"Star Wars: The Mandalorian and Grogu" Feels Like Restrained Star Was

I admit, dear reader, I’m not entirely sure where to begin with “Star Wars: The Mandalorian and Grogu.” Sure, I can mention that this is the continuation of a (mostly good) Disney+ series that is getting the big-screen treatment. I can talk about how it is the first ‘Star Wars’ film to be released theatrically in seven years. I could even discuss why Disney decided to jump back into this universe with a TV-based property rather than going bigger with a more original, daring project. Heck, there’s a part of me that wants to comment on the strange casting of Martin Scorsese in a supporting role (I guess you really can do anything once you’ve won an Oscar).

I suppose I could start with any of these, but the problem is that when I try to articulate anything about this movie, it almost feels like I'm grasping air. Chances are—whether it's because of the TV nature of the project, the lack of originality, or even the cynical marketing—at the end of the day, “Star Wars: The Mandalorian and Grogu” is a movie that feels like there are no stakes. The Mandalorian (Pedro Pascal) has finally turned his bounty-hunting skills to use to help the Rebel Alliance capture enemies who are still loyal to The Empire. Joining him for every mission is Grogu (AKA: Baby Yoda), who sometimes acts like a local lookout and sometimes uses his Force powers to get them out of sticky situations.

They are tasked by the Rebel Alliance to hunt down the whereabouts of Rotta the Hutt, the son of Jabba the Hutt, who has turned his back on his family's life of crime and discovers he finds more pleasure in fighting in gladiator-style arenas. When I think of the movie, Rotta is the only character who appears to have an arc. Being the offspring of a famous galaxy gangster, he despised being hated by everyone and thus turned his talents into something that would make people cheer for him. It is the only time in the movie that audiences might come to like and relate to. Grogu, cute as he is, mostly exists to be cute for cuteness' sake. The Mandalorian himself is sadly no better.

Without the context of the show (a problem that won’t apply to everyone), his reasons for fighting are not very clear, and the only thing that seems to matter to him is that he captures his enemies without them seeing his face. Hey, here’s a question: does it help a bounty hunter catch his prey if they’re too busy worrying about their fashion to properly blend in? Never mind. There is also a subplot about how Rebel Alliance is attempting to create an alliance with the Hutts (the family members that don’t mind continuing Jabba’s legacy), so for those of you who long for the days of George Lucas and his interplanetary trade disputes… well, maybe this isn’t too far-fetched for the franchise.

The problem, as I see it, is that “Star Wars: The Mandalorian and Grogu” is so basic and unimaginative that nothing sticks. We’re talking about a franchise whose original trilogy created one of the great franchises of all time that continues to inspire filmmakers to this day. While this one will likely also be debated online, I have a hard time imagining about what. Jon Favreau's direction is so paint-by-numbers and typical that it feels exactly like the TV property it was spun off from.

On TV, “Andor” is showing a new, dramatic version of the franchise that feels like a TV program that could sit beside “The Sopranos” and “Dexter” as being must-see programing. In theaters, “Star Wars: The Last Jedi” (controversial as it was) gave a bold new vision for what the franchise could look like on the big screen going forward. “Star Wars: The Mandalorian and Grogu” somehow feels safe and backwards at the same time. It is neither a technical marvel, nor is the storytelling inspiring. Some may find it fun. I will admit that some of the practical effects are cute. But if ‘Star Wars’ is to remain a theatrical experience, the experience better be worth getting off the couch and paying to see.