You simply cannot ask more of a Star Wars movie.
The Mandalorian has been — by far — the most popular streaming series set in the Star Wars universe, and considerable credit goes to writer/director/producer Jon Favreau, who created the show and shepherded it to greatness.
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| Having tracked the notorious crime lord Janu to his opulent lair on the planet Shakari, the Mandalorian (Pedro Pascal) and little Grogu are about to confront an unpleasantly vicious welcome. |
Given that The Mandalorian is Favreau’s baby, it’s no surprise that he serves here as director, co-producer and co-writer, the latter alongside Dave Filoni and Noah Kloor.
The wildly entertaining result is as carefully structured as a Shakespeare play, with a thrilling prologue followed by two lengthy acts.
(By way of reminding folks who may have forgotten, all Mandalorian stories are set roughly five years after Return of the Jedi, in the optimistic New Republic era, and 25 years before things go awry again in The Force Awakens.)
This new adventure begins as the vile Commander Barro (Hemky Madera), an escaped Imperial warlord, terrorizes the serf-like clan leaders of a distant planet by demanding larger tributes in exchange for his “protection.” Madera capably establishes Barro’s credentials as A Thoroughly Nasty Fellow, but — happily — his despicable behavior is destined for a quick end.
Barro doesn’t realize that he’s one of many such Imperial loyalists identified in a card deck of notorious figures held by Col. Ward (Sigourney Weaver), leader of the New Republic Adelphi Rangers, and a former pilot for the Rebel Alliance. She, in turn, has hired veteran bounty hunter Din Djarin — better known as the Mandalorian (Pedro Pascal) — to deal with the guy.
Mando’s arrival is timely, his battle prowess impressively versatile. As always, he’s accompanied by his tiny companion, Grogu, a mute “Force-sensitive” creature belonging to the same rare and unspecified species as Jedi Master Yoda. Their unusual father/son dynamic has long been the heart of this franchise, transforming Mando — over time — from reluctant protector to proud and devoted surrogate parent.
Grogu’s Force powers notwithstanding, in many ways he’s still an innocent child, prone to getting into trouble ... as when he must be stopped from randomly punching buttons on the command deck of Mando’s spaceship. That aside, everything about Grogu is adorable, from his diminutive size and the way he waddles, to his unexpectedly expressive eyes, ears and the set of his head, which speak volumes even without words.
The blend of puppetry and CGI is seamless, and it’s easy to believe that Grogu is as “present” as Pascal’s Mando.
Over time, Mando has gradually shifting from a mercenary willing to accept any assignment, to a more principled individual preferring to work with the “good guys” in the New Republic.
After dealing with Barro — somewhat “messily,” to Ward’s dismay — her next assignment is more difficult. The target is a mysterious warlord dubbed Commander Coin, whose face never has been revealed. Ward has been offered intel on Coin’s whereabouts by the nefarious Hutt twins, siblings and successors to the deceased crime lord Jabba the Hutt ... but only if somebody first rescues their nephew Rotta, currently held somewhere on the planet Shakari.
Mando is wary of having to deal with the Hutts, knowing full well that they cannot — and should not — be trusted. Ward sweetens the deal by gifting him with a spiffy Razor Crest spaceship; acknowledging the morality of the ultimate goal, he reluctantly accepts.
Once on Shakari, events take ... an unexpected turn. Make that two. Even three.
The immense Rotta the Hutt (voiced by Jeremy Allen White) becomes a major supporting character with an increasingly complex role. He’s in thrall to local crime lord Janu (Jonny Coyne), who has no interest in bartering with Mando.
Additional key players include Embo — not seen since The Clone Wars — a malevolent, totally creepy bounty hunter who works for the Hutt twins, and is accompanied by an equally nasty wolf-like predator. During a respite on Mando’s home world of Nevarro, he hires a quartet of tiny Anzelian mechanics (all voiced by Shirley Henderson) to spruce up the Razor Crest; these fussy creatures — even smaller than Grogu — are constantly hilarious, and also play an important role in what follows.
Martin Scorsese (of all people) exercises his New York twang while voicing Hugo Durant, a four-armed Ardennian fry cook who owns a Shakari food pod, and — reluctantly — supplies Mando with some key information. Their initial exchange is quite funny, and Scorsese delivers just the right amount of nervous terror.
As always is the case with a Star Wars adventure, the many elaborate special effects and world-building are stunning, and wholly immersive. Visual and special effects supervisors John Knoll and Scott Fisher, and their massive teams, deliver an amazing level of verisimilitude. The action also gets additional punch from Ludwig Göransson’s dynamic score, which frequently references his iconic streaming series title theme.
Throughout it all, however, we never lose sight of Mando’s inherent warrior dignity, which Pascal expresses extremely well, despite our (almost) never seeing his face. (Wearing the helmet at all times is part of a Mandalorian’s strict religious code; revealing their face turns them into apostates.) Pascal’s posture, solemnity, and metallic but still thoughtful and compassionate vocal cadence enhance Mando’s devotion to sacred tradition, and the pride with which he views his place in the world.
Favreau has done it again, with a film that delivers and expands upon the already impressive wealth of entertainment we’ve enjoyed during three seasons of the streaming series. No surprise, really, because...
...This is the way.
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