The Mandalorian and Grogu
Rating: 2/5
This year has built itself to be the year of the franchise. As I write this, Lionsgate has just announced plans for the Michael Jackson biopic sequel. Even The Boys series has come to an end with the promise of nostalgia bait disguised as a necessary spinoff titled Vought Rising with the main stars of Supernatural coming to the fore. Both are predictably leading this route with unsatisfactory storytelling to boot.
Naturally, a franchise that has close to 50 years in the game would want its piece of the pie — and so we feast our eyes on The Mandalorian and Grogu.
Pedro Pascal “stars” in this flick based on the adventures of his mysterious character from the TV show it is based on. It’s a mishmash of themes, jumping from space cowboys to buddy cop within a blink of an eye.
The titular Mandolorian is sent to hunt down Jabba the Hutt’s only heir, who is now a Greek-style fighter paying off a hefty debt. We venture into seedy underbellies and fantastical landscapes as the duo attempt to help Rotto (Jabba’s son) earn true freedom.
It’s a delight to watch. The scenes are shot beautifully, and the VFX and CGI aren’t as grating as they might be for a movie like this.
However, the story is thin for a two-hour-and-20-minute sitting. It makes the whole affair feel like a condensed version of what could have been a Christmas special mini-season. There are no shocking plot twists as the movie flies from one nemesis to another, each being dealt with swiftly. It’s a wheelbarrow disguised as a rollercoaster full of political twists and turns.
If you’re worried about watching the previous instalments, you don’t have to. Nothing important happens with previous characters, and even Sigourney Weaver’s debut in this alien franchise takes more precedence. Her presence, on the other hand, would have been embodied by belting out Rihanna’s Only Girl in the World — if this were a musical. It seems like a slapdash effort with very little cast.
Emotional points are heightened thanks to the mind of Ludwig Göransson and his score. Other than that, we depend on the baby cooing sounds of Grogu and the tinman voice of Pascal projected by his stuntmen, who share the honour of wearing his mask and plot armour.
With so little human interaction or acting done with prosthetics for the beastly characters, it plays out like one big video game story mode. Without the interaction, there is no emotional connection to the story, and with no one willing to don practical makeup or be a voice actor for Grogu, there is barely any emotional anchor for the long ride to the credits.
We don’t have a say on whether or not this project is going to have sequels. At the premiere I attended, Star Wars fans were kitted out in their best cosplay outfits. Every decision maker behind this flick knows this: it’s a fandom that will never stop buying into its franchise. No wonder they showcase upcoming merchandise before the movie even kicks off.
The best we can do is hope that they will consider that movies are meant to be enjoyed, not laboured through.
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