Entire family: No
2016, 133 min., Color
Rated PG-13 for extended sequences of sci-fi violence and action
Aspect ratio: 2.39:1
Featured audio: DTS-HDMA 7.1
Bonus features: B-/C+
Includes: Blu-ray, DVD, Digital HD
Can I just say that I liked Rogue One: A Star Wars Story better than the last four Star Wars stories—even The Force Awakens, which was the top-grossing film of 2015? In fact, I think it’s borderline absurd that Rogue One is marketed as a tangential story rather than part of the saga, especially since it hooks up to the original Star Wars film (rechristened Episode IV: A New Hope) as neatly as a mid-air refueling.
With lesser villains like Darth Maul in the second trilogy and even Kylo Ren in The Force Awakens, it almost seemed as if George Lucas was searching for a hero to match the charismatic power of Darth Vader. In Rogue One he finally finds that perfect villain . . . in Vader himself.
Although the main “good guys” are indeed marginal to the overall saga, Rogue One is a fascinating prequel to A New Hope that connects far better than any of the second trilogy films (The Phantom Menace, Attack of the Clones, or Revenge of the Sith). Like The Force Awakens, it recaptures the slam-bang Saturday matinee feel of the very first trilogy (A New Hope, The Empire Strikes Back, Return of the Jedi). But the tone is a little darker, given the fact that people die and they don’t just evaporate into spirits as in the saga films. Still, the production design is similar, and so is the spirit. Gone is the moodiness of brooding villains or brooding Force fence-sitters.
As with The Force Awakens, audiences are treated to another male-female team in which the female is a bad-ass who holds her own. In Episode VII: The Force Awakens, Lucas went back to that original galaxy far, far away in order to present readers with another intergalactic trio of a good guy (Finn, who’s actually a stormtrooper defector), a rogue pilot (Poe), and a feisty woman (Rey). In Rogue One, Lucas gives us an even stronger and more dominant female character. In fact, even the robot is feistier this time around. K-2SO (Alan Tudyk) is both hilarious and inching closer to human than any of the robots we’ve previously seen.
The Flash Gordon serials that Lucas so admired featured a doctor who was conscripted and forced to work in the laboratories of Emperor Ming. Here, it’s the father of Jyn Erso (Felicity Jones) who’s put to work on the Death Star against his will, leaving virtual orphan Jyn to grow up alone on the galaxy’s mean streets. Rogue One is really all about Jyn, with other characters filling in the gaps—and that’s new territory for Lucas and his filmmakers. Yet, because of Vader and the Death Star, it also feels comfortably familiar. You get a similar sensation watching Imperial Walkers (AT-ATs) plodding along menacingly in a tropical setting instead of a frozen wasteland. One note: because of the palm trees and soldiers wearing camou it almost feels like a throwback WWII Pacific Theater film during some of the battle scenes, and that adds a touch of realism to what had previously been fantasy, sci-fi battles. The father-daughter angle is also heavily realistic, and that’s at the center of the plot.
Jones does a terrific job of making Jyn a character we care about, but she’s also surrounded by a talented ensemble who play equally interesting characters, ranging from the wounded rebel extremist Saw Gerrera (Forest Whitaker), a former Imperial cargo pilot who defected named Bodhi Rook (Riz Ahmed), or rebel leader Mon Mothma. But the character who is perhaps the most interesting is Chirrut Imwe (played by the scene-stealing Donnie Yen), a blind man who may or may not be a Jedi. He’s at least a Jedi wannabe, and in tune enough with the Force to walk through hell and somehow perform an important task. His sidekick, a rogue named Baze Malbus (Jiang Wen) who reminds you of characters Danny Trejo usually plays, is also a fun addition to the Star Wars universe.
Rogue One’s narrative is made more interesting because of the characters’ cross purposes. Jyn is recruited by rebel leader Mon Mothma (Genevieve O’Reilly) to rescue her father (Mads Mikkelsen) so the Alliance can learn more about the project he’s been working on, but Cassian Andor (Diego Luna), the intelligence officer assigned to accompany her, has another agenda. Though the mere presence of Lord Vader elevates the film, Jones’ character holds her own. And it’s been a while since that galaxy far, far away had real balance like this.
Violence: More realistic violence (including an assassin with a scope) can make this feel darker and bleaker than the other films, though optimism is certainly more prevalent than pessimism
Adult situations: Implied drinking at one point, but mostly just the violence and loss that characters experience
Takeaway: Old-school seems to work best with the Lucas-fueled Star Wars franchise. The past two films are more on a par with the original three in terms of looks and spirit, and that all but guarantees it will be the course Lucas takes moving forward