Star Wars, with its fondness for grand emotional crescendos, mythic reversals and violent turns of fate, is perhaps cinema’s purest example of space opera. Even the oft-derided prequels, those overheated tales of democracy collapsing, forbidden love and angst-ridden space monks, are intensely Wagnerian. The Mandalorian and Grogu, despite being a warm, funny, rollicking tale of outer rim adventures, ingenious aliens and surprisingly touching surrogate fatherhood, is not really on that scale. Which is probably why it’s getting such a lukewarm reaction from critics.
This is a movie that zips along pleasantly, offers up plenty of cute “Baby Yoda” moments, delivers more than enough badass Mando action sequences, and even quietly reimagines what some of its most infamous alien creatures are capable of as a species. It is not so much space opera as cosmic picaresque, wandering frontier serial, intergalactic side-quest cinema. And that’s just not what we’re used to after the best part of 50 years of Star Wars on the big screen. Here’s what makes this new adventure so different from what came before.
