Making a Star Wars film must be one of the most daunting things in Hollywood, even while fans cry, “More, more, more!” with their wallets held wide open.
Disney paid George Lucas billions for the chance, and they’ve gone ham mining the Star Wars legacy for more cartoons, comic books, merchandise, anthology movies, and core trilogy films.
And in the thick of things, the company tries to corral a wary fanbase worried about the House of Mouse damaging a beloved legacy filled with lore and characters that are to American culture what air is to breathing.
It’s my opinion that no one, at this point, can create a movie in the series without inviting the wrath of fans. Not even the legendary Steven Spielberg himself could create a continuation film that would satisfy the masses and keep the vitriol from spreading to his Twitter feed.
Everything that is wrong with Rogue One: A Star Wars Story can be summed up in one thing.
Well, there are a lot of things wrong with Rogue One: paper-thin characters, a middling pace, a largely forgettable (and, within the mythos, unnecessary) plot.
But the tank – the TX-225w “Occupier” combat assault tank, as Wookiepedia tells me – is the perfect vehicle to address Rogue One’s fundamental problem: a superficial guise and muddled tone.
Because while the film purports to be a gritty war drama – tanks! firefights! no Jedi! – it never fully divorces itself from the character of the rest of the series.
And that has serious repercussions.
Star Wars – despite a misleading title – has never really been about warfare. In the series, wars merely act as backdrop and motivation for the melodramatic blood feuds of space wizards: a former slave is seduced by dark magic and rebels against his mentor (the Prequels); a farmboy learns magic to defeat his fallen father (the Original Trilogy); an orphan scavenger discovers magic and proceeds to beat up some goth kid (The Force Awakens).
The climax of these films usually feature a battle of some kind, yes, but it is the emotionally-charged contest between individuals that form their central focus: Luke vs. Vader (the battle of Yavin), Luke vs. Vader (the occupation of Bespin), Luke vs. Vader vs. Palpatine (the battle of Endor), etc.
Before Disney felt it needed to add A Star Wars Story to the title — you know, for all the uninitiated viewers who needed a green light to go buy a ticket — it was just Rogue One, the first of what could be an avalanche of anthology movies set to release as Disney begins its plans to release at least one SW movie per year from here on out.
Apart from the three new episodes, these standalone movies — the next one is a young Han Solo movie for 2018 starring Alden Ehrenreich as Han and Donald Glover as Lando Calrissian — can be viewed either as boons or boondoggles. They are at once many things and nothing — a wasteful cashgrab to extreme purists, an insult to committed followers of the expanded universe, and/or a welcome addition to the family by pretty much everybody else with an open mind.
For the casual fan wondering what the fuss is, Rogue One isn’t a major episode, and Luke Skywalker is nowhere to be found. It does have Darth Vader, and several other cameos, but the focus is on a set of characters who have never been mentioned by name before, and — for all intents and purposes — may never be mentioned in any new movie ever. (Notice I put down “new.”)
So if you have no desire to watch this, but you’re still excited about the Force Awakens and the next two episodes, you won’t miss out on anything critical — though it will ease some of your doubts about the convenient way the plot sort of connects itself. And if you’re partial to the prequels — meesa thinking some of you are — it won’t really change how you feel about those movies.
It will, however, have a profound effect on fans of the original Star Wars movie, the one simply titled Star Wars at its release — it didn’t get the Episode IV or A New Hope subtitle until 1978 or 1981, depending on which source you trust.
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Star Wars: The Force Awakens has a few release dates for fans hoping to finally bring the movie home.
The digital copy releases April 1st with physical DVD and Blu-Ray versions hitting shelves on April 5th.
The Force is strong in Disney’s new Star Wars movie.
Note that I didn’t say George Lucas’ new Star Wars movie — Episode VII was fast-tracked for production as soon as Lucas sold the rights to the franchise along with Lucasfilm, Industrial Light and Magic, and the rights to Indiana Jones to the House of Mouse.
Disney went to work making big ripples by removing Lucas’ Expanded Universe from continuity and starting off fresh for a brand new trilogy which features a cast filled with familiar faces and new hopefuls.
Episode VII: The Force Awakens comes after the bitter taste of the prequels and picks up about thirty years after the end of Return of the Jedi.
As a new enemy fills the void created by the collapse of the Empire, heroes emerge to protect the universe.