A new Star Wars film directed by Jon Favreau lands in theaters this week, but “The Mandalorian and Grogu” feels less like a cinematic leap and more like a TV episode stretched for the big screen—tidy, kid-leaning, and safe, with two brief sparks that don’t ful
When “The Mandalorian and Grogu” hits theaters this week, it carries the weight of a franchise that hasn’t earned even modest good will from fans in years—and it still can’t quite shake that burden off.
The film arrives after seven years without a Star Wars entry in theaters. Even longer has passed since a release earned any clear, positive consensus from fans. So you’d expect the Memorial Day weekend return—big-screen continuation of the Disney+ phenomenon—to land with more lift. Instead, it feels like something you’re meant to consume obediently, squeezed between the usual summer blockbusters.
On screen, the connection to the TV series is immediate. “The Mandalorian and Grogu” continues the story of the Mandalorian. the bounty hunter who became the face of Disney+’s Star Wars programming in 2019. That launch came a few weeks before “Star Wars: The Rise of Skywalker” hit theaters. The show—created by Jon Favreau—was sleek and charming in a way the wider saga often isn’t. built around human stakes rather than galaxy-spanning spectacle.
Pedro Pascal plays the armor-clad bounty hunter. The show’s emotional engine is simple: the Mandalorian may be a man of few words. but his charge is a one-foot-tall baby critter shaped like Yoda—Grogu—who speaks in squeaks and grunts. The overarching story in the series always felt smaller than average for Star Wars. but it was sized for television: strong visual effects. yes. but less focused on sweeping narrative reach.
In practice, the problem follows the franchise’s current momentum. Name-brand stories now seem cursed with “more” as a requirement—more characters. more spin-offs. more pieces that eventually have to connect. As the Mandalorian moved through three seasons, it increasingly became the center of the Star Wars TV universe. It launched other series. then shifted away from its earlier “adventure of the week” structure to make room for cameos. including Luke Skywalker (played by a digitally de-aged Mark Hamill and a body double).
Credit is still due to Favreau and his co-writers, Dave Filoni and Noah Kloor. For this movie, they make “The Mandalorian and Grogu” feel deliberately self-contained, detaching it from the larger mythos. The catch is that the detachment doesn’t make it bigger—it makes it familiar in the way a single episode can be familiar even while you’re watching it on an IMAX screen.
Compared with the most recent Star Wars films—which sparked fierce debate—“The Mandalorian and Grogu” seems unlikely to offend anyone. It doesn’t court confusion or take risky swings that would fracture the fan base. Instead. the movie settles into something flatter: a “nothing burger” built for two dutiful hours of laser blasts and dialogue that stays politely out of the way. It’s designed, at least in spirit, to keep toys stacked on shelves.
The story itself is straightforward. The plot takes place after “Return of the Jedi,” the sixth Star Wars episode. The Mandalorian is now in service of the fledgling New Republic, hunting remnants of the deposed evil Imperial Empire. A stern Republic Colonel Ward, played by Sigourney Weaver, contracts him to liberate Rotta the Hutt. Rotta is voiced by Jeremy Allen White. and the film describes him as a muscular slug alien who is the son of the villainous Jabba. The deal is simple: return Rotta to his family in exchange for vital information.
From there, the film spirals into side adventures. But the plot doesn’t really carry the weight. Anytime the story seems to angle toward a wider, galaxy-spanning adventure, it takes the simpler path. The movie’s real pitch is enjoyment: watch the hero get into scrapes. watch Grogu help him get out of them.
If fans adjust their expectations, they may end up satisfied. This is a low-stakes thrill ride, not a grand space opera. The film appears most geared toward kids. with light intense action and a heavier focus on roaring monsters and silly little creatures. One reviewer says their heart rate stayed at a comfortable pace throughout. and that only two sections really cut through the calm.
The first comes in a run of scenes where director Martin Scorsese voices a squirrelly four-armed alien who mans a food truck. The source describes the character as the only one with personality, enough to pull the viewer back into the movie for a minute.
The second moment arrives in the third act. For a stretch, the Mandalorian is sidelined and Grogu becomes the protagonist. Set entirely in a swamp, the segment leans hard into inventive puppetry. The review notes that this chunk evokes the kid-friendly Amblin adventure movies of the ’80s. and that Grogu’s solo run brings a whimsy the rest of the film is missing.
Even with those bright spots, the segment isn’t enough to make “The Mandalorian and Grogu” mandatory viewing. Disney, the source says, is clearly hoping the Star Wars name branding will be enough to bridge the gap. Yet the film also leaves an uncomfortable sense that Favreau could have made something more memorable—and didn’t fully chase that possibility.
Star Wars The Mandalorian and Grogu Jon Favreau Disney+ Pedro Pascal Grogu Sigourney Weaver Jeremy Allen White Martin Scorsese voice cameo