So how on earth do I review a Star Wars film without spoiling it? It’s tough but let’s try. To start with, it’s not called Star Wars colon something, so it already sets itself apart from the others. It’s linked, definitely. But it’s a little rebel of its own, which is kind of great.
Plot wise, I’ll keep it light. Scientist Galen Erso (Mads Mikkelsen) has left the Empire behind, until they find him and recruit him to build the Death Star. His daughter witnesses this and then grows up to be Jyn Erso (Felicity Jones), a freedom fighter of sorts – who gets recruited by the rebels. They’ve learned of the Death Star and who Jyn is and want to use her to get close to Galen and perhaps kill him. Jyn learns that her father put a weakness in the Death Star and, if they can capture the plans for it, they’ll know how to take it down. Along the way she teams up with rebel Cassian Andor (Diego Luna), former Imperial droid K-2SO (Alan Tudyk), a force-believing monk (Donnie Yen), mercenary Baze Malbus (Jiang Yen), and former Imperial pilot Bodhi Rook (Riz Ahmed). Trying to stop them is bad Empire chap, Director Krennic (Ben Mendelsohn, doing his best impression of close to maximum crazy).
So we’ve got a story that slots relatively neatly into the middle of the saga – in that the events that led up to the creation of Vadar come first, then this, then the original films (blowing up the Death Star), then the quest to find Luke (the most recent one, The Force Awakens, with Daisy Ridley). Got it? Make sense? Let’s carry on.
Sticking with story, it’s funny. In that you could argue it doesn’t actually offer up anything new if you put it under a spotlight. We get a gang trying to get one over on the Empire on a planet’s surface while a space battle rages above. This gang is made up of a main guy and girl, a robot, a guy who believes in the force, and a shaggy man-creature who doesn’t say much. Our main character has major issues reconnecting with her father, convinced of the good in him when others doubt there is any, sound familiar?
I could go on, but I don’t want to criticise too much. It’s still, in some ways, more original than The Force Awakens. It might not have the same heft of character; in that you’re missing Adam Driver’s Ben Solo – possibly the most interesting thing to come out of the new films so far. But what you do have is a real sense of spectacle and weight. The battle scenes in Rogue One are visceral and impactful and put me in mind of Saving Private Ryan‘s Normandy beach landings, and the city battles in Jedha conjured up images of Blood Diamond‘s street skirmishes and Children of Men‘s firefights, all of which are high praise indeed. So hats off to director Gareth Edwards (a normal director, not an evil Imperial one) for the sense of immediacy and danger he gets across.
And in general, the film looks gorgeous too (helps I saw it at the BFI IMAX) and Edwards has gone all out in terms of location and scale. You get a real sense of the different worlds that make up this universe. In particular, the Jedi’s homeworld of Jedha (now fallen into ruin) looks epic and suggests an ancient culture now largely gone from the universe. And the film’s finale on tropical planet Scarif – with all surf, palm trees and beaches, feels fresh and different.
Cast wise, the film more or less belongs to Felicity Jones and Diego Luna – both of whom put in convincing performances. And there are numerous scenes where they exchange looks or moments that, if left for a second longer, could be seen as romantic. But the filmmakers resisted this, which is great. It isn’t that kind of story. This is war and it’s encouraging they didn’t waver and bow to audience expectation. It’s also perhaps testament to the direction, script and cast that, in a stand-alone film (that’s part of an epic saga), Edwards gets us caring about the main characters pretty quickly. There isn’t a huge amount of time to build their stories, but just enough so that their plight means something. There are high stakes.
So all in all, this is a highly enjoyable entry in the saga. It’s got humour, thrills, spectacle and a certain level of inventiveness. It nods to canon without being overwhelmed, and it puts a twist on a number of things we’ve come to expect to see, making them feel a little fresher, but still familiar. Which is no easy task. So it’s a bit like Russian roulette, in that Edwards has pulled the trigger, the chamber has revolved and he’s gotten away with it. Next up to try his luck: Rian Johnson for Episode VIII. Still, after Looper and his past work, I’m pretty optimistic.