The building of “The Mandalorian,” taking into effect expectation but also traversing the character beats, is an interesting quandary. The continuation of what Jon Favreau and crew are trying to create takes into account each director and certain writers capabilities within each episode. In having Taika Waititi direct the final episode of the season, there is a different balance in comparison to earlier episodes. Episode 8 is meant to resolve a lot of the questions of the season. And while it does and gives firmer focus, it does open up the door to more ideas but it gives the coming season a very specific trajectory. What works in this specific episode is the fact that it has more stakes than perhaps was there before.
Without giving too much away, it strives for a sense of meaning within what the characters want and what drives them. Giancarlo Esposito’s character in particular does this well while speaking to a connection to Mandalore lore with the use of a single item. Strategy also plays a significant part. Whether this is in the visual texture of Waititi or just the general bent of the narrative, it closes the loop with much greater agility. The audience gets to see briefly into The Mandalorian’s psyche and a bit of where he comes from. Another interesting dichotomy is that the show continues to show the connection between the film world and the impact of the animated series (specifically “Rebels”) which is directly referenced here. There are many iconic images and perhaps some humor that was a bit too dry earlier in the season that has found its groove here, helped in part by Waititi’s sensibilities. All in all, a very fitting end to the season while both managing expectations but also not overextending its possibilities or production expenditure.
By Tim Wassberg
The path of redemption always comes with a price. There cannot be victory without sacrifice. The question becomes what is being fought for. In “The Reckoning,” Episode 7 of “The Mandalorian”, the series has built its house of cards and, at least, for this progression of the narrative, it needs to be reconciled. Mando can only be on the run for so long. What is interesting in this episode, is not so much about sides taken but in the draw of what discerns good and evil and the gray in between. Carl Weathers as Greef, Mando’s would be employer has his own skin to think about. That is why the instinct of The Child is interestingly polarized. His actions bely a darker progression, like all those with the Force. A healing trajectory shows a different possibility.
As a form of the Imperial Guard seems to close in, a greater pressure seems to be building up. Because of actions taken by those who set these events in motion, a larger pressure seems to be building, as if The Child is a certain catalyst either for genetic manipulation or action to be taken. Mando, never one to trust, begins to take a chance on people, whether or not that might place his allies in danger. But no journey is without risks. The question with the series has been the detailing out of information but the key here is establishing a world which sometimes takes standing still. Character, unlike plot, cannot move at the speed of light but there needs to be enough crumbs to make the journey memorable. “The Mandalorian” still, at its heart, is a Western where the gunfight always builds to a pinnacle and the victor lives to fight another day.
By Tim Wassberg
Following any divergence such as was “The Last Jedi” there can be a sense of reckoning. In the first “Star Wars” trilogy not overseen by one person (i.e. Lucas) there is bound to be conflict of conception. Colin Trevorrow was originally supposed to do this segmentation and obvious a wisp of his story structure remains. But as Adam Driver alluded, this path was always the correct one and the point discussed from the beginning. The film here feels right. It is the best made of this trilogy of films mating some of the basic risks that Abrams might have avoided with “Force Awakens” which felt infinitely too safe but also keying into aspects of what fans would like to see.
“The Rise Of Skywalker” is dense and moving. And yet there are holes. Now granted in most movies of this scale, there is a certain level of disbelief allowed. But this is Star Wars. The reality is director JJ Abrams had a shorter time to make this, close up as many loose ends as he could and keep the release date Disney set. He did. And to make the film as entertaining as it is with some specific moments that needed to work while integrating Leia and giving a sense of closure, this one feels more steady.
Rian Johnson’s previous film which had a couple spots which were brilliant also drifted too much into the metaphors and politics, which of course is part of it but also what bogged down many elements of the prequel trilogy. There is no exact formula with these movies that make them work no matter what. These films are a huge undertaking. “Empire Strikes Back” didn’t look effortless. There are clunky elements in that too but time is the true test. The issue here is that you see the work but the bridges made to get there don’t have time to breathe and have a lack of connection. The dichotomy of what everybody feels and how they display it is very anachronistic almost making it seemed forced. Daisy Ridley as Rey is a perfect vessel but she always seems too pained though her voyage is not meant to be easy. When you see joy in her, it is mired in sadness which is part of the structure. The intention is there but it is all about plot. Rey wants to find balance. Every act she commits is towards this. But impulse is her enemy which is the entire progression. But balance is the key word.
In keeping the main three stars together most of the time in this installment, it creates a better dynamic considering how different all of them are. This is why the original film worked between Han, Luke & Leia. Chewie had a better part then. Here even that character is used more in the vein of nostalgia but Abrams uses that as much as he can. Poe as a character is still underdeveloped. He was never supposed to be a Han Solo and yet there is never a sense that he nor Finn is a general per se. They still have the same fly-by-the-seat-of-their-pants mantra but their stakes never feel fully realized. “The Last Jedi” was better at doing this and for inherent iconic image. But again didn’t move like this. No Canto Bright to bog the trajectory down.
Adam Driver, comparatively as a character, is truly the only one that comes close to full realization as Kylo Ren but again his character needs to serve the plot as well. One scene in particular really makes it sing and it was inherent that it need to happen, despite it being more of a metaphor per se. But inherently that is what Star Wars is about. Without giving away spoilers, this scene offers the perspective which makes everything acceptable. Star Wars was and is about archetypes. The path could only truly be one way. The ideal it comes back to is that this is entertainment and the film thrills. Case closed.
By Tim Wassberg