Everybody loves Grogu.
But the Mandalorian? If we could see his face, we might be able to wager an opinion. Much of “Star Wars: The Mandalorian and Grogu,” however, features him in his helmet.
That means Pedro Pascal, the man who voices him, has little opportunity to express emotion or foster a relationship with man or beast. The Grogu relationship is much like that of a man and his pet.
The Mandalorian (Pedro Pascal) and Grogu in "The Mandalorian and Grogu."
The rest of the film? Uninvolving.
Directed by Jon Favreau, the erstwhile actor who got “Iron Man” off the ground, “Mandalorian and Grogu” is dark, choppy and hardly worthy of the big names it has attracted. Sure, Sigourney Weaver gets a handful of scenes, but they’re largely expositional. She sets the plot in motion and stays in touch.
Mando, it seems, has to rescue Rotta the Hutt (voiced by Jeremy Allen White — let that sink in) in exchange for intel from the slimy Hutt Twins.
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"The Mandalorian and Grogu" features a rare sight: The Mandalorian (Pedro Pascal) without his signature helmet.
Rotta battles a bunch of creatures in what looks like a remake of “Gladiator” and gets unlikely help from Grogu. He also serves as a callback to several “Star Wars” tropes. Stunt men get work (that’s the good news), but the rest of us have to make sense of the cheap production values, the dark cinematography and the overly aggressive score.
Mando works his way through a chain of characters (who all look like they frequent the Mos Eisley Cantina) and, in the process, must keep an eye on Grogu, who looks more puppet-y than Yoda ever did. Grogu frequently forgets to fasten his seatbelt and needs to be reminded. But he also has an ability to heal his pal’s wounds and pull the two of them out of the tightest jams. There are countless prototypes for toys and a vague set of references to the “Star Wars” you know but don’t get to enjoy.
While “The Mandalorian” had a good run on television, this isn’t a worthy successor. It looks like something from the Ray Harryhausen days of special effects — before “Star Wars” changed the game — and features moments that could easily be cut.
The Mandalorian (Pedro Pascal) and Grogu in "The Mandalorian and Grogu."
Why Favreau doesn’t give much insight into Mando’s past or his connections is one of the film’s big failings. Shouldn’t tentpole releases give crucial information? If so, this could have ditched a fight or two for a bit of revelation.
Removing the mask occasionally might have been a good start.
