Solo: A Star Wars Story

Before this film could reach the millions of theaters and jump to light speed for hundreds of millions of fans to absorb with popcorn, Solo: A Star Wars Story hit several short-circuits. The original directors, the same guys as The Lego Movie, were fired for creative differences with the screenwriter. Ron Howard then stepped in for extensive reshoots and the project’s post-production. On top of that, there were conflicts with the crew, and the cast started rumors that the actor playing the young Han Solo, Alden Ehrenreich, was “unworkable.” So before I even heard that my brothers bought us tickets, I had a wall of doubt and anxiety blocking my mind from this film’s potential. I must admit, I did not shed this doubt before the opening credits, but my bias was not broken from the other side of the wall either.

Given a conflict within the crew having the victor as the screenwriter, I expected the writing to be structured and skilled. It was not. The dialogue was choppy, bland, and without emotion. The plot was at times dense and full of narrative, but it was predictable and simple. Why would Disney side with the writer when the directors were arguing for an improvised-dialogue film, like the highly successful, critically praised, and fan-loved Thor: Ragnarok? The answer is not out there, but with the trend of Disney shining as the “City Upon a Hill,” the writing of this film did not surprise me when several of the unnecessary characters were young women fighting for freedom from the oppressive, greedy men. Take the L3-37 robot, for example, played by Phoebe Waller-Bridge. This character ruined every scene she was in; the team is trying to rob a gangster of his treasure, which he is digging from a planet through exploiting slaves, and this loudmouthed, liberal robot starts a revolt in the middle of the job that almost ruins the entire plan. The film puts her in this comedic spotlight saying “look how funny and powerful this woman is! Look at what she can do as a smart, independent woman! And she’s also a robot like the funny robot from Rogue One: A Star Wars Story!” This sentiment does not work, and it takes away the joy felt through some of the other characters, such as Donald Glover’s amazing performance as Lando Calrissian. Thankfully, this feminist robot is only in the film for a few minutes, but the scar she leaves lasts until the final act.

Both of Han Solo’s relationships between Chewy and Woody Harrelson’s character were well done. The evolution of the Wookie’s respect for the arrogant outlaw was visible in his growling and nods, and several scenes paused on the animal to reveal true reflection over the choices he was making to stay with his new friend. By the time the credits showed, I knew why Chewy will stay with Han till the end. The mentorship of Woody Harrelson teaching Han the world outside of the law had weight as the experienced, old man reflected what the younger legend would become by the time he showed his Harrison-Ford-edge in Star Wars: A New Hope. The “Don’t tell me what to do, don’t interrupt me kid, I got this” attitude of Harrison Ford is reflected by Woody Harrelson when he talks to the young Han Solo, and it works brilliantly. I could see how Han had his own quirks from the original actor: his stance, his smile, his gloves, his dice, but also his evolution growing from the fountain of advice from Woody Harrelson’s character.

There were other noteworthy actors that rose from the crowd of minor characters. Donald Glover playing Lando Calrissian made the film ten times better, but only because of his performance, not anything from the script. He will be the reason many people go to the theater to watch this film, and he deserves all the praise he can get. The script tried to make him emotional for a scene, and it just contrasted with his character to the point where I zoned out of the film. Glover acts his heart out admirably, but where the story takes the character at some points is either a solid hit or a shameful miss. Another surprising performance was from the young but talented Erin Kellyman playing Enfys Nest (the maurader with the cool helmet). Kellyman was the only detour from the main plot that I saw had potential, and it was because of her dedication to a classic Disney-character; young orphan girl has to take control of her band of misfit boys to find hope and freedom in the world. The new Star Wars films have focused on the importance of children, and it rings true with this actress’ skill to show her strength while performing lazily written lines.

Anything that detoured from the main relationships with Han—apart from Erin Kellyman’s acting—was either hollow or too preachy to bear any fruit. Emilia Clarke’s hidden backstory with promise of hardship and a dark side to her character were scrapped for a possible sequel, and Woody Harrelson’s actual character arc—apart from his mentorship—was merely used for plot points. The majority of the characters were leagues better than the cardboard cutouts of Rogue One: A Star Wars Story, but there was never a moment when I thought “Yeah, that’s Han and Chewy… doing what they do best.” It may have been intentional since this version of Han has yet to learn many lessons in the world he is about to discover. Superficially he tries his best, but he still never seemed like Harrison Ford could grow from his childish ignorance.

Before his lawless antics, there is a WWI inspired war scene on a mud planet that shows the Imperial side of the Empire, and it was clever in the soldier-banter and the sense of “you follow the rules of the clean, white Empire or you fight in the mud.” Han’s struggle to live under the control of the Empire and the sudden chance to prove himself, in his mind, to a lucky band of train-robbers flows organically through the explosions and soldiers shouting questions of why they are there in the first place. “To spread the greatness of the Empire and its rules. Any that deny these ways will be extinguished,” is the answer they get from their generals. I loved that. The mud planet also leads into a very memorable introduction of Chewbacca, and that entire scene was among the best in the film. Treating him as a carnivorous monster for the soldiers’ entertainment expanded the Wookie’s power, and I could see the desperateness behind the mask of the beast when Han gives him the chance to be free.

If you cannot tell by the length of this review, the entire film had a lot to show. It did so with great camera work and CGI, but it had to sacrifice emotion and breathing room. Overall, I enjoyed what it was leading up to, and every scene with Donald Glover, but by the time the end credits blasted on the screen, I felt unsatisfied and unmoved. There are several scenes that need time to grow in the quiet moments, and sometimes this is given to Chewbacca, but no one else gains this charity to have a still camera solely for character development. The action is fast and exciting, the cinematography is beautiful, and it is a fun adventure with unique moments of fancy planets, but what lies beneath the shiny surface is a hole that steals any long-lasting entertainment.

Story Rating: 5/10

Character Rating: 4/10