Rogue One: A Star Wars Story Review (2016)

Perhaps the most surprising and welcome thing about Gareth Edwards’ “Rogue One: A Star Wars Story” is how dark it is, not just in the context of the “Star Wars” saga but also in context of big budget franchise films. Edwards’ film is a prequel—setting up the events of “A New Hope.” We follow the rebellion as they embark on a risky mission to steal the Death Star plans.

“Rogue One” is a bleak and gritty old-school war film set in the “Star Wars” universe. There’s plenty of hope in the hearts and minds of the characters, a key ingredient in rebellions and revolutions, but there’s a lot of pain and suffering as well. As all of the successful (and unsuccessful) revolutions in history have taught us, much has to be sacrificed for serious change. Edwards doesn’t shy away from immersing us in the tragedy and melancholy of warfare.

The stakes are high in “Rogue One”—lives are lost and a lot more lives are at risk. The conclusion is almost shocking in how downbeat it is. Outside of “The Empire Strikes Back,” “Rogue One” is the dourest “Star Wars” film to date. This bleakness raises the stakes in “Rogue One” and also adds considerable weight to “A New Hope”—knowing now about all the destruction and suffering that went on to get these plans into the hands of the rebel high command adds a compelling and gritty layer of depth to the original trilogy.

“Rogue One” gets away with this bleaker tone because it’s a standalone feature. It’s a complete, self-contained vision that isn’t beholden to future films the way a “Marvel Cinematic Universe” (MCU) picture is. The producers behind the MCU are always thinking three or four movies ahead, eliminating the element of surprise and preventing anything substantial story/character wise from going on. The death of a major character can’t happen because that character has already been confirmed for a future installment. This frustrating inevitability has plagued nearly every Marvel film.

“Rogue One” is a prequel to “New Hope” but it has a new set of characters. Established “Star Wars” characters show up in supporting roles and others are mentioned in passing but the movie’s focus is squarely on fresh faces, providing a sense of uncertainty and tension to the proceedings. The broad strokes may be known (we know that the Death Star plans will be stolen) but the fate of these new characters is not certain; anything can happen to them. As a result of all this, “Rogue One” is able to take risks that a film like “Captain America: Civil War” can’t. It can be bleak. Major characters can die, which makes for a more substantial and satisfying flick.

Edwards and screenwriters Chris Weitz and Tony Gilroy assemble a lively and diverse cast of characters— coming from various backgrounds but all equally angry and scarred by the empire.  There’s the intergalactic outsider/criminal Jyn Erso (Felicity Jones, scrappy and assured), who emerges as a leader, and the rebellion soldier Cassian Andor (Diego Luna). Additionally, there’s K-2S0 (Alan Tudyk), a wisecracking imperial droid that’s been rewired. He’s essentially a drier, more militarized version of C3PO and that’s OK with me. Forest Whitaker shows up as a scruffy, grizzled leader of an independent rebel group and an old friend of Jyn Erso. Whitaker’s performance verges on overwrought at times but he has gravitas and his thousand-yard stare is perfectly suited for this battleworn figure. Martial artist and Hong Kong action star Donnie Yen plays a witty blind intergalactic monk and fellow international star Wen Jiang plays his right hand man.

For all the bleakness, the film’s hopeful message of unity through diversity is resounding and timely. We must come together in spite of our differences to defeat tyranny.

From a visual standpoint “Rogue One” is staggering. Edwards has a knack for staging breathless, intense action sequences that take advantage of the big screen format. “Rogue One” is a big film and Edwards is a master of showing perspective; he and cinematographer Greig Fraser compose some truly breathtaking scenes/shots: The vastness of The Death Star as its shadow consumes a tiny Star Destroyer, a shot of the ATAT  (a mighty four legged tank) shown from the perspective of fleeing soldiers during a beach battle.

I particularly love the way Edwards stages the scenes in which the Death Star shows off its destructive powers—on the planet that’s been targeted, a massive, slow moving mushroom cloud of terror and destruction devouring the ground bit by bit, seen from the point of view of the poor inhabitants who will be affected. This attention to size and perspective emphasizes the danger and dread pulsing throughout the film. The Empire is menacing and lethal.

In terms of flaws, the beginning of “Rogue One” is somewhat chaotic and jumbled as it jumps around from planet to planet, introducing its large ensemble and various plot strands. And the film suffers from some cheesy dialogue, something that’s never been strong in any “Star Wars” films, unfortunately. It’s not as fun as “The Force Awakens” and the characters aren’t as easily relatable as the central trio in that film but “Rogue One” is also a much different, darker “Star Wars” movie, a welcome addition to the cannon.  

B+ 

Star Wars Episode VII: The Force Awakens Review (2015)

The arrival of “Star Wars Episode VII: The Force Awakens” (the seventh installment in George Lucas’s global Sci fi phenomenon, directed and co written by J.J. Abrams Lawrence Kasdan and Michael Arndt) brings a combination of excitement and skepticism.

On the one hand, we're getting another freaking "Star Wars" movie! the first one in nine years--something nerds have been dreaming about for years. Yet there’s plenty to be suspicious about; the stench of the prequel trilogy (Episodes One, Two and Three) still lingers. While each picture has a handful of great sequences, overall they are disappointments and while they will always be a part of the “Star Wars” mythos they’re the black sheep of the family. Additionally this latest installment comes with extremely high expectations—everyone has their own ideas about what they want to see from another “Star Wars” film—will the final product live up to those hopes and dreams or be another crushing disappointment?

Fortunately, “The Force Awakens” is a very good film and a strong start for a new trilogy that could potentially be great. As the final words of the introductory scrawl fade off into space Abrams avoids tedious plot exposition and throws us into the midst of the action--moving full speed ahead. The first act is tight, thrilling and more importantly fun. Abrams, Kasdan and Arndt’s screenplay achieves a near perfect balance of comedy and drama. It doesn’t take itself too seriously but it also packs quite the emotional and dramatic punch at crucial moments.

“The Force Awakens” excels the most in its focus on character, (over special effects or action sequences) specifically the new blood. Abrams assembles an array of extremely talented, up and coming actors and wisely situates them front and center. Heading this youthful band is Daisy Ridley playing Rey, a scavenger who lives on the desert planet of Jakku.  In short, Ridley is phenomenal and is in many ways the core of the entire film. Rey is tough, both physically and mentally (she can hold her own against the various figures she encounters along the way) yet raw and vulnerable at the same time, making her a three dimensional character. In a genre that’s still very much dominated by males it’s refreshing that Abrams and co. allow an unknown actress to shine in such a major cinematic event. Ridley also joins the pantheon of badass action heroines in 2015 that also includes Charlize Theron from “Mad Max: Fury Road” and Rebecca Ferguson in “Mission: Impossible—Ghost Protocol.”

In addition to Ridley there’s also John Boyega (another relatively unknown actor) as Fin, a storm trooper who’s having second thoughts about his line of work and Oscar Isaac as hotshot pilot Poe Dameron. Also strong here is Adam Driver as the picture’s main baddie Kylo Ren--sporting an intimating mask and black cloak, along with a tri bladed light saber. Going into the film, I was worried that Ren would be a one-note villain; cool to look at sure, but hollow. Driver brings a surprising amount of depth and humanity to the role, taking Ren far beyond a simplistic “I’m-evil-and-I-want-to-rule the-world” bad guy, revealing a damaged and insecure man. There are plenty of other supporting characters, (too many to name here) some more fleshed out than others. However the quartet of Rey, Fin, Poe and Ren form a solid base that more than adequately supports the movie for the duration of its running time.

As to be expected “The Force Awakens” contains its fair share of nostalgia-- references to the original films (when we first meet Rey on Jakku she’s scavenging parts from old decaying Galactic Empire ships buried in the sand) as well as the return of “Star Wars” veterans Han Solo, (Harrison Ford) Princess Leia (Carrie Fisher) Luke Skywalker (Mark Hamill) and Chewbacca (Peter Mayhew). However--in a year of multiple sequels and reboots of popular movie franchises that bang on the nostalgia drum too much without any good reason--the nostalgic bits in “The Force Awakens” rarely feel forced. Abrams and co. incorporate these various characters and references organically and in some cases they play a rather substantial role in the central storyline.

Is “The Force Awakens” flawless? Of course not. Without nitpicking I think the picture’s biggest issue is redundancy in regards to story. Structurally, the script is a little too reminiscent of the inaugural episode “A New Hope,” which eliminates some tension and surprise. There’s a new galactic empire called the First Order and a rebellion and a droid storing valuable information that both parties want. This issue becomes most problematic in the film’s third act during a lengthy climactic battle. Not only is this particular sequence redundant, it’s flat out boring and feels more like an afterthought. The unfortunate, unavoidable quandary the prequel movies found themselves in was, no matter how many characters, gadgets or exotic planets Lucas introduced the outcome (Anakin Skywalker turning to the dark side and becoming Darth Vader) had to be the same. Meanwhile, this new trilogy has no preset ending and could go in virtually any direction. The possibilities are endless so to see Abrams and Kasdan hit one too many familiar beats is mildly disappointing.

And yet, for all the familiar beats it hits and the occasional underwhelming sequence, “The Force Awakens” has a number of surprising weighty moments scattered throughout. In an age where so many PG-13 action films feel watered down and insubstantial, it’s nice to see that Abrams and co. aren’t afraid to take risks and up the stakes within such a culturally treasured franchise. For the most part, “The Force Awakens” manages to be respectful of the original features while also realizing the need to move away from them, something I hope will continue on in the next two.

There’s more I could discuss but I would be doing a major disservice to readers.  “The Force Awakens” will no doubt play extremely well with fans and should do big business at the box office so its best to let them discover the film’s best moments on their own. As for myself? The former “Star Wars” fan boy, the film lover and the film critic in me walked away satisfied. The picture serves as a great starting point for the new trilogy, featuring a group of fresh and talented faces that will (hopefully) take it in bold new directions.

B