If last year’s “The Force Awakens” was tasked with introducing “Star Wars,” Jedis, the Force, and its general outer space soap opera aesthetic for a new generation, Gareth Edwards’ mission with “Rogue One” was to bring the focus back to the franchise’s faithful.
Despite scattered references to the mystical Force, and the bare minimum of familiar faces a “Star Wars” film can offer, “Rogue One” still manages to fulfill a vital bit of fan service, essentially acting as a puzzle piece to one of the more critical story points in the entire mythos. In that regard, it’s a generally satisfying experience, and the best entry in the franchise this century.
The catch? It is all those things…for the aforementioned fanbase. For the uninitiated (who truly deserve some level of admiration for not having at least some knowledge of the “Star Wars” franchise up to this point), “Rogue One” – the first in a new branch of the franchise in the form of anthology/puzzle piece films – amounts to little more than an effects-driven, emotional sci-fi romp with a plot so straightforward you’d wonder what all the fuss is about.
Felicity Jones plays Jyn Erso, a rebel among rebels who is compelled to assist in the mission against an evil galactic dictatorship that now has the capacity to destroy entire planets.
Whether that premise sounds about as straightforward as can be isn’t really the point. Slap the subtitle of “A Star Wars Story” after the film’s title, and you’ve got packed theater seats, a marketing campaign built on nostalgia, and, admittedly, an advantage in the form of bias from movie critics. That is, admiration for arguably the greatest and most important franchise in movie history.
Edwards has directed a great film. Truly, he has. And a large part of what makes it so great, aside from containing more Easter eggs than you’ll find in any basket come spring, is that he pulls off creating a “Star Wars” film that is distinctive in an increasingly crowded cinematic universe.
Similar to Edwards’ breakout blockbuster, 2014’s “Godzilla,” “Rogue One” is gritty, with a seductive sense of scale that makes the film’s climactic space battle as intriguing as an earlier sequence that is much more grounded. Immense AT-AT walkers have never seemed so foreboding. The extremist side of the rebel faction is explored. I half expected “Ride of the Valkyries” to play as the Death Star rises ever so slowly over the horizon of Scarif.
This tonal shift, the fact that this – more than any other “Star Wars” flick – was made with adults in mind isn’t a gimmick. It’s pulled off remarkably. There’s real stakes, there’s loss, there’s a pervading sense of “against all odds” storytelling that makes you wonder how Obi-Wan, Luke, Han Solo and company survived so many of their adventures.
The problem is that Edwards’ chosen style can only really be appreciated when you stack “Rogue One” against the other seven entries in the franchise. If this is your first “Star Wars” watch, “A New Hope,” episode IV in the overarching narrative, is almost essential viewing. Because only then can you truly appreciate what Edwards has done.
The film even allows the audience to watch “A New Hope” in a different light, giving us much more respect for the Rebel Alliance’s unsung heroes that are at the forefront of “Rogue One.” It makes a classic film even greater.
Do you see the problem here? “Rogue One” should be appreciated for acting (ironically) as a truly stand-alone experience, telling a singular story from beginning to end with no worries about setting up for future installments. Because we already knows what happens next, and beyond.
But in that endeavor of standing apart, it still is frustratingly, achingly tethered to what comes immediately after. The few narrative points that it does try to make all its own, on the other hand, don’t hold up.
The role of Erso’s father teases a twist, when really he only provides functionality – the McGuffin for Jyn to find her path to rebel hero. And it doesn’t even feel that organic; an inspiring speech to her crew seems completely out of left field…er…hyperspace. There’s something lacking in her development, like if Harry Potter had defeated Voldemort two hours after hearing his name for the first time.
Of course, there’s still the spectacle. A handful of memorable sequences sprinkled throughout are fantasies come true for seasoned fans, and wildly entertaining for newbies.
Much of the dialogue is forced, but Alan Tudyk’s standout turn as the sarcastic, “says whatever comes into his circuits” droid K-2SO makes up for it. When’s the all-droid anthology film coming? Get on it, Disney.
The Force is strong with most of the supporting cast, particularly Riz Ahmed as an Imperial defector and Diego Luna as the rebel willing to pull out all the stops for his cause, but other characters contribute very little.
The music is great, but that’s because it’s influenced by the one of the most familiar scores of all time.
Even from a filmmaking standpoint, “Rogue One” serves to only gain more and more momentum with each act, with only a few moments that slow the pace.
And, of course, the callbacks – or perhaps we should call them call-forwards – to the rest of the franchise provides a treasure chest of references for seasoned fans.
“Rogue One” is as fresh as it is familiar. Of course this “feels like a Star Wars” movie. It’s uniqueness led to its initial ascension in the ‘70s. It’s an entertaining film made great only when viewed as a vital prologue to the Vader/Luke/Leia story.
But while that function as a bridge between trilogies will be appreciated by fanboys, by film’s end – even after Darth Vader has the audience standing and cheering – it’s hard to imagine newcomers doing much more than scratching their heads and saying “So what?”
“Rogue One: A Star Wars Story” is rated PG-13 for extended sequences of sci-fi violence and action
Starring: Felicity Jones, Diego Luna, Alan Tudyk, Donnie Yen
Directed by Gareth Edwards