Film Review – Star Wars: The Mandalorian and Grogu (2026)

      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 solitary bounty hunter, Mandalorian Din Djarin teams up with his apprentice Grogu to embark on a thrilling new Star Wars adventure. Despite being titled Star Wars: The Mandalorian and Grogu, the latest chapter in this franchise set in a distant galaxy reaches its emotional high point not through these beloved characters from the well-received TV series, but through the character Rotta the Hutt (voiced by Jeremy Allen White, whose performance feels both augmented to suit the species and distractingly human). Rotta, the enslaved son of fan-favorite Jabba the Hutt from Return of the Jedi, finds himself in gladiatorial combat.

      The twist is that while Rotta attempts to repay a debt to a crime syndicate, his physically altered appearance starkly contrasts with his family's gluttonous image, and cheering crowds rally behind him instead of fearing him as they did his now-deceased father. Or so he thinks. It becomes apparent that his final battle before gaining freedom is a setup meant to ensure his demise, revealing a devastating betrayal. Yet the crowds seem indifferent, not disturbed that their champion is about to meet his end and be replaced by another to satisfy their thirst for violence.

      In theory, this setup could have served as a compelling lead-in to integrate Rotta into the overarching narrative of bounty hunter Din Djarin (Pedro Pascal, whose performance could be considered less than live-action since he only appears helmetless in one scene, with Brendan Wayne and Lateef Crowder serving as body doubles) and his young green apprentice Grogu (whose impressive puppetry might be the most relatable and expressive aspect). This dynamic holds potential for an exploration of a makeshift family watching over one another, with Din illustrating "the way."

      While I recognize that director Jon Favreau has achieved acclaim in his work on the TV series, it's crucial to note that this is a continuation film, and from what I understand, it seems unnecessary. Co-written by Dave Filoni (who many view as a blessing for the franchise) and Noah Kloor, Star Wars: The Mandalorian and Grogu embodies what can be described as the Jon Favreau special: technically accomplished and visually stunning, yet devoid of depth, urgency, or emotional resonance, lacking what might indicate a genuine artistic desire to tell a meaningful story.

      This film feels more like a two-hour episode of television that contributes little to advancing the overall narrative and risks dragging on interminably. One segment even shows Grogu meandering through the woods toward a goal that won’t be revealed; it initially feels like fan service, but ultimately drags on, seemingly for the sole enjoyment of die-hard fans who appreciate the setting.

      The premise revolves around the New Republic's efforts to track down remnants of the Galactic Empire, which linger like cockroaches aiming to rebuild. "Mando" receives a convoluted mission from his handler, Colonel Ward (Sigourney Weaver), to locate Rotta the Hutt and return him to his aunt and uncle (who are now managing the family crime operation) in exchange for intel about a high-ranking target. By the way, her character contributes little to the plot.

      Compounding the frustration is the scarcity of moments featuring human characters, as the majority of the film heavily relies on visual effects. Martin Scorsese delivers an outstanding animated emotional performance in a brief but impactful voiceover role, discussing risks and dangers that the film fails to deliver. At times, the experience feels more akin to an expensive video game than a cinematic presentation (notably, Mando faces a dragon serpent in a boss battle, evoking audience desires for a game controller).

      As the plot unfolds, unexpected double-crosses and hidden agendas arise, with few characters proving trustworthy. Rotta the Hutt seems doomed, regardless of his fate. Although there are fleeting gestures toward emotional moments, such as his connection with Grogu, the film primarily consists of relentless action accompanied by another incredible score from Ludwig Goransson, which captures the epic nature aimed for and the ambiance of each varied setting (including a synth-heavy tune befitting the crime-laden gladiatorial arena). Despite the well-executed choreography showcasing an array of colorful environments, gadgetry, and combat styles, the film remains flat, lacking any sense of weight or significance, although Rotta does manage an impressive tail sweep attack.

      By the film's conclusion, nothing of consequence occurs for the series or franchise. While certain fans may hope to witness spectacular effects and fan service or find solace in familiar characters, anyone in search of an engaging story