Star Wars: The Mandalorian and Grogu, 2026.
Directed by Jon Favreau.
Starring Pedro Pascal, Jeremy Allen White, Sigourney Weaver, Jonny Coyne, Dave Filoni, Steve Blum, Martin Scorsese, Hemky Madera, Paul Sun-Hyung Lee, Matthew Willig, and Daniel Korenfeld.
SYNOPSIS:
Once a lone bounty hunter, Mandalorian Din Djarin and his apprentice Grogu embark on an exciting new Star Wars adventure.
Despite the title Star Wars: The Mandalorian and Grogu, the closest the latest installment in this franchise set in a galaxy far, far away comes to reaching an emotional crux in the narrative involves neither of those beloved characters from the well-received TV series. That fumble belongs to the characterization behind Rotta the Hutt (voiced by Jeremy Allen White in a performance technically augmented to sound like the species, but still distractingly human enough to create something off that never quite clicks, as if the filmmakers got cold feet or if there were some contractual obligation forcing some form of recognition for the star), enslaved son of Return of the Jedi fan-favorite Jabba the Hutt, participating in gladiatorial-like combat.
The difference here is that, while Rotta is trying to fulfill a debt to a criminal organization, not only is his shredded physical appearance subversive compared to his family’s gluttonous look, but bloodthirsty crowds also cheer him on, rather than being feared as his now deceased father was while ruling. Or so he thinks. It turns out that his final fight prior to freedom is a fixed arrangement intended to ensure his death, which is already a devastating betrayal to learn. However, those same crowds don’t seem particularly upset or unnerved that their champion is about to be killed and tossed aside for a new champion to satiate this hunger for violence and bloodshed.
In theory, this is a promising jumping off point to ingratiate the character into the ongoing saga of Mandalorian bounty hunter Din Djarin (Pedro Pascal in what could be argued as something that doesn’t even count as a live-action performance given there is one scene without his helmet and most likely never physically on set throughout most of production – Brendan Wayne and Lateef Crowder served as set doubles – with again, something distractingly distant when taken as just a vocal turn) and baby green apprentice Grogu (in a somewhat unsurprising turn of events, the impressive puppetry might be the most expressive and human element here) as a type of found family looking out for one another with the former pointing out ” the way”. The makings for expanding on that dynamic while adding to it, or telling a heartfelt character-forward story are here.
And while I’m aware that director Jon Favreau has done celebrated work here on the TV series, the key distinction here is that this is a continuation film (and one that, from admittedly limited experience and knowledge, sounds unnecessary at that). Collaborating on the screenplay with Dave Filoni (who some perceive as a divine gift for the franchise who can do no wrong) and Noah Kloor, Star Wars: The Mandalorian and Grogu falls under the banner of what should be coined as the Jon Favreau special: technically competent and visually spectacular but lifeless and hollow underneath with no soul, urgency, momentum, or anything suggesting that there is an artist here who wanted to tell a story that resonated in any way
Not only does this feel like a two-hour episode of television that advances the overall plot forward in no shape or fashion, but it is empty and begins to feel as if it might go on forever (one segment in particular sees Grogu wandering around some woods trying to accomplish a goal that won’t be spoiled, starting as fan service that might transcend the notion, only to slog on for no reason other than the diehards might be loving the setting).
The gist is that in the New Republic’s quest to hunt down remaining leftovers of the Galactic Empire hanging around like cockroaches looking to rebuild their numbers, “Mando” has received a messy mission from his handler Colonel Ward (Sigourney Weaver) to locate Rotta the Hutt and bring him back to his aunt and uncle (now in charge of the family crime business) in exchange for information about the whereabouts of a high-ranking target. By the way, she has nothing to do.
Part of the reason this is frustrating is that there are few moments when human characters are on screen, which is compounded by the fact that the majority of the movie is already heavily effects-driven. It is another testament to Martin Scorsese’s unparalleled, multi-talented excellence that he conveys animated emotion in a brief, scene-stealing voiceover role, speaking of risks, dangers, and perils that the film never comes close to delivering. There comes a point when all of this feels more like an expensive video game than a movie (at one point, Mando has to fight a dragon serpent in a boss-fight pit that will have audience members begging for a controller).
Nevertheless, cue double-crosses and ulterior motives, as almost no one can be trusted on this job, whereas Rotta the Hutt is doomed no matter where he ends up. Again, there is the occasional gesture toward a potentially touching moment as he views Grogu as a kindred spirit, but that is fleeting. This is mostly non-stop action that is, yes, elevated by another astonishing score from Ludwig Goransson that perfectly encapsulates the epicness being strived for and the atmosphere of each varied locale (complete with a synth-heavy tune fitting in with the nightlife depicted in the gladiatorial combat space run by criminals), that is precisely choreographed boasting a wide range of environmental color palettes, equipment gadgetry, and modes ranging from close-quarters-combat to the usual aerial chases through vast spaces, but for all the money spent on screen and undeniable talent put into the special effects, is flat with no sense of weight or importance. Although it is worth mentioning that Rotta pulls off a wicked sweep attack with his tail.
By the time Star Wars: The Mandalorian and Grogu ends, nothing of significance has happened for the series or franchise. Sure, there are undoubtedly fans out there who would show up hoping to witness some cool effects and fan service, and to find comfort in revisiting familiar characters. For anyone looking for a story or anything remotely resembling characterization or something that pushes the universe forward in any way, they are left by the wayside at lightspeed. The only parties benefiting from this film are Mel Brooks and the team behind Spaceballs 2, because it embodies the time-tested soulless sequel title joke, “The Search For More Money”. They almost certainly have more material to squeeze in now.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★
Robert Kojder
