Solo: A Star Wars Story

Release: Friday, May 25, 2018

→Theater

Written by: Jonathan and Lawrence Kasdan

Directed by: Ron Howard

Though Ron Howard is among my favorite directors I wouldn’t have pegged him as a candidate to helm a Star Wars movie, even a spinoff. But this is good news people — no longer do you have to suffer through The Dilemma to find Howard trying something new. While he has been into space before, sacrificing full autonomy in the franchise setting is unfamiliar territory for this director. His entry into the Star Wars universe may not bear any essential canon material and it isn’t his best work but his reliable craftsmanship ensures this new chapter is both entertaining and worthwhile.

In a plot twist no one saw coming the stand-alone Solo film details the coming-of-age of Han Solo. Specifically, this is the part where you get to see your favorite space smuggler learning how to space smuggle in under 12 parsecs, coming into contact for the first time with some of the iconic personalities and essential gadgetry that have helped identify franchise creator George Lucas as someone doing financially better than you. And yes, much of Solo is unabashedly just for you, the fan. Or at least it was supposed to be. The experience is less contingent upon the strength of its narrative than its sister spinoff Rogue Onewhich detailed the Rebels’ desperate last-bid attempt to recover the Death Star schematic. Of course, that 2016 film also had great timing and was every bit the beneficiary of resurgent new energy created in the big bang that was Episode VII, the long-awaited return of Star Wars to the big screen the year prior.

By comparison, the major developments in Solo feel less urgent and aren’t as concept-driven. Don’t mistake a lack of originality for a lack of excitement or intrigue however. Solo is technically a heist film, the great tilting train robbery and later the harrowing Kessel Run arguably its most distinguished features — with the latter sequence in particular acting as a crucial test of character (or is that of ego?). The narrative develops episodically, stitched together as a series of not-so-chance encounters and mischievous escapes that never feel universe-shaking but are plenty entertaining on the virtue of the surprisingly solid performances and undeniable team chemistry.

On the shipbuilding world of Corellia, orphans like Han (Alden Ehrenreich) are kept in line by the very wormlike Lady Proxima (voice of Linda Hunt). In exchange for shelter, food and protection the various inhabitants of this miserable planet are forced into a life of crime. Han has a plan to escape once and for all, but when his beloved Qi’ra (Emilia Clarke) gets captured he is forced into a Plan B that finds him joining the Imperial Army, anxious to become a pilot and for the next opportunity to return for what he has left behind.

Yes, I forgot to mention this is also a grand romantic drama, one made all the more romantic by the various inconveniences Han must endure en route to fulfilling what he believes to be his destiny. He gets expelled from the Academy for insubordination, finds himself temporarily on the wrong side of a raging Wookie — thank goodness for Han being bilingual — to eventually link up with a group of criminals posing as soldiers in a war zone led by Woody Harrelson‘s Tobias Beckett. He hopes to curry favor by offering to help on a mission transporting some precious cargo to the ruthless crime lord Dryden Vos (Paul Bethany). Oh, the things we do in the name of love (or, perhaps, out of misplaced faith).

This brings us to another set of revelations — and yeah, okay, maybe ‘revelations’ is too strong a word to throw around here given that we not only have experienced these things before (and if not these exact elements/characters then variations thereof) but we anticipate the pieces fitting into this puzzle. Because coaxium — a rare kind of fuel that enables ships to jump to hyper speed — makes driving down the galactic interstate rather complicated, the crew, which includes Tobias’ wife Val (Thandie Newton) and the alien Rio Durant (Jon Favreau), need a ship that can get them from Point A (Kessel) to Point B (Savareen) very quickly, not to mention the pilot that can navigate cosmic storms the size of the Milky Way. The Millennium Falcon would do nicely, but Han must negotiate with one Lando Calrissian (Donald Glover) for the keys first.

Howard, who was brought in to replace original directors Christopher Miller and Phil Lord who were let go over “creative differences,” has always considered himself a fan of history with successes behind him like the survival drama Apollo 13 and the American political scandal detailed in Frost/Nixon. His inclusion in the Star Wars fraternity has given him the opportunity to play a role in the history of one of the most famous cinematic franchises. Solo isn’t exactly cutting-edge stuff, and he didn’t write the script. That job was wisely left to Lawrence Kasdan, a Star Wars veteran (joined by his son Jonathan). Despite all that and more besides, this proves an accessible film for viewers like me. Viewers who find it best to enjoy it as a product of Ron Howard rather than the soulless cash grab many are no doubt viewing it as.

Going for a Kessel Jog

Recommendation: As a Ron Howard apologist, I took flight with Solo in a way that was exciting and unexpected. Disregarding all the fan service, I found Alden Ehrenreich a solid and stoic revelation and even if he doesn’t have the gravitas of a Harrison Ford, he proves he has certainly more range than a heartbroken cowboy. And when it comes to the romance, if you’re looking for a typical damsel-in-distress story you’re better off looking elsewhere. This is Emilia Clarke we’re talking about after all. She’s better than that. 

Rated: PG-13

Running Time: 135 mins.

Quoted: “If you come with us, you’re in this life for good.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com

Star Wars: The Force Awakens

Star Wars The Force Awakens movie poster

Release: Friday, December 18, 2015

[Theater]

Written by: J.J. Abrams; Lawrence Kasdan; Michael Arndt

Directed by: J.J. Abrams

It’s admittedly difficult to resist feeling giddy when the familiar yellow text starts scrolling into the distance against a background strewn with stars. As John Williams’ iconic score trumpets the arrival of a new era in perhaps the only franchise that seems to matter, excitement slowly gives way to anticipation; anticipation to expectation; expectation to . . . well, this is where the path surely divides.

J.J. Abrams has found success on multiple fronts with his helming of George Lucas’ most lucrative creation. Never mind the fact he managed a dubious transition between both Star-themed universes. His film manifests as a surprisingly efficient blend of fan service and sound judgment. As canon-expanding as it is reverential but without indulging so much it becomes impenetrable to the outsider looking in. The Force Awakens also benefits from the work of a casting director who knows how to put the right pieces in place. On a project of this scale no aspect is unworthy of mention.

POE AND THE MAPQUEST MAGUFFIN 

The Force Awakens grafts nicely together with the story arcs presented in the original trilogy. Set approximately three decades into the future the last Jedi, Luke Skywalker, has gone missing following a failed attempt to rebuild Jedi forces that ended in death and destruction thanks to dark warrior Kylo Ren (played by Adam Driver, for some reason).

The shadows of its predecessors are never far behind, though much to the franchise’s credit, there’s a lot of comfort in familiarity.

Rising out of the ashes of Darth Vader and his Death Star comes Ren and The First Order, suitably villainous nomenclature for the second coming of the Galactic Empire. Resistance Forces, into which Oscar Isaac’s skilled pilot Poe Dameron fits like a Skywalker into cinemythology, carry on the burden of the fallen Republic. There are hauntingly beautiful shots of alien sunrises, strange-looking-people montages, and compulsory (but still pulse-quickening) light saber duels. There’s even a repurposed AT-AT.

Early on Poe comes into possession of a digital map detailing the whereabouts of the apparently self-exiled Jedi. In an effort to keep the secret from falling into the wrong hands, he hides the file in his droid BB-8. Call him the R2-D2 of 2015. After a few close encounters and a chance run-in with defecting Stormtrooper FN-2187 (John Boyega) that ends in Poe’s crashing back into the very planet he was trying to escape, the bot proves to be an indispensable asset. BB-8 becomes the target of both the Resistance and the First Order, and the task of protecting it at all costs falls to Finn (née Stormtrooper FN-2187) and the orphan Rey (Daisy Ridley), who represents another of the year’s resilient, beguiling, tough leading ladies.

The trio eventually encounter an aging Han Solo and his co-pilot Chewie, whose loudly applauded first appearances surely won’t prove to be unique to my screening. They meet after crashing a ship following an escape from heavy Stormtrooper fire on the planet Jakku; a ship that turns out to be none other than the Millennium Falcon. Once Solo learns of the precious information the others are sitting on, he volunteers assistance all while Finn is still trying to escape to an entirely different star system, fearing the repercussions of his actions. And he wants to take Rey with him, but she has her heart set on returning home.

YOU AND YOUR SHINY NEW TOY

There’s nothing wholly original about the Abrams/Kasdan-revised script (originally written by Michael Arndt) but above average turns from newcomers Ridley and Boyega make the film easily accessible and a great deal more fun. They’re also unburdened with any sense of forced-awkward intimacy that, if things were different, could’ve earned Lucas a possible Golden Raspberry nomination.

Little time for that though, when you’re trying to take the production (and yourself) a little more seriously. Pride is most definitely at stake here. There’s an unshakable sense Abrams feels compelled to stay to a safe and conventional narrative arc, one that is largely predictable from beginning to end; that he knows and is quite possibly intimidated by how much is at stake with this production. But Episode VII doesn’t play out mechanically or with a sense of cautious restraint. There is restraint being exercised — imagining forty-five minutes having been cut from the opening action sequences and a few other significant confrontations isn’t very hard to do — but if anything the slightly more somber and straight-faced approach suits the drama.

I’ve never been able to categorize any of the installments as drama and yet, for the first time, there is a kind of gravity to proceedings that not only demands but earns attention. That’s not to say the film completely lacks humor, though. And I’ll spare details about what looms in the shadows but I will say this: unfortunately this film hasn’t been immune to Weak Villain syndrome. You’ll need to look elsewhere if you’re to get to the heart and soul of a body soon to be excoriated by dissenters.

Rather the reason, any reason to care about what happens rests upon the shoulders of the embattled Finn and Rey, the newcomers to a saga that clearly has territory left to be explored. Ridley might be the most impressive of the lot, optimizing her natural beauty with a strong, confident persona that betrays her apparently tragic past and fairly impoverished life on Jakku. She also might be the most compelling character. Boyega maintains an easy charm throughout, affording a humanity to the iconic, conformist Stormtroopers that will never be looked at the same way again.

And Lupita Nyong’o receives a sweet supporting role as Maz Kanata, an inquisitive but kind-hearted alien who proves helpful in protecting BB-8 from the First Order. Completely rendered in CGI I didn’t even realize it was Nyong’o until credits rolled, yet she offers a character that will be as difficult to forget as some of the main players.

At times it’s painfully obvious how much Star Wars relies on recognizability rather than its content. It will be interesting to see how many repeat viewings a select few character introductions will hold up to before they start feeling a little too protracted. A little too flashy. And the admittedly imposing Kylo Ren bears more than a passing resemblance to the series’ arguably most familiar character. That ain’t coincidence, all familial backstory accounted for and acknowledged. But let’s be honest, the flashiness can’t be avoided; it’s a new chapter in a major story spanning decades, and everything feels new and shiny again. Perhaps more importantly for me than for others: the new toy isn’t all shine and gloss. It has real functionality, too.

Screen Shot 2015-12-19 at 4.20.18 AM

Recommendation: Once again a fairly redundant section of the page here; The Force Awakens doesn’t exactly need my endorsement but for what it’s worth, as a decided non-fan of the series, I really had a good time with this movie. More entertaining and diverting than something I can take really seriously, I was expecting to not like the film. So . . . that is . . . that is kind of neat. 

Rated: PG-13

Running Time: 135 mins.

Quoted: “That’s not how the Force works!”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.business2community.com; http://www.imdb.com