Rogue One

Cast: Felicity Jones, Diego Luna, Ben Mendelsohn, Donnie Yen, Mads Mikkelsen, Alan Tudyk, Jiang Wen, Forest Whitaker

Director: Gareth Edwards,

Writers: Chris Weitz, Tony Gilroy


The Star Wars prequels are more than bad movies, they are a profoundly disappointing missed opportunity. The idea was to expand on the story and the universe that we all loved and knew so well by turning the clock back and looking at where it all started. The tragedy of Anakin Skywalker’s descent into darkness, the truth of Obi-Wan’s greatest failure, the terrible war that led to the destruction of the Jedi Order, the fall of the Republic and the ascent of the Galactic Empire; these were stories that we couldn’t wait to see unfold. Instead we got three poorly written, emotionally hollow, excessively CG’d movies complete with midichlorians, sand flirting and Jar Jar. Rogue One succeeds where these films failed, not just because it’s actually a half-decent flick, but because it actually brought something new to Star Wars and made the franchise as a whole better than it was before.

Set immediately before the events of A New Hope the film follows Jyn Erso (Felicity Jones) as she is pulled into the war between the Empire and the Rebel Alliance after being freed from prison by Cassian Andor (Diego Luna). He needs her help to find her father Galen (Mads Mikkelsen), the lead architect of the newly-completed Death Star, so that they might learn about the weapon he has created. Aiding them is a team of rebels including the sassy reprogrammed droid K-2SO (Alan Tudyk), the blind warrior Chirrut Îmwe (Donnie Yen), the cynical mercenary Baze Malbus (Jiang Wen) and the turncoat Imperial soldier Bodhi Rook (Riz Ahmed). Overseeing the completion of the Death Star is Orson Krennic (Ben Mendelsohn), whose position is threatened when a security leak threatens to compromise all that he has worked for. From this leak Jyn learns of the existence of a design flaw hidden within the plans of the Death Star. What follows is a race against time as Jyn and her team try to uncover the nature of this weakness before the Empire can use their weapon to impose their will on the Galaxy.

There is a smaller story being told here than in any of the other Star Wars films which Edwards and Weitz try to make work by playing up the emotional stakes. The setup is not unlike The Magnificent Seven (or perhaps Seven Samurai, directed by one of George Lucas’ greatest influences, is the more appropriate comparison) where a team of ragtag individuals are driven by ideals of nobility, duty and morality to take on a perilous mission against impossible odds, along the way accepting that they will not all live to see it through. To this end the film works well for the most part. There is, for starters, a number of enjoyable, colourful characters to root for such as Chirrut, a man of faith whose actions (he believes) are driven by the Force, and K-2SO, who is basically C-3PO if he could also break Stormtroopers’ necks. Some of the motivations and personalities of these characters do leave something to be desired but there is just enough in there to make the film worthwhile. Jyn and Cassian are not exactly Leia and Han when it comes to likeability and memorability but I was happy to follow them for this one movie.

The first two thirds of the film do drag a bit as we jump from generic planet to generic planet waiting for our heroes to kick off the movie’s climax but, once they do, it is every bit worth the wait and is everything a Star Wars fan could possibly want from a climax. An epic space battle: check. The infiltration of an Imperial base: check. The greatest Darth Vader action scene in history: double check! That the film never quite found the time to truly define its characters the way A New Hope did does work against them as our emotional investment isn’t quite as strong as they probably wanted. While we do get to see their story-arcs fulfilled in some very good character moments, it is more affective than it is moving. You’ll be invested enough that the events will register with you, but they won’t really leave any sort of a lasting impact. Still, with that said, the spectacle of this climax is more than strong enough to be worthy of the Star Wars name.

As well as an astounding third act, Rogue One is also worth watching for the ways in which it ties in to A New Hope. By setting out to fix what is probably one of the most famous and often-debated plot holes in cinema, the story at large has become stronger for it. The Death Star’s Achilles Heel is no longer a deus ex machina, it is now an entirely justified plot device that adds a greater context and weight to Luke Skywalker’s fateful assault. Other tie-ins include the glorious return of Vader as well as Grand Moff Tarkin, recreated in the image of the late Peter Cushing. I’m ambivalent on his inclusion. While a part of me does feel uneasy about digitally manipulating a dead man’s image to make a movie, I can’t deny that another part of me was overjoyed to see him again as the marvellously sinister villain that he had played so well. Personally, I think that I can accept this choice as long as Disney and Lucasfilm agree not to make a habit out of it (especially in light of the tragic and untimely death of Carrie Fisher).

The strengths and weaknesses of Rogue One are interesting to look at when comparing it to The Force Awakens. While that film did have misgivings in terms of plot, it made up for those misgivings (for me at least) by virtue of its new, wonderfully engaging characters such as Rey, Finn, Kylo Ren and BB-8. Rogue One has a more individual, better-told story in its favour, but the emotional resonance is not as strong because the characters are not as compelling. They’re fine in that they serve their roles, have a few good moments and keep you invested for the duration of the story, but they don’t have that strong sense of identity or the enduring quality that has made the original characters or their successors as celebrated as they are. Rogue One is, all in all, a very decent film and a creditable addition to the Star Wars canon. By taking us away from the Skywalker story for a little bit, this film has more than any other Star Wars movie shown us how big this universe truly is and how much life there is in its history and civilisations. I look forward to learning more in their future spin-off instalments.

★★★★

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Cinderella

Cast: Lily James, Cate Blanchett, Richard Madden, Stellan Skarsgård, Holliday Grainger, Derek Jacobi, Ben Chaplin, Sophie McShera, Hayley Atwell, Helena Bonham Carter

Director: Kenneth Branagh

Writer: Chris Weitz


Live-action Disney remakes seem to be on the rise now with the confirmation that such films as Beauty and the Beast, Dumbo and Mulan are about to get their own. While I’m not against the idea of updating these classic films per se, I do think that that the execution has for the most part been underwhelming. This has mostly been due to either the filmmakers changing what doesn’t need to be changed or not understanding what made the original a classic in the first place. I don’t think Alice in Wonderland worked because it tried to introduce logic and reason to a world that is supposed to defy those conventions and I don’t think Maleficent worked because it tried to change the one part of the film that I didn’t think needed to be changed at all, its villain. Therefore I wasn’t really expecting much from the Cinderella remake.

Cinderella is, of course, the classic story of a young girl who is forced into servitude by her evil stepmother but who is then given the chance to go to the ball and meet the prince after being visited by her fairy godmother. The updated version offers an account of Ella’s exceedingly happy childhood which is cut short by her mother’s tragic death, during which she imparts onto Ella her greatest lesson: “have courage and always be kind”. Ella (Lily James) takes this lesson to heart as she never allows her sunny disposition to ever be diminished, not even by her new, unwelcoming stepmother (Cate Blanchett) and stepsisters (Holliday Grainger and Sophie McShera). When her father passes away Ella is gradually revoked of her status as a daughter and instead becomes a servant to the household. As life gets harder for her Ella maintains her sunny disposition and never forgets the words that her mother spoke to her.

In Disney’s attempt to update this story there is a lot that works better than the original but also a lot that does not. Perhaps the biggest downgrade from the original film is Cinderella’s character who, rather than a determined, strong-willed girl trying to make the best of the life she has been given, is reduced to an irrationally cheerful dreamer who greets adversity with apathy rather than resolve. Her struggle becomes less believable and less compelling because, at the risk of sounding heartless, she doesn’t really suffer enough. The first ten minutes of the film, which I found to be a cringingly schmaltzy ordeal, show Ella and her parents living this excessively joyful life in which everything is sunshine and rainbows, a temperament that Ella maintains for the remainder of the film. Therefore her attitude towards any hardship that she encounters is to greet it with a smile and to hope for something better, an attitude that I felt diminished the oppressive nature of the life she had been subjected to. As opposed to the original character, who suffered a great deal at the hands of her wicked stepmother and in turn became all the more determined not to be dispirited or defeated, this Cinderella never seems to suffer all that much due to the excessive complacency she exhibits and her inability to feel any sort of pain or sorrow.

Another character who I felt was a step down from her original counterpart is the stepmother. Although the film does give her a few deliciously evil moments (and Cate Blanchett relishes every second of them) they are far too little. The film attempts to add a bit of depth and complexity to her character by providing her with a backstory and a motivation behind her actions, but the personality is a sheer downgrade. This stepmother is not nearly as threatening or as menacing as the original character nor as enjoyably evil. I found this villain to be far too silly and camp to be at all intimidating and not in an entertaining way.

With all that in mind, there were plenty of things about this film that I did like. One character who is a vast improvement over his original counterpart is the prince (Richard Madden) who in this film has an actual personality. This time around he and Cinderella actually meet beforehand and are able to form a bond with one another. Additionally his story-arc about succeeding his father (Derek Jacobi) as the king and being pressured by him and by the Grand Duke (Stellan Skarsgård) into marriage is actually quite a compelling one. Cinderella is also a gorgeous film to look at with its stunning sets, magnificent costumes and enchanting visual effects. Helena Bonham Carter provides a breath of fresh air in her quirky cameo as the Fairy Godmother.

What really bothered me about this film was Cinderella’s character and the way she affected the story. The incessant chirpiness that she maintains in light of the adversity and oppression she undergoes negates any sense of suffering and so I was less invested in her struggle. Her hardships do not seem at all tragic because she refuses to acknowledge them as such. Rather than try to make the most of her difficulties, she instead accepts them as they are and smiles as she bears them. Such an attitude is much too naïve and foolish for the smart, independent character that she is clearly supposed to be and betrays what the original film stood for. When Cinderella finally gets her reward at the end, it doesn’t really feel like she’s earned it. All of this is supposed to hammer in the film’s moral about having courage and being kind, a moral that gets repeated often but that is never actually taught (or at least isn’t taught very well). I did not hate this film, far from it, but I do think it is a failure as an upgrade to the original tale. What it attempts to add in reason and logic it loses in character and emotion.

★★★

[On a side note: The film opened with a showing of Frozen Fever which I liked a great deal. It was fun and enjoyable and the perfect way to get an audience into the Disney mood.]