Dir: Jon Favreau
Cast: Pedro Pascal, Jeremy Allen White, Brendan Wayne, Lateef Crowder, Jonny Coyne, Martin Scorsese, Sigourney Weaver
This might just be the most uninspired Star Wars theatrical outing yet, shuffling a flimsy script from scene to scene with the rhythm of a forgettable TV episode. Still, I found myself unexpectedly charmed by the titular duo
Few would deny that “Star Wars” stands as one of cinema’s most influential and instantly recognisable franchises. Yet as George Lucas’ space opera nears its fiftieth anniversary, the once universally adored saga seems to be drifting through a creative slump. After the fiercely debated sequel trilogy, which went out with a whimper with the shambolic “The Rise of Skywalker” in 2019, even the most loyal fans seemed to be losing interest. Although the big screen went dark for seven years after the Skywalker saga, die-hard fans have been kept busy with a steady stream of spin-offs, prequels, and sequels, all streaming exclusively on Disney+.
The first of many episodic adventures in the ever-expanding “Star Wars” universe was “The Mandalorian”, Jon Favreau’s brainchild, pitched to Lucasfilm president Kathleen Kennedy in 2017. Its debut coincided with the launch of Disney+ in 2019, following Disney’s acquisition of Lucasfilm back in 2012. I’ll admit, I haven’t watched “The Mandalorian” or any of the live-action series like “Andor”, “Ahsoka”, or “Obi-Wan Kenobi” for that matter, but I know the lore well, having grown up with Boba and Jango Fett. Unlike the infamous Fetts, whose bounty hunting skills often fell short of their legend, Din Djarin actually lives up to the hype, proving himself a formidable tracker of outlaws, dead or alive.
With the main “Star Wars” timeline currently on hiatus, “The Mandalorian” was the obvious candidate for a cinematic leap, as it is the longest-running live-action series. Despite its loyal following, doubts lingered about the film’s box office prospects. Blockbuster fatigue has swept through Hollywood, toppling giants like Marvel, Disney’s live-action remakes, and even “Star Wars” itself in recent years. Meanwhile, younger audiences are flocking to low-budget, under-the-radar horror films crafted by up-and-coming directors who speak their language. As a result, “The Mandalorian and Grogu” has been overshadowed at the US box office by the likes of “Backrooms” and “Obsession” in recent weeks.
“The Mandalorian and Grogu” stumbled out of the gate with the weakest opening in the franchise’s 49-year run, and things might have been even bleaker if not for Grogu’s irresistible appeal. Since his debut, Grogu has captured hearts far beyond the core fanbase, charming even those who have never watched the show. I hadn’t seen any of the series beforehand, but I was genuinely excited to finally see the internet’s beloved “Baby Yoda” on the big screen. After catching the film a bit later than planned—a delay that speaks volumes about the franchise’s waning pull—I can confidently say that Grogu and his unexpectedly touching bond with Mando are easily the film’s brightest stars.
Right from the start, we are thrown into the action with the formidable duo of Mando/Din Djarin (Pedro Pascal) and his foundling companion Grogu. Together, they take down a ruthless neo-imperialist warlord from the ashes of the Galactic Empire, following orders from the New Republic. Soon after, Mando receives a new mission from Commander Ward (Sigourney Weaver): track down the elusive Commander Coin (Jonny Coyne). The Hutt twins, heirs to the infamous crime lord Jabba, a name that will ring a bell for fans of the original trilogy, offer a tempting lead on Coin’s location. Yet their price is steep—they demand the return of Jabba’s son and heir, Rotta (Jeremy Allen White).
Though Mando takes on the mission with hesitation, he soon realises that the Hutt twins intend to betray the New Republic and eliminate their own brother, who now fights as a celebrated gladiator in the moon Shakari’s infamous pits. This revelation sets the stage for a tense showdown, with Mando, Grogu, and Rotta facing off against the cunning twins and their own mysterious bounty hunter, Embo.
Heading into this thirteenth “Star Wars” film, I expected to be hopelessly lost, having skipped all the preceding TV series. Luckily, a helpful title card and some second-hand knowledge quickly brought me up to speed with this post-Skywalker world. Still, I was disappointed that the iconic opening crawl was missing. Once Mando’s mission and rather thin motivation were revealed, it became clear this film would do little to expand the saga’s lore. With the fourth season of the show on hold, the film’s production took priority, which explains its episodic, almost patchwork structure. I can’t tell if the story was crafted just for the film or cobbled together from unused episodes, but the disjointed acts—each set in a different location with its own mini-quest—suggest the latter.
The story basically tracks Mando on yet another bounty hunt, only this time he’s derailed by a series of convenient complications that extend the duration beyond that of an hour-long episode. With the vastness of the “Star Wars” universe at its disposal, “The Mandalorian and Grogu” seems torn between going big and keeping things small and personal, trying to spotlight the gears turning in the Republic-Empire conflict. This indecision leaves the film feeling muddled and uninspired, likely disappointing both newcomers and long-time fans alike.
Not only does the film feel disconnected from the larger franchise, but there’s also a real emotional distance from Mando himself. While his helmeted anonymity is true to Mandalorian tradition, it makes it tough for viewers to connect with him on a deeper level. Pedro Pascal faces the tough job of conveying vulnerability from behind a mask, which feels like a waste of his undeniable charisma and screen presence—qualities that have made him a favourite among moviegoers.
Despite my many misgivings about the story, I was unexpectedly charmed by “The Mandalorian and Grogu”, thanks largely to the delightful puppetry that brings Grogu and his Anzellan friends to life. A long sequence before the action-packed finale follows Grogu as he sneaks through a jungle, evading the encroaching enforcers working for the Hutts. The film’s whimsical touches, retro visuals, and Jim Henson-style effects transported me back to childhood favourites like “Labyrinth” (1986) and “The Dark Crystal” (1982). It was a joy to see Favreau and his team embrace this approach, letting Grogu and his four tiny companions steal the spotlight with their cuteness and humour. Their bond with Mando is the heart that makes this otherwise lacklustre “Star Wars” outing worth a watch.
If this is the peak of what “Star Wars” can deliver now, I fear Lucasfilm and Disney are headed for even rougher times. The franchise feels bloated and in desperate need of a reset if it ever hopes to recapture its former magic. It’s not alone in this—many studios have flooded the market with content, driving audiences toward visionary auteurs like Christopher Nolan and fresh talent emerging from platforms like YouTube.
The film itself has its moments of charm and never drags, but in the grand scheme of “Star Wars”, “The Mandalorian and Grogu” seems destined to join 2018’s “Solo” in the ranks of the instantly forgettable.
The Mandalorian and Grogu is now showing in UK Cinemas
Dan Loves Film 
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