‘The Mandalorian and Grogu’ – my honest review

Disney Star Wars is in a sorry state – with most of their wounds self-inflicted through countless lightweight, woke and lore-breaking releases over the past decade. But it’s not as bad as some pundits constantly make out, as there were times when decent Star Wars moments have shone through within some of their less-than-average shows – such as the Baylan Skoll scenes in ‘Ahsoka’ and extensive parts of ‘Andor.’

I would rate ‘The Mandalorian’ Seasons One and Two as further examples of when Disney managed to get Star Wars just about right, but things would fall away sharply following the spin-off series ‘The Book of Boba Fett’ and this decline would continue into Season Three of ‘The Mandalorian.’

Which brings us around to ‘The Mandalorian and Grogu’ – a project that Disney played so safe with, that in Blackjack terms this would be the equivalent of standing on twelve.

This is a film made for kids – almost exclusively so. It is harmless and there is nothing in there that anyone could take offense from – unless weak writing and inconsistent pacing are what grinds your gears.

Personally, I found myself zoning out a lot throughout the movie – particularly during the second half – as it felt like I had seen it all before and was watching a re-run – but again, what I saw wasn’t necessarily ‘bad’ but bored me nonetheless. I am aware of other reviews claiming that this film plays out like three average episodes of what should have been Season Four strung together and repackaged into a theatrical-length release – and I would have to agree with those comments.

But let’s dive a little (spoiler-free) into the movie itself…

‘The Mandalorian and Grogu’ opens with a scene that sets the story up, where the New Republic have sent the heroic duo on an assignment to arrest an Imperial Warlord. This sequence is okay; lots of action with some lighter moments thrown in – before the main body of the movie plays out featuring Hutts, Stormtroopers and some characters from other Star Wars shows – as well as Sigourney Weaver.

The plot moves along quickly throughout the first act of the film, where Mando and Grogu set out to return Jabba the Hutt’s son Rotta – who has been enslaved as a gladiator – back to his family in exchange for information critical to the New Republic. I was still engaged with the adventure at this point, although the feeling that I had seen it all before was beginning to creep in…

For me, as an adult viewer and long-time Star Wars fan, I felt that the film dropped away from around the halfway point; grinding to a near halt for a good twenty minutes just before the finale. As for the ending itself – it consisted of little more than huge robots, some fighting and a squadron of X-Wings.

I did say this was going to be an honest review, so I will highlight a few things without writing an essay – trying my best to keep it brief and hopefully avoid any spoilers.

Firstly, the overall plot was serviceable, in that there were few inconsistencies – again, this would be the filmmakers playing it safe. In this current Star Wars climate, I will take that as a small win – remembering how shows like ‘The Acolyte’ and ‘Obi-Wan Kenobi’ were riddled with plot holes so large that you could drive a truck through them.

Secondly, the special effects looked a little off to me – and at times I thought I was watching an episode of ‘The Thunderbirds’ or ‘Space 1999’ with ships and puppets shaking about. I found it to be funny more than anything else – but was this the studio trying to limit production costs?

Also, I do have to touch on some of the finer aspects of the writing. Whilst already saying that the screenplay did its job to a degree; the writers’ refusal to take any risks or unveil any bold new ideas – and instead coat their beloved main characters in plot armour – is precisely why Star Wars fans are tuning out in their thousands. This seems to be a dynamic that Disney are unwilling to shake.

Finally, I must give a special shout out to Dave Filoni and his cameo in the film as a character called Trapper Wolf – yes, that’s what he named himself! Disney Star Wars is in safe hands with this guy, right?

Filoni jokes aside, as I stated earlier, ‘The Mandalorian and Grogu’ was not a ‘bad’ film – but rather a ‘nothing’ film. For those who have been Star Wars fans for decades, this offering will be considered by most to be more Disney slop, and I can’t argue with them there – but it’s nowhere near the worst of what’s been served up in recent years.

I can only defend this below par movie on two fronts; the fact that it played it by the numbers and tried not to destroy any more Star Wars lore – and that kids would have loved the end product. Make no mistake; this is a children’s film – whether or not the producers intended it to be – and I will therefore mark it accordingly.

‘The Mandalorian and Grogu’ gets five out of ten from me.

‘The Mandalorian and Grogu’ is currently in cinemas. All screenshots courtesy of Disney and Lucasfilm.

The new season of Black Mirror – a spoiler-free review.

The seventh season of the highly-acclaimed science fiction/horror anthology dropped on Netflix last week, but is it better than the last release or does the show continue its slide into fluffier, more lightweight material?

As the season came out only a few days ago, I will make sure that there are no spoilers here. However, I can say that the creators have hedged their bets a little, and by giving us six episodes instead of four or five has ensured that there is something for everyone – not to mention tick the necessary boxes for a Netflix production.

I will explain this in a little more detail during my episode-by-episode breakdown.

The season kicks off with ‘Common People’ which is reminiscent of some of the earlier Black Mirror episodes – which is a good thing. The characters are well-written and the acting is on point, with solid performances from Rashida Jones, Tracee Ellis Ross and Chris O’Dowd.

Without giving anything away, the story revolves around a couple who are forced into a contract with a ‘pharmaceutical tech’ company called Rivermind. This episode packs an emotional punch and I would rate it 9/10.

The second installment in the series is titled ‘Bete Noire’ and almost immediately one can feel the pressure and intensity drop after the season’s strong opening.

This drama takes place in the R&D department of a confectionery company, where Maria – a respected team leader – becomes unnerved after the appointment of Verity; a former schoolmate with a questionable past.

It’s a psychological piece with the added Black Mirror trademark of technological terror, and in truth it’s not a bad effort – but falls short with the characters and their motives in my view. It is definitely weaker than the preceding episode on almost every level, but is quite watchable – and therefore I would rate it 5/10.

The third episode called ‘Hotel Reverie’ is an interesting one, with some cool concepts that question the modern issues of AI and deep-faking. However, I sense that this is the token ‘woke story’ that Netflix would have pushed for, and in my view was the least-enjoyable of the season. I don’t think I am being unreasonable in saying this was the weakest link in the series.

This episode is about a tech company called ReDream who are re-shooting an old British movie using their specialised AI programs. Again, I don’t want to spoil anything, but the issues of Hollywood gender-switching and race-swapping leading roles for remade films is obvious here. If this was supposed to be satirical, then I guess I may have missed the point by giving this a low score – but I didn’t feel that vibe. I also couldn’t help but sense this story was trying to emulate ‘San Junipero’ from season three – which was a great entry, unlike this one – so I give it a lower pass with 4/10.

After a two-episode sag, Black Mirror bounces back strongly with the fourth story – the disturbing digital nightmare that is ‘Plaything’.

Starring former Doctor Who Peter Capaldi as computer geek Cameron Walker, this story is focused on an early 1990’s video game featuring sentient digital lifeforms called Thronglets. I believe this episode is connected to ‘Bandersnatch’ – with the character of Colin Ritman, played by Will Poulter returning to the Black Mirror-verse. I promised no spoilers, so I won’t say any more.

This is a straightforward – albeit troubling – tale by Black Mirror standards, but is nonetheless a solid entry into the series. With great performances by Capaldi and Poulter, as well as from Lewis Gribben who plays the younger version of Walker, I would rate this story easily above the previous two episodes but not quite as high as the first one – 8/10.

‘Eulogy’ is the fifth episode of the season, and explores – through intrusive technology – the ideas of long-lost love and emotional redemption, something that this franchise has always done rather well.

We have another well-established actor here in the lead role, with Paul Giamatti playing Phillip – an elderly loner who suddenly comes face-to-face with painful memories of losing the love of his life decades earlier. I would argue that Giamatti’s performance is a master-class; up there with the best of his career and certainly award-worthy.

In brief – and without going into too much detail – this tale is about an old man who is encouraged to use a new technology that immerses him within his old photographs, naturally stimulating memories long thought lost. Through these revelations, the story unfolds before our eyes, and does so with plenty of emotion and gravitas – 9/10!

And for the sixth and final episode, the show-runners have provided a real treat: – a movie-length sequel to the season four classic ‘USS Callister’.

I won’t say much about this story, other than how much fun it was – and to insist that watching the original ‘USS Callister’ episode is essential before checking this out.

The cast from eight years ago return to reprise their roles, with Jesse Plemons, Cristin Milioti and Jimmi Simpson playing the main characters. To be honest, I don’t think this continuation of the story is as good as the original chapter, but it was an entertaining way to end this season of Black Mirror – and it gets an 8/10.

Rating the episodes in order of quality – according to me – would have ‘Eulogy’ on top with ‘Common People’ just behind it in second place. The nostalgia factor puts ‘USS Callister – Into Infinity’ as my third-best pick, with the solid ‘Plaything’ settling for fourth spot.

Then we have a little bit of daylight before fifth-placed ‘Bete Noire’ comes into play, followed by ‘Hotel Reverie’ crossing the finish line dead last. Again, the reason these two episodes are adrift of the pack is because I did not find them very engaging and were a bit of a struggle to watch, if I’m being honest.

On the whole, I think this is a better collection of stories than season six – where I rated the five episodes as two being good, one being average and two being sub-par. Here we have six episodes – two of which I considered to be excellent, two were very good and the remaining two received average scores. Therefore, I would give this season of Black Mirror an overall mark of 7.5/10.

I apologise for not giving specific examples when being critical of the plot or production of some episodes, but keeping this article spoiler-free was my main priority. There was simply no way I could explain any of my critiques without revealing important elements of the story and ruining the viewing experience for those yet to watch the show.

All seven seasons of Black Mirror are currently streaming on Netflix.

All screenshots courtesy of Netflix.