Director: Gareth Edwards / Screenplay: Chris Weitz, Tony Gilroy

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One of the major issues with The Force Awakens, the latest in the Star Wars saga chronologically, was its sheer lack of originality. Now widely seen as a criticism, even the film’s narrative structure replicated the 1977 Star Wars film (later retitled A New Hope) while offering little in the way of a new direction for the saga. Essentially, director J.J Abram’s and Disney were recycling the classic iconography of the original 70s-80s trilogy. This could have been an attempt to ‘redeem’ creator George Lucas’ poorly crafted, disappointing prequel trilogy in the eyes of fans but was, perhaps more cynically, an attempt for the corporation to reclaim the tainted brand worth of a major commodity. Alongside its banal repetition, there was also a disingenuousness to The Force Awakens, when it created a ‘new’ Death Star, ‘new’ X-Wings, ‘new’ Stormtroopers, ‘new’ Darth Vader and so on.

Due to its placement in the continuity, the re-appearance of this iconography in Rogue One: A Star Wars Story is more appropriate as director Gareth Edwards recreates those widely-recognised, often cherished characters, costumes, vehicles and ships while also departing from Star Wars’ child-friendly, fantasy roots to a grittier, more adult tone of the war movie genre. While Edwards’ movie, as with The Force Awakens, still plays it safe by offering heavy fan service and nostalgia, it remains an enjoyable experience for those still wanting to return to the Star Wars galaxy.

Set between 2005’s Revenge of the Sith and A New Hope, the Imperial Empire are constructing a planet-destroying weapon in secret to consolidate their power over the galaxy. Jyn Erso (Felicity Jones) is pulled out of an Imperial labor camp by the desperate Rebel Alliance due to her scientist father Galen’s (Mads Mikkelsen) key role in the project. Tasked with locating him, Jyn and a motley team of rebels and defectors must find a weakness in the Empire’s ultimate weapon before it destroys any hope of resistance. Joining her is the committed but jaded rebel Cassian (Diego Luna) and his sardonic droid-sidekick K-2SO (voiced by Alan Tudyk). An unlikely and diverse unit start to build when Zatoichi-like monk Chirrut (Donnie Yen), his seldom-spoken but tough companion Baze (Wen Jiang) and anxious Imperial pilot Bodhi (Riz Ahmed) are thrown together on the mission.

In marked contrast to its depiction in the original episodes, the Rebels’ motives, methods and morals are considerably murkier. Writers Weitz and Gilroy have tried to complicate the notion of resistance, portraying a more fractured alliance between so-called ‘extremists’ on the one end, represented by Saw Gerrara (Forest Whitaker), and more pacifistic politicians on the other, such as returning leader Mon Mothma (Genevieve O’Reilly). Where Lucas sort to portray a simplistic dichotomy of totalitarian British Nazis on the one side and plucky, defiant cross-Atlantic rebels on the other, (drawing on the relatively recent backdrop of the Second World War) Weitz and Gilroy are perhaps reaching for the uncertainty and moral ambiguity in our contemporary conflicts, looking to the Arab Spring or the Syrian civil war (though these allusions are not without problematic simplifications of their own).

Political analogies aside, the basic ingredients of those original Star Wars adventures are all here too: burgeoning friendships, dry wit and gross sentimentality centred around familial ties. The ensemble performance of new main characters are, for the most part, fun to watch, with Jones and Luna as the initially fractious central duo. However, Jones’ protagonist appears quite removed from her appearance in the trailers. While thankfully the terrible line ‘This is a rebellion isn’t it? I rebel’ doesn’t feature, she appeared more defiant and headstrong, as if she had presence and agency. Instead, the film’s Erso is withdrawn, dour and somewhat unconvincing in her arc from independent survivor to revolutionary leader, a decision maybe taken during the film’s infamously reported reshoots. K-2’s sarcastic quips lend some needed humour to the otherwise grim proceedings but few others are really memorable. Whitaker’s Gerrara is given little to do but be oddly mad and Yen’s Chirrut barely escapes a spiritual mystic-martial arts Asian stereotype.

It is unfortunate as Rogue One’s impressive cast-list are given roles with cursory development or, in essence, minor cameos. More impressive is Ben Mendelsohn’s main antagonist Director Krennic, who he plays against typical clipped-RP British accent and reserved manner with a rough drawl and barely restrained rage. For all his attempts to keep a black-gloved grip on events, it was highly—and unintentionally—amusing to watch Krennic go through the worst day in Imperial history. He’s flown from one disaster to the next, brow furrowing deeper, and there’s a particularly humorous moment when he finally pauses to survey a military base vista—only to see it erupt in explosions almost at once. It perhaps adds an in-universe reason to why Darth Vader never tolerated even tiny failures from his subordinates in The Empire Strikes Back, or why Krennic is never mentioned again by any Imperial lackey. The return of late actor Peter Cushings’ Governor Tarkin via digital effects (voiced and modelled by Guy Henry) is slightly off-putting (often his face is monstrously aged), but just about appears to fit in with the other actors on-screen (though not without causing ethical controversy).

This impressive digital effects work continues into Greig Fraser’s cinematography, where he and Edwards also take up Abrams’ lead by using practical locations, sets and effects. It dovetails the film well with the dirtier, retro-futuristic environments of A New Hope. There is, once again, a solidness to the galaxy, making it as grounded though still uncannily ‘alien’ as Lucas’ original. Being fortunate enough to see the film in 70mm, I thought the grainy, imperfect quality complimented Fraser’s visuals and sets wonderfully.

In fitting with its war movie tone, the action sequences have a faster pace and are more violent, bringing us into the chaotic atmosphere of an on-the-ground, grunt insurgency. The final showdown of X-Wing and TIE-Fighter dogfights is a sweeping spectacle that easily replicate the thrills of Return of the Jedi’s climactic battle. The landscapes of Iceland, the Maldives, and Jordan offer new vibrant, unique environments beyond the desert/forest/snow planet reiteration seen in The Force Awakens. Michael Giacchino’s score subtly nods to John William’s now iconic motifs, almost ready to become that famous music from A New Hope. The little transition riffs feel authentic to the old Star Wars films.

While praise must be given to the faithful work that Edwards has done to recreate the classic Star Wars iconography, there is nothing on offer here for the non-fan, and even nothing particularly new for the fans themselves. Casual and hardcore Star Wars devotees (Weitz and Gilroy dip deep into the Star Wars lore with mentions of the ‘Whills’) will undoubtedly love this film, as its allusions and the few beloved characters returning to the screen are all utilised consciously for them. While Rogue One is certainly entertaining, it does offer further evidence that Disney and Lucasfilm are creatively impotent. The studios are still struggling to find fresh direction or engaging characters, which is astonishing considering Star Wars is set within a galaxy of planets, species and mythologies. Without the vicarious nostalgia and the reliance on fan-service, Rogue One would not have the same appeal or accolades showered as a standalone film. Ultimately, it is a fitting, though arguably unnecessary, addition to the Star Wars saga.

My Verdict // ★★★☆☆