The Mandalorian and Grogu (United States, 2026)

Had the storyline for The Mandalorian and Grogu been used for a three-episode arc in the Disney+ TV series, I don't think anyone would have minded. The plot isn't appalling; it's the kind of thing that one wants from a TV series—an episodic structure with connecting narrative tissue. The underlying problem is, of course, that this is not part of a TV show; it's a major motion picture spin-off of one. Complain all you want about Star Trek: The Motion Picture. It got the message. At no point did it feel like viewers were being subjected to a small-screen episode enlarged for big-screen consumption. Yet that's the key issue plaguing this twelfth live-action Star Wars movie. 

Another head-scratcher is why noted Lucas disciple Dave Filoni and director Jon Favreau, both of whom were the driving forces behind the three seasons of the TV series (with a possible fourth on the back burner), elected to go with such a low-grade story. There's nothing remarkable or epic about The Mandalorian and Grogu. It's pretty standard sci-fi/adventure stuff. The TV series was known for big swings like resurrecting Boba Fett and the acclaimed Luke Skywalker cameo. I was expecting something on the same level for the movie. Sadly, there's nothing of the kind. 

Does it feel like Star Wars? Despite all the nods to the iconography of the original trilogy, not really. The lack of any direct connections robs it of that quality, as does the complete absence of any John Williams music. The score is credited to Ludwig Göransson, the TV series composer, but he avoids using any of the classic Star Wars themes, despite there being opportunities to do so. The desire to give the film its own musical identity is laudable in a theoretical sense, but everyone knows this is part of the franchise. Because the film visually does nothing to distance itself from its roots, the musical lack of acknowledgment is noticeable, and not in a good way. 

The story feels like recycled material. There's nothing new here. It's moderately entertaining, although it runs too long, and the lack of a strong through-line makes it feel disjointed. The level of violence also argues that it should have been made with an R-rating. The use of camera angles and editing room tricks to get it to a PG-13 level feels dishonest. Contrast that with the cute, kiddie-friendly elements (including Grogu and a pack of mechanics who strongly reminded me of Minions), and the movie is a mass of contradictions. 

The film introduces those who haven't seen the TV series to the bounty hunter Din Djarin, a.k.a. The Mandalorian (Pedro Pascal), and his diminutive apprentice, Grogu, a.k.a. "Baby Yoda." They are currently performing missions for New Republic Colonel Ward (Sigourney Weaver in a truly thankless role), whose latest commission is for them to track down the notorious warlord Janu Coin, whose whereabouts are known only to the Hutt twins. To provide the information, the Hutts demand that the Mandalorian rescue their nephew, Rotta the Hutt (Jeremy Allen White), who is being held captive on a planet in the Shakari system. 

For those who religiously followed The Mandalorian through its three seasons on Disney+, The Mandalorian and Grogu represents a welcome continuation of the adventures of this mismatched duo. For a wider audience, the film asks more questions than it answers, not only about its reason to exist but about its choice to tell such a meandering, fragmented story. This movie is second only to Solo at being completely disposable. It adds nothing to existing Star Wars lore (and, in fact, doesn't add much to Mandalorian lore, for that matter), lacks a compelling narrative, and ultimately feels like just an opportunity to highlight some nifty special effects and unremarkable fight scenes. Comparing the arena battle here to the one in Attack of the Clones, there's no question that Lucas had a much better grasp on how to handle this sort of thing. 

The very existence of The Mandalorian and Grogu (at least as a theatrical release) is evidence that the powers that be at Lucasfilm don't have a vision for the path forward for Star Wars. This has been true since Disney bought the company and jettisoned Lucas's treatment for Episode VII. As would-be blockbusters go, this is a particularly weak one. It's far from unwatchable and offers moments of enjoyability (I liked the high-energy prologue), but the film as a whole seems more disposable than the usual summer spectacle.

The Mandalorian and Grogu (United States, 2026)