The Mandalorian And Grogu

Crest Of The Razor

The Mandalorian And Grogu
aka Star Wars: The Mandalorian 
And Grogu
Directed by Jon Favreau
USA 2026
Lucasfilm
UK Cinema Release Print

Warning: This will probably have some very minor spoilers in it.

So the new attempt by Disney to pull some box office back from a franchise they’ve already run into the ground, namely the Star Wars franchise, is actually not a terrible movie... but it does have its problems. Titled The Mandalorian And Grogu, the film follows on from the TV show The Mandalorian and continues the exploits of Din Djarin (The Mandalorian, played by Pedro Pascale and a few others when he wears the mask) and Grogu (played mostly by CGI).

And, though the story is a completely stand alone adventure from the regular series... well therein lies the problem. 

Now, regular readers will know I’m not exactly the biggest fan of The Mandalorian but, in terms of that property, this is a pretty well put together movie, at least for the first half of the film (yeah, don’t worry, I’ll get there) and is much more enjoyable than the episodes of the TV show. That being said, although it’s a half good movie... is it a half good Star Wars movie? Well no, it still doesn’t quite feel like it belongs in the Star Wars universe, I would have to say. Although, to be fair, it does try its best... but it also tries to be a lot of things... some of which are really cool but, are equally not necessarily giving off Star Wars vibes. I mean, I don’t think George Lucas would ever had conceived of this as a story in quite this way and... depending on what generation of Star Wars viewer you are... that may well impede your reception to the movie, for sure.

Now the other thing about the film is that, although it ultimately tells one story, it does seem more episodic than I was expecting. Not episodic in the way the original movies were as they tried to emulate the old Flash Gordon serials (reviewed by me here, here and here) but more like the whole thing is a game of two halves... the first half being a James Bond style opening sequence followed by a rescue mission that goes wrong, nicely setting up some new characters and ending after a gladiatorial combat scene. And up to that point... apart from some issues like the old serial title crawl which featured in the original movies being absent, not to mention some large passages of synthesiser music replacing the traditional orchestral leitmotif one expects form a Star Wars film... it’s actually a pretty enjoyable movie. 

However, the second half, starting from where the main lead is taken prisoner as payback for his actions in the first half of the film, well it’s no less action packed but I found it mostly very dull (until Sigourney Weaver brings in the X-Wings at the end). I was looking at my watch in this part of the film because, yeah, it got gruellingly boring for me, I have to admit. 

Overall, though, the first half won me over somewhat and you do need to see this one on a big screen to fully capture the spectacle. Director Martin Scorcese turns up at one point (though you might not recognise him at first) and there’s a nice, if somewhat blatant, lifesize reconstruction of the Star Wars chess game from the original movie. Look at the floor of the arena and a better look at the aliens fighting there and you’ll see what I mean. But, there are also some blatant references (I think one building even says Nexus 7) to Ridley Scott’s Blade Runner (reviewed here) on one planet, which look good and are also vaguely reminiscent of stuff they’ve borrowed in other films in the franchise, such as Attack Of The Clones (reviewed here) but, nice as these sequences were (and they are pretty good at this stage of the movie), they didn’t quite add up to Star Wars for me. 

However, Ludwig Göransson’s score, which I’m complaining about a little above, is also pretty good and uses the themes he’s developed in the show pretty well (I might try and get a CD from somewhere if they bother to release it in this essential format). And I also thought the effects work, which some people seem to be complaining about, actually worked pretty well in this movie. Especially the one for the character of the son of Jabba The Hutt, which looks a bit clunky but certainly convinces you that a creature like this could do the things it does without crumpling to the floor every five seconds.

And that’s me done with The Mandalorian And Grogu... I hated the second half of the movie but I mostly had a good time with the rest of it and I’m glad I caught it at my local cinema, who seemed to have absolutely no clue as how to frame it on their screens but, yeah, lack of competency of the staff at Cineworld seems to be a thing which really hasn’t gotten better over the decades. Oh well.  

The Mandalorian Season 3

Boba Head Blues

The Mandalorian Season 3
Streaming March - April 2023
8 episodes

Okay, so I’m grudgingly watching the third series of The Mandalorian now because I feel like I should go and see the first new Star Wars movie we’ve had in cinemas for a while, in a couple of weeks. According to a work colleague, I also have to try and watch the woman who sounds like a sneeze series too, before I can fully appreciate the new film. So... yeah, I’ll need to try and catch up to that one too but I’m feeling less than optimistic. And I’m warning you right up front here... this is going to be a fairly short review. 

So, all in all, I thought this third season of the show was somewhat better than the last two, despite the fact that my favourite character hasn’t returned because the overly sensitive people at the nameless channel who are producing this show managed to cancel the actress who was the best thing about the show. But I’m not going in to all that rubbish here.
 
Now, maybe it’s because they’ve lost the 1950s-1970s TV western vibe they nicely had going for it in the previous two series and instead replaced it with an overriding story arc, is why I responded to this one more. Specifically to do with the character played by Katee Sackhoff (Starbuck in the modern reboot of Battlestar Galactica) and that kinda held my interest... it’s a way of keeping a few standalone stories in as side mission quests while constantly referring to the overall arc... a bit similar to the way The X Files finally wrecked themselves, when that overreaching arc needed resolving and outstayed its welcome. 

We have The Mandalorian played, as far as I know, by Pedro Pascal and his Lone Wolf And Cub-style sidekick Grogu, played by a bunch of pixels. I say as far as I know because, as is ‘the way’, Pascal never once shows his face in this series at all and two other actors also play the main character. So... I’m guessing that Pascal only provides the voice here but, I may be wrong.

And it’s entertaining enough, I guess. 

There are a few fair bad things about the show... like the longest and most interesting episode about the sabotaged reintegration of a former imperial clone specialist seeming to have absolutely nothing to do with the rest of the story other than a quick, plug in reference. Thus rendering it a pointless episode with no real punchline other than some clones, which you really already suspected were out there, being introduced literally as a throwaway moment in the last episode, which was already referred to enough in another episode. So... yeah, the most interesting bit of Star Wars in a while got kinda derailed before it had even got a chance to properly shine. 

Another episode starring Jack Black, musical artist Lizzo and Christopher Lloyd, is kind of like an adrenalised version of Franz Kafka’s The Trial but, rather than stay with that concept, just includes too much action and not enough of the main protagonists tying themselves in knots trying to get past the bureaucratic web. So, yeah. I definitely had some issues... not to mention that Grogu kind of plays a secondary role in these episodes. I wanted to see more of him in action than I was getting in this third series. 

But, for the sake of not being completely negative about the way a certain company has bought and managed to completely neutralise anything that was good about the Star Wars brand... there are a few nice things I’d like to shout out about here. 

So we had the mouse robot from the Death Star using the same sound sample, making yet another appearance here (plus it’s brought some friends). And we also had R5D4 from the original Star Wars movie (later renamed Episode IV - A New Hope for the various 1978 and 1979 re-releases) playing a major role as The Mandalorian’s new droid. I still have my old 1978 action figure of this droid up in my loft and they haven’t changed much about the character (it maybe looks slightly less beat up). 

The other nice thing was Mando (to his friends) working his way through a set of delayed opening shield doors and taking out various troopers as he goes. It was done in a slightly different manner but it was a nice nod to the best of the prequel movies, The Phantom Menace... and it allowed for the same sense of frustrated anticipation in the characters watching from the opposite side of the various shield doors. So that was good stuff. 

And, yeah, sorry but that’s me done for this season. I’m kinda hoping both characters meet their final fates in the new movie (death or whatever), selfishly so I don’t have to sit through another season of this show. The House Of Mouse definitely need to calm their Star Wars output down and desist from watering down the franchise anymore, I feel. Just release a new movie every three to ten years may be a better way of continuing the brand. At least that’s how I’d deal with what they’ve done to it. But, hey, I’m sure they’re making more short term money just milking it dry for now so, yeah, you can tell I’m not that optimistic about the Star Wars franchise these days. This is the way.

Message From Space

Prince Hans, No Solo

Message From Space
aka Uchu kara no messeji
Japan 1978 Directed by Kinji Fukasaku
Toei/Eureka Masters Of Cinema
Blu Ray Zone B

Warning: Small spoilers about the final outcome of the movie... as if there was any doubt.

I’d not seen Message From Space before but I believe I do have a bootleg of this tucked away somewhere with the title Japanese Star Wars and, to be fair, that’s actually a more accurate title, in some ways, than its real one and, again in some ways, that does also sum up the movie too. And I don’t mean that to detract from what is, in actual fact, a quite entertaining and historically contextually impressive film.

Kinji Fukasaku, who some of my readers may remember from classic films like Battle Royale and the, perhaps, not quite so classic The Green Slime, directed this for release in 1978. It was a year after George Lucas’ magnum opus first hit cinemas in the US (and eventually, right at the end of the same year, in the UK) and the eyes of the world were eyeing up that box office take. Just as in America, many countries rushed to release their own, half rip off Star Wars* bandwagon films... some of which hadn’t been able to get a green light until the Lucas film had every producer on the planet scrambling to develop whatever science fiction properties they could get their hands on. And Japan was no exception although, while I’m sure many studio heads and film industry people had been able to see Star Wars in 1977, it actually didn’t get a release in Japan until a couple of months after this movie was already in cinemas (there’s a certain irony there, I guess).

Okay, so yes, despite the staunch defence of the movie against comparisons in the booklet included in the Eureka Blu Ray, this film certainly does have a lot of Star Wars injected straight into its DNA. I mean, if you want ot watch it on a surface level, you can’t help but laugh and be entertained by some of the ‘bend over backwards’ attempts to shoe horn as many resemblances as possible into the story and a fair few other production elements, it has to be said. However, there’s also a lot of other impressive stuff here which, perhaps, went on to inspire some of those Hollywood bandwagon movies in much the same way... I suspect.

A brief rundown of the plot set up is that Princess Emeralida, played by Etsuko Shihomi of the Sister Streetfighter films (reviews coming as soon as I get around to watching them) is charged with a mission by her father, the elder of the rag tag band of space hippies who are the lone survivors of the planet Jillucia. The war shredded planet has been occupied by the inhabitants of the evil, silver skinned Gavanas Empire, who have set up their main fortress there. So the tribal elder sends the eight magic Liaba seeds (snicker... Liaba minora perhaps... but they look just like Walnut shells to me) out into space to seek the eight brave warriors who are prophesised to save them. Emeralida and her humble bodyguard must follow them and find the eight worthy warriors, scattered in various places in the galaxy... and raise them to come to their aid. These include General Garuda played by Vic Morrow, his R2D2/C3PO half bleeping/half talking, dome headed android Beba Two, Kamikazi Mei (played wonderfully by a severely underused actress called Peggy Lee Brennan) and even the legendry Sonny Chiba as Prince Hans. They and some of the other ‘heroes’ are all pretty good in this and help carry what is a far more entertaining film than we should expect of the story. There’s even an appearance by the president of Earth, played by Tetsurô Tanba, who played in stuff like Three Outlaw Samurai (review will eventually be coming) and You Only Live Twice (reviewed by me here).

Okay, enough of the plot. The film has lots of key notes from Star Wars that it hits. The space ship flying overhead shot mimicking the Star Destroyer at the start of the Lucas film, the laser beams shot from pistols and dogfighting space ships (often making sounds more reminiscent of automatic pistols) plus many other familiar elements, such as the final attack run on the Gavanas fortress which looks suspiciously like the final attack on the Death Star, except in this case, instead of trying to hit a thermal exhaust port 3 metres in diameter, our brave and fearless heroes are trying to hit a reactor core 10 metres in diameter. Of course, in order to save the people of the planet, they also have to end up destroying said planet but, hey, at least they won, right? Right?

Certainly, one of the biggest influences felt from Star Wars here is the ‘golden age Hollywood score’ by composer Ken'ichirô Morioka. It’s like he studied John Williams seminal score to the ‘n’th detail and there are many call backs to some of the musical passages in the American film. Not least of which is the theme in the leitmotif for the Liaba seeds, which bears a striking resemblance (perhaps a couple of notes changed or missing) to the Obi Wan/Force theme from Williams’ Star Wars scores.

All this aside though, there are also some elements which Hollywood movies, including future Star Wars movies, might also have been taking notice of in this one. The lightning style forks of laser power emitted by the spaceships of the bad guys foreshadows the similar VGer effects used in Star Trek The Motion Picture of the following year (and I’m pretty sure one of the Gamera movies used it even before this... you’ll find it mentioned, I’m sure, in one of my Gamera reviews)... although, I guess it’s kind of an expansion of the same kind of visual effect used when R2D2 gets zapped by the Jawas, in some measure. Also, the interior sets of the Gavanas fortress, while tipping the head to the interiors of the Death Star in some ways, also has windows and decor which wasn’t seen in the Star Wars franchise until the second film, The Empire Strikes Back, was released in cinemas two years later than this. So, yeah, a kind of post modern Ouroboros kind of cannibalism between this and the Star Wars films, perhaps.

Ultimately, no matter how much of it is pure rip off (and there is a lot of that in this) and how much of it is original to this film (but probably also eclectically borrowed, perhaps), glowing space whips aside, Message From Space is a very entertaining piece of cinema starring some Japanese screen legends and I’m really glad that Eureka have decided to put out a fantastic looking Blu Ray disc of it. A definite recommendation from me, for sure. Maybe they’ll issue the TV series continuation next?

* And don’t forget, the Star Wars films themselves ransacked many different story elements from various sources (some, of course, from Japanese cinema) and so one can understand a lack of reluctance to copy the film by other people... it’s all fair game and Star Wars certainly wears its influences on its sleeve.

Guardians Of The Galaxy Vol. 3

Quill Life

Guardians Of
The Galaxy Vol. 3
Directed by James Gunn
United States/Canada/New Zealand  
2023 Marvel
UK cinema release print

Warning: There’s a spoiler in here in terms of regular character's mortality rate... you might want to steer clear if you don’t want to know.

Okay... the gang’s all here, again, for the third ‘stand alone’ installment of Marvel’s cosmic adventurers, Guardians Of The Galaxy Vol. 3. Well, I say ‘stand alone’ but, honestly, unless you’ve seen both Avengers Infinity War and Avengers End Game, you’re going to be totally lost on stuff like the relationship between Chris Pratt’s Peter ‘Star Lord’ Quill character and Zoe Saldana’s Gamora. Quick recap for those who missed it... after half the Guardians were temporarily lost to the Thanos blip, before which Gamora was killed by her adopted father, a version of her character from an earlier timeline was split off into the current ‘real’ timeline but before a time when she gelled with the group and became Quill’s girlfriend.

Joining Pratt and Saldana are the regulars like Pom Klementieff as Mantis, Bradley Cooper as Rocket Racoon, the brilliant Dave Bautista as Drax The Destroyer, Vin Diesel as Groot, Sean Gunn as Kraglin and, of course, the illustrious Karen Gillan as Gamora’s sister Nebula. Sylvester Stallone also returns in this one... and Will Pouter shows up as the long teased Adam Warlock character. They’ve also expanded the role of Cosmo... who everybody must realise (and it’s made even more implicit here) is the Marvel version of Laika, the first dog in space. She has a lot of good scenes in this one and I really enjoyed her character here.

And the whole film is... pretty good, actually.

My track record with the Guardians Of The Galaxy films is not so great. I kinda liked the first movie but, honestly, the second one was truly awful. I only properly warmed to them when they were absolutely great in Avengers Infinity War but, well, yeah, the less said about their Christmas special last year the better. I do have a review of that one but didn’t manage to get it up before the end of the 2022 Christmas season so, I’m holding that one for December this year. This one though is... pretty good. Not as good as thier Infinity War appearances but, of the three cinema released movies with their collective name in the title, I’d have to say this is easily the best one.

This one has a dark heart too, with an opening which leaves the Guardians in a tragic state of imbalance and going on a quest to try and save the life of Rocket, who is left in a coma. While he’s in that coma we get regular flashbacks to how he got from being a simple racoon from Earth to what he is now (think space vivisectionists). The film is full of the usual action, good dialogue and... yeah okay, the usual unfortunate needle dropped songs which show a certain taste on behalf of the production team that certainly doesn’t gel with my own, alas.

The stakes are high but, they’re not the usual ‘universe is in peril’ kind of stakes we usually see thrown at these characters. Instead, each of their missions as they occur are arrived at due to their personal jeopardy. They are all there for their friends in a way, due to Rocket’s back story, he couldn’t be. That being said, although the trailers teased Star Lord’s seemingly lifeless body being carried by Mantis (something which actually occurs pretty early on in the film’s running time), this film has none of the regular characters dying, despite the marketing saying this is the Guardian’s last outing... which I didn’t expect. I mean, they trailer teased it so it looks like we’d lose Peter Quill at some point... so I was pretty sure that wouldn’t be one the cards at all. But I was also expecting at least three of the other characters to die but, no, they’re all alive and well at the end and the actors are easily able to drop in en masse or individually in any future Marvel movies, should the wage packet be sufficiently convincing. Indeed the last of the post-credits scenes already stated that a certain character will definitely be returning at some point. so, yeah, there’s that.

All in all then, a short review for a movie with the only real problem* that, at two and a half hours, Guardians Of The Galaxy Vol. 3 seems like it might have benefited from having a much leaner edit. But it’s just fine as it is and my favourite character here, by a country mile, was Cosmo (aka Laika) the Russian space dog. And, yes, for those who want to know, Howard The Duck gets another cameo in this one. 

* Actually, having slept on this review, I realise there is another BIG continuity problem with the film. Peter Quill left Earth with a boy and clearly hasn't kept up with Eath culture, as evidenced by him askeing Spider-Man if Footloose is still the greatest movie ever, in Avengers Infinity War. How come, then, he can throw an insult which includes a reference to Robocop, a film made long after he'd departed from Earth culture? Makes no sense! Bad writing.

The Book Of Boba Fett

Duel Of The Fetts

The Book Of Boba Fett
Airdate: 29th Dec 2021 - 9th Feb 2022
Lucasfilm

Warning: Spoilers in this one.

After two seasons of The Mandalorian (reviewed here and here), some of which was enjoyable and some of which dragged considerably, I was pretty sure Disney has managed to dilute the Star Wars brand which they’d bought from George Lucas so much that, they really couldn't even get a halfway decent TV show out of it. I still believe that and I think the franchise stopped being special somewhere around the release of the first season of The Mandalorian and the cinematic release of Star Wars Episode VIII - The Last Jedi (my review of that 'not so special' movie can be found here). However, I have to say that their latest series, The Book Of Boba Fett almost changed my mind on that... almost.

This one opened really strongly for the first four episodes and then... well it felt like it suddenly changed its brief somewhat and only regained some of what made those four episodes so good around about the seventh and final installment. One of the strengths of those first four is that they take place in two separate time zones... the first takes place not long after the sail barge battle in Star Wars Episode VI - Return Of The Jedi (reviewed here) and once again stars Temuera Morrison as Boba Fett. Which is a nice bit of symmetry as, in addition to making the role his own in his guest appearances in series two of The Mandalorian, he also of course, played Boba’s father, Djanga Fett, way back in Star Wars Episode II - Attack Of The Clones (reviewed by me here).

This finally shows us how Boba stopped himself from being digested by the Sarlac in Return Of The Jedi, how he gets taken prisoner by a tribe of Tusken Raiders and then earns their trust, respect and over time, becomes the honourary human member of the tribe, negotiating for their rights on Tatooine before seeing them slaughtered. He then goes searching for his armour (which we don't see him finding as, I think it was already a told part of the tale in The Mandalorian?). The other time sequence, crosscut with these flashbacks via Boba’s dreams as he floats in a Bacta tank in numerous sessions, recovering from his wounds, follows on directly from the post credits sequence from the last series of The Mandalorian, where he kills Bib Fortuna and takes over Jabba The Hutt’s palace. However, with the city of Mos Espa under his protection for their tributes, this inadvertently brings war from those who would use the city for running spice. So it’s down to Boba to try and hire some muscle to get some ‘back up’ for the final showdown.

And it’s all great... except, in episode five, The Return Of The Mandalorian, it all stops dead and we just get a continuation of that show and, yeah, that episode really drags. And it’s pretty much the same for episode six, where The Mandalorian (played again by Pedro Pascale) goes off to visit Grogu and Luke Skywalker before going back to Tatooine to help Fett in his private war. So, yeah, we get to see Grogu again, the far from convincing ‘younged up’ version of Mark Hamil’s Luke Skywalker and also Rosario Dawson returning as ‘that other Jedi’ but, yeah, it’s all a bit saccharine and full of myth building, which really doesn’t seem all that important and, honestly, pretty dull. We all agreed in this household that we could really have done without those two episodes.

When we finally get to the finale, the characters we grew to know, including Ming-Na Wen (from Agents Of S.H.I.E.L.D, reviewed by me here) continuing on from her time in The Mandalorian as Boba’s personal bodyguard, are all back in it again properly and it’s an hour of shoot outs and giant beast punch ups (Boba has trained a new Rancor to replace the one Luke Skywalker killed in Jabba’s palace in Return Of The Jedi... it even gets its own King Kong moment) which are mostly satisfying and gives a nice dramatic ending to the series, although it does get a bit Mandalorian-centric in specific deus ex machina moments you just know are going to happen.

Overall, apart from those two clunkier episodes I talked about, it was pretty great. I especially thought the various Tusken Raider scenes were something special and, frankly, if it had been seven episodes of just Boba among the sand people, I would have been much happier. There are lots of famous guest directors and a fair few guest actors too such as Robert Rodriguez, Danny Trejo and Bryce Dallas Howard but, there are also a few guest spots for legacy characters too, including one from The Clone Wars cartoon show which I haven’t seen (and don’t know if I’ll ever bother to getting around to).

The music is not so great in terms of fitting in with the Star Wars movies... although I did like the primitive opening theme tune. The shout backs to The Force Theme (well, Ben’s Theme in actual fact... let's get it right) and Yoda’s Theme felt a little out of place within the rest of the musical sound scape, to tell the truth... like they were plugged in rather than feeling like themes that could have grown from the whole... which I think says something about the style of the music being used. Star Wars has always been about trying to sound like John Williams and, while I understand the absolute necessity of getting away from that to keep the future of the franchise ticking over, I think abandoning that sound in the way they have here and in The Mandalorian... just further dilutes the brand, as far as I’m concerned anyway.

All in all, though, I quite liked The Book Of Boba Fett, much to my surprise and, yeah, I’d much rather see a second series of this one rather than going on another trip with The Mandalorian but, I don’t know what the plans are at the moment... everything seems to be in a state of flux over at Disney, at least on the public facing side, where the Star Wars franchise is concerned. But count me in for another series of this one, for sure.

The Mandalorian Series 2

Bounty Lines

The Mandalorian Series 2
2020 USA Created by Jon Favreau
Eight episodes.

Warning: Loads of big spoilers.

Well... I’ve been holding off from writing this review for a week or so* because... Series 2 of The Mandalorian was okay. And that’s all. And that’s pretty much the problem here. When I was a kid and later a teenager, Star Wars was a hallmark for something really special (even the two not so good movies, Attack Of The Clones and Revenge Of The Sith). If there was a new piece of the franchise coming then it was something to be looked forward to. It was something to set your sights on to get you through the year. And then George Lucas sold it to Disney. For, I’m sure, the best of intentions actually but, well, here we are.

The Disney treadmill got under way with a good start on The Force Awakens but then managed to turn out the somewhat ‘out of synch in terms of continuity’ Rogue One and the disastrous The Last Jedi (which looked really great but completely managed to screw the franchise up completely). When we got to the Star Wars film which did capture a lot of the things which made the originals special without being too ‘in awe’ of the lineage, Solo, the film under performed at the box office... something I personally believe was solely to do with stepped up bad timing and the lack of studio recognition as to how badly people thought previous release was (The Last Jedi). The last movie, The Rise Of Skywalker was pretty good but it spent most of it’s time trying to take away the bad taste of The Last Jedi to the point where it just seemed to jump the shark a little and swerve in a bit of the wrong direction.

And then there’s The Mandalorian. The first season followed it’s old TV western formula and managed to have some really good episodes, tempered with some less than stellar ones. Series Two is, I have to say, more consistent in its tone but, alas, somewhat straddles the line between great and terrible and seems, I dunno, just a little bland and mediocre. It’s a nice thing to watch and that’s no bad thing... but it’s not a great thing to watch, I’m sad to say.

The two main highlights which actually got me bothering to tune into this thing again were the return of two key characters from the main film franchise... Bobba Fett and Luke Skywalker. Alas, although Bobba Fett was played by the actor Temuera Morrison, the person who played Bobba’s father Jango Fett in the aforementioned Attack Of The Clones, he doesn’t make too much of an impact here. Granted, he elevates a couple of the episodes with his presence but ultimately, doesn’t serve much purpose other than to draw the audience interest from the original movies and to have a post credits sequence at the end of the last episode where he sets up a new Bobba Fett TV show.

His sudden reappearance from the dead is never really explained (I think it might have been already explained in some cartoons) and, due to some fast thinking from the writers in terms of the way the story goes in the last episode, he never gets to meet Luke Skywalker so Luke can kick his backside for what he did to Han Solo in The Empire Strikes Back. I’m guessing that would have taken too long out of an episode to write in and so, yeah, they don’t even try to cater for that confrontation.

And as for Luke Skywalker... well. I’ve got a lot of respect for Mark Hamill but this is the worst return of the jedi I could have imagined. They keep his black hood up when he’s lightsabering to death a new squad of battle droids which, frankly, look like they’ve been cribbed from Hammerstein wearing his old war head from The A.B.C Warriors strip in 2000AD comic. Presumably this is to give the effects team less CGI because, when he does reveal his face, they’ve used that technique which is sometimes successful and sometimes not, of making people look like they did decades ago. Alas, here it just looked as fake as the CGI generated Grand Moff Tarkin and Princess Leia from Rogue One. Also, despite ‘The Child’ being an obvious Force user, Luke just seemed somewhat out of place in the world of The Mandalorian, truth be told. At least that’s how it felt to me.

Pedro Pascal and his semi-regular companions were all on top form again but even special guest appearances such as Rosario Dawson and Katee Sackhoff, two very fine actresses, didn’t really distract from the ‘lack of special’. It was a nice and somewhat entertaining show, for sure but... yeah, it feels like Star Wars has really lost its magic since the Disney deal and I do believe that they are going to disprove the old adage “nothing succeeds like excess” next year with a whole host of Star Wars TV shows and another movie which, I suspect, will dilute the brand down even more. I’m trying to stay positive here because Star Wars has been in my life since I was nine years old, when I first saw the original movie in cinemas at the tail end of 1977 but, yeah, it feels like its almost becoming a chore to watch, in some ways. And now that The Child, aka Grogu, looks like he’s departed the series for good (possibly to be slaughtered by Kylo Wren in a decade or so after the setting of this show), it seems to me that the powers that control the current version of the Star Wars universe may be pushing their luck a bit if they are thinking of continuing this for a third season. I guess we’ll see what happens but, believe me, I am sorry I couldn’t be more positive about this latest show. But it just feels like more counterfeit Star Wars to me.

*At time of writing, last year sometime. Sorry, if I could get more excited about it I’d have got it up sooner.

Solo

Corellia Warfare

Solo - A Star Wars Story
2018 USA Directed by Ron Howard
UK cinema release print.

Warning: At some point near the end of this review there will
be a big spoiler. I’ll warn you about it again as it approaches.

Okay, so I’ll be honest and say I really wasn’t expecting the new Star Wars spin off, Solo, to be any good. In fact, after hearing about the troubled production history of this particular film and adding in the fact that I didn’t think much of either Rogue One or The Last Jedi, I was pretty much expecting this movie to be almost unwatchable. Imagine my surprise, then, when I found that this was one of the very few of the new wave of Star Wars movies I actually quite liked.

Alden Ehrenreich stars as the young Han Solo and I have to admit that, when I first heard this casting news I was really happy about it because I’d recently seen him in the wonderful Cohen Brothers movie Hail Caesar! (reviewed here) playing a singing cowboy and I thought he might be able to pull this kind of role off... would that it were so simple. However, as more damaging ‘on set’ stories emerged about him needing acting lessons and a, frankly, not so great couple of trailers where he looks and acts nothing like Han Solo (I noticed some of those moments were thankfully absent in the final cut off the movie), I was beginning to get very down about the whole thing.

As it happens, I needn’t have worried. Ehrenreich is superb as the young Corellian and he really does look... and act... exactly right in a lot of the scenes here. Everyone is saying that Donald Glover’s portrayal of a young Lando Calrissian (one of my favourite characters in the original trilogy) is the one to watch and, although he’s kinda okay (if somewhat more of a caricature of the original rather than something that convinces me it’s really the same character), I thought Han was definitely the scene stealer in this.

And Chewbacca, played in this one by Joonas Suotamo, is even cooler.

I have to say that when a certain scene comes up and Han is in peril, I realised about 30 seconds before Chewie entered the movie what was going to happen. It doesn’t matter though because he knocks it out the park here. Of course, in terms of the chronology of the characters, this is Chewbacca’s second appearance in the saga, after helping Yoda escape from Chewie’s homeworld Kashyyk in Revenge Of The Sith. The version of Chewbacca here seems strangely skinnier but maybe that’s because the situation he finds himself in is not an ideal one. He’s great in this movie, though, and it’s nice to see him forming a bond with the young Han Solo as the running time progresses.

There is also a wide range of new characters who all work very well in the film and have good chemistry with the lead, including Woody Harrelson, Thandie Newton, Paul Bettany as the villain of the piece and Han’s lost love Qi’ra, as played brilliantly by Emilia Clarke.

And... it’s an okay movie. It’s not great Star Wars in terms of feeling but it is close and even when I had pause for thought during the first sequence, I remembered the prequel trilogy’s opening chase scene from Attack Of The Clones and realised the high tech Blade Runnerish feel of this moment was acceptable, at least  in terms of staying near to the spirit of what has gone before. There are also a lot of fan moments where various parts of the mythology pop up, including two returning characters from another film in the series, one of whom I will most definitely... and in the most spoilery way... get to soon. But, yeah... stuff like the dice, the mention of bounty hunter Bossk, the spice mines of Kessel and various other things are all touched upon here (although I was sad that this is the first ‘Star Wars’ film not to include C3P0 and R2D2 in it... they could have easily had them appearing in this one). It also doesn’t make the mistake, at least in this particular film, of ruining the exact line reading of Han and Lando’s past relationship from The Empire Strikes Back. It come close to getting it wrong but the lines in Empire will still, just about, read right... at least in this movie, as it stands.

Some of the stuff in this film is absolutely brilliant, like the train heist scene (why the heck would a light spacecraft owning civilisation be using trains?) and the way in which Han is portrayed as the ultimate good guy who thinks he’s the bad guy but... there’s also some bad stuff too. The structure of the film seems somewhat loose and doesn’t feel like it’s leading up to anything in terms of the way the action works. Also, the celebrated (by some viewers) Kessel Run scene, which we’ve been hearing about since the first movie in 1977, was really confusing and anticlimactic for me. Even the music in this scene sounds a little like warmed over John Williams... which it kinda is. John Powell’s score at this point starts quoting various Star Wars action motifs all muddled together (including one of my favourite John Williams cues, The Asteroid Field) but it somehow seems somewhat diluted here. I don’t know if this was because it’s deliberately dialled down in the mix, played by a smaller orchestra or even if it was the sound set up in the screen I saw it on that was amiss but, this scene felt like it could be a little punchier than it is here, that’s for sure. That didn’t detract so much from my appreciation of the movie though so, yeah, nearing the end of the movie I was in the state of mind that I was having a fun, relatively Star Warsish feeling, kind of good time and that it was one of the better of the late entries in the saga.

And then the thing happened...

And this is your big spoiler warning folks. If you haven’t seen this movie, do not read past this point.

So we already know the person who the lead villain of the piece is answering to is the ‘real’ villain and, after a not so surprising twist in terms of the allegiance of one of the characters in the movie, we finally get to see who the real 'menace' behind the scheme was and... my jaw totally dropped. There are few movies that manage to surprise me like this one did because there, on the hologram talking to one of the other characters in the film was... Darth Maul. Yep... the same Darth Maul we saw young Obi Wan slice in half with a lightsaber decades before in The Phantom Menace. He’s got robotic legs so it’s shown he’s survived somehow and, apparently, if I’d watched the Star Wars cartoon shows The Clone Wars and Rebels, then I would know how that character managed to survive his seemingly mortal wounds. I did get very excited for a minute because I realised this could maybe explain the lineage towards the villain of the first two films of the latest trilogy, Snoke. However, I then also realised that Maul couldn’t possibly have retained his woggly, baby making equipment after the wounds he received so I’m somewhat less excited about this reveal now. It is an interesting turn of events though but, alas, I can’t quite see how they can follow through with a final showdown between this character and our heroes in any future sequels because he’s already been killed off again by Obi Wan on Tatooine in the cartoons, apparently. Nice idea though and it certainly surprised me.

End of spoiler zone!

And that’s me done on this one. John Powell’s score seems a little less Star Wars than I thought it would be but certainly seems consistent with a lot of this composer's other work. I like this guy a lot but he’s not who I would have picked to score a Star Wars movie, that’s for sure... the score is still nicely done though and maybe giving it a different feel was kinda the point (it certainly plays better as a stand alone listen than The Last Jedi CD... asides from the awful song... but, for goodness sakes, why do they keep missing off the end title music on these things... oh, right, they want us all to double dip an expanded CD edition in five to ten years time. Got it.). Who knows what’s in the minds of the people bankrolling these things at any given moment? All in all, though, Solo is an enjoyable bit of light space opera and, like I said, probably the best of the series we’ve seen since the release of The Force Awakens. I’ll probably revisit this one again before it leaves the cinemas.
Star Wars at NUTS4R2

 Episode 1: The Phantom Menace 

Episode 2: Attack Of The Clones

Episode 3: Revenge Of The Sith 

Solo

Rogue One 

Episode 4: A New Hope

Episode 5: The Empire Strikes Back

Episode 6: Return Of The Jedi 

Episode 7: The Force Awakens 

Episode 8:  The Last Jedi

Episode 9: The Rise Of Skywalker

Jupiter Ascending

Ascension Of Disbelief

Jupiter Ascending
2015  US
Directed by The Wachowski Sibs 
UK cinema release print.

You know, I so wanted to title this review Jupiter, Arse Ending, because I’d already been primed by the film’s promotional trailer, to expect one of the worst sci-fi films ever made. Seriously, just like Kingsman, The Secret Service (a film I reviewed here), the trailer for Jupiter Ascending did absolutely nothing to make me want to go and see this movie. The trailer's a mess of clunky dialogue and hollow, non-contextual special effects clips that actually put me off wanting to go for this one. And if I’d missed seeing this one at the cinema, I might never had gotten around to it because a trailer this bad... blimey! And that would have been a shame, as it turns out.

So why did I luck out and go and see it then? Simple. I heard that Sony Music they were releasing a double CD album of the film’s score by one of my favourite contemporary composers, Michael Giacchino. Now, Giacchino’s involvement alone would not have gotten me into the cinema and past that awful trailer, to be honest. What actually got me there was the fact that a double CD album meant that Sony were invested in releasing two discs of a score... so they must have had some faith in it. A score must be pretty special to get the two disc treatment these days and, since I’d already been to see what can only be the worst film I’ll see this year, and a lot of other years besides, Mortdecai (which I review here), I figured there was surely no way that Jupiter Ascending could be anywhere near as bad as that movie had turned out to be.

And so I went to the cinema last night to see, and hear, Jupiter Ascending for myself... and I was both delighted and disappointed by it.

Delighted because it’s, frankly, a damned good escapist, pulp sci-fi movie which is rarely pulled off as entertainingly as this one is and disappointed because, as I said in my opening line, now I don’t get to use my cool Jupiter, Arse Ending title for the review. Damn!

So why does the film work so well?

A friend of mine, Jason Pyke, had told me that it was a bit like Dune crossed with Brazil and that’s a pretty good little summation, I think... one which I’ll look at in more detail in a minute. It’s pretty much a film which covers all the bases and is influenced by a lot of science fiction and space opera over the years. A lot of the influences are not hard to pinpoint and there’s really no reason why this mess of a movie should hold together as well as it does... but it somehow seems to pull it all together and transcend the possible disasters that most postmodern amalgams fall prey to... and has fun doing it along the way.

Some of the things that really shouldn’t work are the clunky dialogue that actors and actresses like Mila Kunis (as the perfectly pulpily named Jupiter Jones), Channing Tatum, Sean Bean and Eddie Redmayne are having to try to say whilst keeping a straight face. It’s seriously bad in some places but the performances, coupled with the way it’s edited, seem to make up for it in a way that the trailer, to be fair, couldn’t have possibly been able to hide. The always brilliant Eddie Redmayne (see my reviews of his films My Week With Marilyn and The Theory of Everything) is somewhat uncharacteristically over the top here... using a terrible ‘treacherous royalty’ kind of accent and a performance which should leave you laughing but... I honestly don’t know how he got away with it but it just about works here... strangely enough.

There are a few things, asides from the performances and awesome visual effects, that the film does have going for it. It really is not unlike the Dune books by Frank Herbert, although the ‘spice’ has been replaced, right up front, by a commodity which will have any sci-fi fan worth his or her salt quoting a certain famous Charlton Heston line from the movie Soylent Green. However, to offset the tone, the film seems to work with the same kind of methodology of a Roger Corman movie... but instead of a scene of gratuitous nudity inserted for every ten pages of script, you have an action sequence to offset any of the plot as it runs it’s course. So it’s very much... talk - action scene - talk - action scene - talk - action scene in the most transparent way but it works like the best examples of that kind of escapist product works, the same way an old Doc Savage novel or a good 1930s - 1950s theatrical serial might work. And it keeps you entertained.

Also, it’s noticeable that a lot of Joseph Campbell’s theories about ‘story and myth’, the ones that George Lucas was making such a fuss about a little while ago, are woven, almost by default, into the story and screenplay... so it works really well when you have ‘magical aids’ to the heroine’s “call to adventure” like antigravity boots and the control of bees thrown into the mix. It’s wild and hilarious at some levels but it moves so fast that you never get the time to be anything other than caught up in the story.

And, yes, you do have a sudden insert into the middle of the movie which is basically ten minutes of Franz Kafka as filtered by Terry Gilliam’s Brazil... which somehow fits right into things and is capped off with a lovely little cameo of a role played by Terry Gilliam himself. A nice little cherry on the cake for that scene and, like I said, this movie is not exactly quiet about its various influences.

Fans of British comics who are familiar with the famous, multi-part epic Judge Dredd story The Day The Law Died will also recognise a strangely winged variation of the terrifying Kleggs, although they are not actually called that here. Also, the arguably ‘real life’ aliens known world wide as The Greys are mixed into this intoxicating cocktail of a movie in a way which is both sinister and representative of their place and function in modern Urban Myth and UFO Folklore. In fact, after a bit of a clunky scene, it was these characters who really pulled me into the mythology of the movie and allowed me to "buy in" to what the Wachowski’s are trying to achieve here... which is, at the end of the day, a hugely entertaining pulp fest reminiscent, it’s true, of various 1950s sci-fi stories but with a lot of heart behind the spirit of the final product... and a lot of action too.

Now, while Jupiter Ascending is unlikely to be winning any awards, it does have a strong, central female protagonist and an underlying romantic story set to a background of upper echelon, royalty and politics... and a heck of a lot of punching, fighting, chasing and general mayhem exploding onto the screen at the drop of a hat. If you go and see this movie, love it or hate it, one thing you are not going to be is fed up with it.

Oh, and as for that Giacchino score I was so anxious to hear... fantastic. Operatic and action packed scoring which isn’t completely buried in the mix and will have you tapping your toes along with the galactic obliteration. It’s a great score for a great little, big budgeted B-movie. A B-movie which, impressively, transcends its short-comings, of which there are many, and polishes it up into a fast moving, entertaining thrill ride which is over way too quickly. Definitely a film that should find its audience, I think. And if you like pulp sci-fi adventure yarns, you should seek it out too.

Battle Beyond The Stars

The Seventh Steal

Battle Beyond The Stars
1980 USA 
Directed by Jimmy T. Murakami and Roger Corman (uncredited)
Shout Factory US DVD Region 1

I guess readers below a certain age won’t understand why a film like Battle Beyond The Stars was a big deal with its target audience back when it was released in 1980. It is, after all, a notoriously cheap (although not by Roger Corman’s standards, since the film cost $2 million to make) remake of a classic which is 100 times better than either this or its more famous remake from 1960. Let me give the baffled among you a little bit of context though.

The “space opera” arm of sci-fi had just re-emerged at cinemas again, three years earlier, with the release of George Lucas’ classic Star Wars. There were a fair few bandwagon films like the theatrical release prints of the Battlestar Galactica TV show, Disney’s The Black Hole and the big movie budget version of Star Trek - The Motion Picture coming out around this time to cash in on the success, not to mention much smaller vehicles like Star Crash and The Humanoid. However, sci-fi films were still relatively scarce occurrences at the local cinema so any excuse to go and see the latest extravaganza was always taken. Some of the special effects may look a little ropey today (not as ropey as some of John Sayle’s dialogue in this one, for sure) but in those days it was state-of-the-art and every kid fresh from being reminded of the joys of science fiction from the release of Star Wars: Episode V: The Empire Strikes Back (reviewed here), earlier the same year, would have rushed their parents out of the house straight into the cinema to see this one.

I loved it just as much as everyone else, of course. I think I ended up seeing it three times at my local ABC cinema (now a Tesco car park) and I even remember one of my cousin’s rare visits to Enfield to see it with me, one afternoon. I knew that Shout Factory had produced this deluxe edition DVD and snapped it up when it came out (in hindsight I should have waited for the Blu Ray) but it’s taken this long for me to make some time to watch it and, as you can imagine, I was curious to see how it held up nowadays.

The film starts off with the planet Akir (named after director Akira Kurosawa, for reasons which will quickly become apparent), home of Shad... as played by Richard Thomas (John Boy Walton himself), being threatened with destruction if the planet doesn’t give up its crops and resources to evil Sador (played with villanous relish by John Saxon with a “Donald Pleasance as Blofeld” style scar/make up enhancement on one of his eyes) on his imminent return to their star system after a small time period. All the residents of Akir know is dusting crops and lounging about in simple clothes but they dig out their technological relic of a starship, from decades gone by, and send John Boy, sorry, I mean Shad, out into the galaxy to rustle up a cheap, rag tag team of space mercenaries to return in their spaceships and help defend the planet from the evil Sador.

And if this is all starting to sound just a little bit familiar with you by now, you’ve probably recognised that this is a remake of Akira Kurosawa’s original Seven Samurai. And the film very much follows the main, basic plot points of that movie but condensed into a much shorter running time and with some quite nice and often quite solid sci-fi decoration. I was surprised to see, as I watched this, that the film holds up a lot better than I expected it to after all this time and there are some nice little, well thought out details in this which are worth the price of admission.

Scenes, for example, such as those of one of the main female characters repairing a robot as she plays music by inserting a tape (or advanced technology equivalent of a tape) into a slot into the androids torso... so it can sing the contents to her as she works. Or Shad’s ship whose argumentative female personality talks to him and banters with him throughout the whole film... even going so far as to take matters into her own hands by destroying an enemy ship. When Shad points out to her that she just broke this movies conceptual steal of the first of Isaac Asimov’s Three Laws Of Robotics (yeah, funny how everyone uses those... for good reason) she retorts something along the lines of , “Yeah. It’s a stupid law!”... which was quite a refreshing attitude at the time.

That ship, Nell, by the way, has got to be one of the most beautiful spaceships ever designed for a movie. Resembling, quite deliberately, a giant pair of boobs to rival those of one of the lead actresses (yeah, don’t worry, I’ll get to her in a minute) it’s like a giant, flying, sea ship’s figurehead with the arms, legs and head cut off to just leave a beautiful torso that flies and swoops through space. One of the most unique and spectacular designs of 1980s science fiction by my reckoning. Corman must have liked it too because he recycled all the footage of it and used it as the main spaceship in at least two of his other science fiction movies subsequent to this... which is about right when you think about Corman’s notoriously groovy cost cutting measures on his movies.

There are some pretty interesting actors in here too, with George Peppard playing the Earthman “Space Cowboy” and hamming it up with the best of them like there’s no cheque in the post after this gig. Also, we have the addition of Robert Vaughn playing Gelt, a very similar character to the one he plays in John Sturges well loved 1960 Seven Samurai remake, The Magnificent Seven... asides from the “lost my nerves, cowardice” aspect of the character, which gets ditched here. In fact, some of the dialogue in Battle Beyond The Stars, and with Robert Vaughn’s character in particular, seems to have been lifted pretty much intact from The Magnificent Seven, it has to be said, There’s also a vague attempt to have Gelt inherit this movies equivalent of the Mexican kids who follow around Charles Bronson’s character at one point but, this is only a token reference and I’m not quite sure, to be honest, why they decide to use it here without following it up later in an appropriate sequence.

And, of course, no look at this movie would be complete without a mention of every young boy’s dream made celluloid flesh in the presence of Sybil Danning as St. Exmin of the Valkyrie. They manage to pop one of the most buxom and boobage blessed Austrian actresses of all time, give her some of the skimpiest outfits which make you feel like she’s going to just pop out by accident any minute, give her some specific lines about sexuality (which wasn’t that normal for something which was being sold as sci-fi space opera to kids) as well as giving her the most memorable and oft quoted mantra of the movie... “ Live fast, fight well, and have a beautiful ending.” I’ll bet a lot of young, adolescent teens went home and thought about a whole lot more than space opera when they left the cinemas after seeing Sybil in this movie (yeah, me included).

There are two other things this movie is quite notable for, that I can remember.

One if that it employed a young James Cameron on the special effects crew (listed as art director but I’m guessing he was doing a lot on this production) and it’s reportedly where he met his future wife and movie making partner Gale Ann Hurd, which led to the directing of his second feature, The Terminator.

The other thing this film has is a terrific score by James Horner. Sure, it’s reused in numerous other Horner scores and also borrows from composers like Prokofiev, but however you view Horner’s rampant borrowings, there’s no denying that he writes entertaining scores and this is one of them. However, it's said he’s never been happy with the performance of the orchestra on this score so nothing other than the original album master has ever been used for score releases over the years... which is a shame because I, and a lot of other people, would love to get their hands on some kind of expanded remaster of this one. However, the obstacle to release on this one seems to be Horner himself so, at the time of writing this, it looks like there’s not going to be any movement on that front for a while (probably not in my lifetime, I expect, which is a shame... for me).

And what more to say about this one. At times it’s cringe inducingly embarrassing and at other times a certain worthiness shines through its small budget. It’s not the best movie in the world and it’s certainly not a good remake of Seven Samurai, but it is one of the better put together of the “ride the Star Wars band wagon” films that came out at the time and I’m sure youngsters, and the much older variety of youngsters, will get something out of it even now. And it’s surely worth it to see Sybil Danning rocking and almost popping out of those groovy costumes. One that should not go forgotten, I think.