Writers: Chris Weitz and Tony Gilroy
Director: Gareth Edwards
Starring: Felicity Jones, Diego Luna, Alan Tudyk, Donnie Yen, Riz Ahmed, Ben Mendelsohn, Forest Whitaker, and Mads Mikkelsen
Review Written By: Movie Parliament Prime Minister, Michael Dalton
Director: Gareth Edwards
Starring: Felicity Jones, Diego Luna, Alan Tudyk, Donnie Yen, Riz Ahmed, Ben Mendelsohn, Forest Whitaker, and Mads Mikkelsen
Review Written By: Movie Parliament Prime Minister, Michael Dalton
Prequels have a bad reuptation, and that’s partly because of the Star Wars franchise. When George Lucas released his prequel trilogy in the early noughties, it was met with a critical mauling that almost killed all goodwill towards the series. When Disney bought the property in 2012, they made the decision to go forwards with last year’s, ‘Episode VII: The Force Awakens’, and continue the story of Luke Skywalker. However, with Rogue One, they have decided to concurrently go backwards, and this prequel to the original film is their first step in an attempt to create a Marvel-esque cinematic universe. Inspired by the opening lines of A New Hope’s opening crawl, Rogue One focuses on the team of rebels who stole the plans to the Death Star. Whilst this film’s very existence may be met with eye rolls and seem like a cynical, corporate-mandated cash grab, the final product is a film that offers the only Star Wars prequel you’ll ever need.
What is immediately impressive about Rogue One is the way in which it manages to generate tension from a story, where the outcome is already known. If you’ve seen the original Star Wars film, then you know that these characters are ultimately successful in their mission. The existence of such knowledge is why so many prequels are doomed to fail. It is difficult to create stakes when the audience is one step ahead of you. However, during Rogue One’s exhilarating third act, I had to keep reminding myself that I knew this, so as to ensure that I didn’t fall off the edge of my seat. Rather than being constricted, or oppressed by the parameters of its existence, director Gareth Edwards seems liberated, to test his directorial prowess, and deliver a film which can make bolder choices with its story and characters. Whilst this film, perhaps over-zealously at times, provides conventional fan-service thrills, it also has a welcome weirdness and darkness. Furthermore, with its more mature and nuanced portrayal of the Rebels, it adds shades of grey to what has always been a black and white universe.
Where The Force Awakens had a swashbuckling glossiness in accordance with J.J. Abrams’ style, Rogue One has a solemn muddiness, with it very much putting the war in Star Wars. However, what’s also impressive is how despite all mod cons, the film looks like A New Hope, and where The Force Awakens was a modern remake, this almost feels like a film that could have been made in the 70s. That being said, this film has a controversial use of groundbreaking special effects, the results of which are scarily realistic and will divide audiences. Where Edwards’ direction really soars though, is when his personality starts to shine through, and you recognize the director of 2014’s Godzilla, and 2010’s Monsters behind the camera. Whether it is picking out a screaming girl in the middle of a firefight, or the nuclear evocations of the Death Star imagery, Edwards’ gaze gives you a tactile, ground level perspective to the inter-planetary action. Furthermore, he expertly stages a grand, multi-faceted climax, which demands to be seen on the biggest screen you can find. I was lucky enough to see the film at the BFI IMAX in London, Britain's largest cinema screen. (Pictures below)
What is immediately impressive about Rogue One is the way in which it manages to generate tension from a story, where the outcome is already known. If you’ve seen the original Star Wars film, then you know that these characters are ultimately successful in their mission. The existence of such knowledge is why so many prequels are doomed to fail. It is difficult to create stakes when the audience is one step ahead of you. However, during Rogue One’s exhilarating third act, I had to keep reminding myself that I knew this, so as to ensure that I didn’t fall off the edge of my seat. Rather than being constricted, or oppressed by the parameters of its existence, director Gareth Edwards seems liberated, to test his directorial prowess, and deliver a film which can make bolder choices with its story and characters. Whilst this film, perhaps over-zealously at times, provides conventional fan-service thrills, it also has a welcome weirdness and darkness. Furthermore, with its more mature and nuanced portrayal of the Rebels, it adds shades of grey to what has always been a black and white universe.
Where The Force Awakens had a swashbuckling glossiness in accordance with J.J. Abrams’ style, Rogue One has a solemn muddiness, with it very much putting the war in Star Wars. However, what’s also impressive is how despite all mod cons, the film looks like A New Hope, and where The Force Awakens was a modern remake, this almost feels like a film that could have been made in the 70s. That being said, this film has a controversial use of groundbreaking special effects, the results of which are scarily realistic and will divide audiences. Where Edwards’ direction really soars though, is when his personality starts to shine through, and you recognize the director of 2014’s Godzilla, and 2010’s Monsters behind the camera. Whether it is picking out a screaming girl in the middle of a firefight, or the nuclear evocations of the Death Star imagery, Edwards’ gaze gives you a tactile, ground level perspective to the inter-planetary action. Furthermore, he expertly stages a grand, multi-faceted climax, which demands to be seen on the biggest screen you can find. I was lucky enough to see the film at the BFI IMAX in London, Britain's largest cinema screen. (Pictures below)
In front of the camera, the film is brilliantly cast, as the actors have to do most of the legwork when it comes to developing their characters. As mentioned, this film portrays the previously heroic Rebel Alliance in a more critical manner. The rebels are shown to have extreme elements, be at war with one another, and act cowardly. For protagonist Jyn Erso, they’ve been responsible for as much pain in her life as the Empire. Whilst this is a fascinating basis for a character, the bulk of her development rests on the performance of Felicity Jones, who sells the character’s pain and transformation in a way that is essential, as the film never really stops to breathe. The same applies to the other characters, the most fascinating of which is undoubtedly Donnie Yen’s force devotee, and the most amusing of which is Alan Tudyk’s robot K2SO. Credit must also go to Riz Ahmed, who conveys a great deal of emotion in his eyes, with what is a crucial, yet under-written character. We enjoy going on an adventure with these characters, but we never really get to know them that well. This means that when the film moves into its third act, and certain sacrifices are made, the emotions we feel are more ones of shock than sadness. Shock at the decisions the film is making, but not the time to really feel sad about them in the way we should. Whilst engaging, these characters won’t linger in the hearts and minds of mass audiences, the way the original cast has done.
This is a film where characters make personal sacrifices for a larger cause, and that is reflected in how the film treats them, and even in how the film is treated by the broader cinematic universe it is now a part of. Whilst the film is refreshingly self-contained, the euphoria of its final moments are very much dependent on an awareness of the original, as the film moves its pieces into such a position that one could start watching A New Hope almost immediately afterwards. Whilst this is awesome for fans like me, it’s potentially alienating for newbies in a way that The Force Awakens wasn’t. Therefore, whilst Rogue One is not without its flaws, and makes some big choices that may upset some, when the credits roll you feel that rare thing after a modern blockbuster, a true sense of completion and satisfaction. Thanks to its risk-taking as well as its reverence, we’ve finally got a prequel to Star Wars.
Closing Remarks
This is how you make a prequel to Star Wars. A surprisingly intense film which captures the spirit of the original. A new hope indeed…
Movie Parliament Rating: MAJORITY GOVERNMENT
By Movie Parliament Prime Minister,
Michael Dalton
Movie Parliament Rating: MAJORITY GOVERNMENT
By Movie Parliament Prime Minister,
Michael Dalton
Have you seen Rogue One: A Star Wars Story? Give us your thoughts in the comments below.
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