Noah Kloor, delivers an adventurous romp along the lines of a sci-fi serial. At times, it’s an audaciously zany one: Martin Scorsese plays his slippery street food vendor like a family-friendly version of a mob informant from one of his own films. The fan-favorite Anzellan droidsmiths bring levity to tense situations with their dialogue (“Big Pipe, huh?” being the best quote of the bunch). The tin-can sound effect utilized by the film’s sound design team is an unexpected treat, telling the audience to not take things so seriously.
Forceful themes surrounding the bond between fathers and sons are tucked beneath the story’s surface. Heavier internal stakes are lightly touched upon within Din Djarin’s journey, which finds him battling against mortality, facing off against a giant albino dragon snake and subsequently being nursed back to health by his usually ungovernable fledgling. Grogu’s care – a quietly restrained side quest – includes building a dirt cave to hide his comatose surrogate dad and stealing BBQ’d fish from a local healer creature. Rotta’s arc, wanting to be a warrior leader who rules with respect, not fear like his father (which is blatantly monologued at us, twice), has a smart, satiating payoff in the climax.
That said, it does noticeably suffer from not having memorable, imposing villains. Rotta’s devious, deceptive aunt and uncle are caricatured archetypes of real-world creeps’ annoying, selfish behaviors, yet they ironically don’t carry much weight in their cinematic scale. Embo, the saucer-hat ghoul working for them, also doesn’t feel scary enough to frighten nor intimidate. His demon-dog-like anooba, however, is terrifying, especially when it torments diminutive figures like Grogu and the Anzellans.
The scope has gotten bigger and the world-building has grown more expansive. It’s nice to see them ease up from an over-reliance on the Volume whenever they can. Its use is still visible, but blessedly lessened. Outdoor environments have a tangible sense of aesthetic appeal, from the jungle-like swamps on Nal Hutta to the beachy, tropical locale of the New Republic’s base. Audiences’ eyes will widen with glee as much as the frame expands when viewed in IMAX. Andrew L. Jones and Doug Chiang’s production design is a highlight in sequences where characters interact with the practical sets, like the Shakari bar and Lord Janu’s art deco-ish beach mansion.
There are a few Easter eggs for longtime franchise fans who enjoy pointing out the proverbial “Glup Shitto” characters and references. But others who don’t want assigned homework before watching a movie might welcome the jazz-like looseness of this feature. What we’re given is a satisfying, self-contained escapade that blessedly avoids the trap of being an elongated capsule episode. As our titular hero would say, “This is the way.”
STAR WARS: THE MANDALORIAN AND GROGU will open in theaters on May 22.
