In 2019, Disney launched their entertainment subscription service Disney+. Seen as a competitor to Netflix, the platform offered subscribers over 500 films and 7,500 TV episodes from notable studios that not only included Disney but Pixar, Marvel, and Star Wars. Among its launch titles was The Mandalorian, an original Star Wars series created by Iron Man director Jon Favreau that followed the adventures of titular bounty hunter and its breakout star, Grogu (or Baby Yoda). The success of the series not only set a precedent for Disney+ projects but brought new life to the Star Wars franchise, leading to the creation of various spin-off series and now, a feature-length film.
Starring Pedro Pascal and Sigourney Weaver, Star Wars: The Mandalorian and Grogu sees Din Djarin (Pascal) and apprentice Grogu enlisted by the New Republic to rescue Rotta the Hutt (Jeremy Allen White), the son of Jabba the Hutt, in exchange for information on a target.
At first glance, it is easy to treat The Mandalorian and Grogu as an extended episode: they are contracted to undertake a precarious mission, only to face a myriad of monsters and unsavoury characters amid the ever-changing political climate between Imperial forces and the New Republic. This formulaic approach works well in a 40-minute episode so expanding it to a full-length feature feels like a stretch. In this endeavour, the screenplay by director Jon Favreau, along with co-screenwriters Dave Filoni and Noah Koor, tries to elevate a typical episodic premise by introducing new worlds and characters – some of which have links to the established Star Wars universe such as the Hutts and Republic pilot Carson Teva (Paul Sun-Hyung Lee). However, the concept of good versus evil and Din and Grogu’s enduring relationship creatively restricts the narrative to its foundations rather than bring it to a higher level of imagination.
But a key point in the film’s narrative is an underlying theme of legacy. This extends from the franchise’s approach to The Mandalorian to various characters. For instance, Rotta doesn’t want to follow in the footsteps of his father, wanting to make his own path away from a life of crime. But this pales in comparison to the relationship between Din Djarin and Grogu. The film drops hints as to what may happen if one is without the other, especially Din becomes a prominent target for rival bounty hunters. This is especially as Grogu, in terms of years, is already much older than him but is still small – and young – enough to need guardianship. Put simply, his mortality makes the future of their partnership a matter of life or death. Nonetheless, the various action sequences and endearing chemistry between the two heroes remind audiences why they work well together on-screen.
The casting brings a variety of performances and cameos to highlight its big names. In terms of top billing, the consistent Pascal balances humanity and cynicism, as Din’s morals conflict with his defensive nature. Sigourney Weaver offers a solid presence as the no-nonsense New Republic colonel Ward, delivering another badass heroine to her already impressive career. As Rotta, Allen White conveys a depth of self-doubt that differentiates him from his opportunistic father and Jabba the Hutt’s twin cousins. While their performances overshadow the presence of the supporting cast, they represent three different yet integral sides to the narrative, so they (along with Grogu) are rightly kept within the frame.
Accentuated by incredibly cinematic production and visuals, Favreau effectively blends the film’s thematic elements of western, crime thriller and fantasy cinema. The combination complements Din’s ‘gun-for-hire’ approach and his aversion to working for criminals, bringing a moody edge that distinguishes it from other Star Wars films. However, this slightly veers off-course as Din’s mission becomes increasingly complicated due to conflicting character loyalties. By the time the final act kicks into gear, the film’s cloak-and-dagger approach is pushed aside for more family-friendly fare when Grogu finally steps up as the hero. This tonal inconsistency feels frustrating, especially since The Mandalorian has taken noticeable steps to differentiate itself from other Star Wars projects. The film, however, feels like a step back to lighter albeit familiar territory.
Although the generic premise driving The Mandalorian and Grogu fails to expand its horizons, Favreau pulls out the big guns to bring The Mandalorian to the big screen — and his emotional and action-packed efforts reiterate that Star Wars isn’t just about the Jedi.
Star Wars: The Mandalorian and Grogu is out in UK cinemas on 22 May.
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Director: Jon Favreau; Dave Filioni, Noah Koor (co-screenwriters)
Stars: Pedro Pascal, Sigourney Weaver, Jeremy Allen White, Brendan Wayne, Lateef Crowder, Paul Sun-Hyung Lee
Runtime: 132 minutes
Country: USA
