Lucasfilm and Disney release The Mandalorian & Grogu in UK cinemas on May 22, 2026.
Synopsis
The evil Empire has fallen, and Imperial warlords remain scattered throughout the galaxy. As the fledgling New Republic works to protect everything the Rebellion fought for, they have enlisted the help of legendary Mandalorian bounty hunter Din Djarin (Pedro Pascal) and his young apprentice Grogu.
Review
I was one of the people who a couple of weeks ago, was lucky enough to see the first twenty odd minutes of The Mandalorian and Grogu at the UK fan event. What I’d seen that day left me itching for more, it was a fast paced, action-packed, tub-thumping introduction, featuring perfect puppetry and practical effects, supplemented with dynamic digital work, across a wide cast of compelling creatures. All tied together by a relentless Ludwig Goransson soundtrack and seasoned with pulpy Star Wars fun and prime Pedro Pascal.
As I sat in my seat for last night’s media screening, I wondered how that would hold up for two hours thirteen minutes? The answer to that question is very dependant on what kind of “Star Wars fan” you are and what you’re expecting from this movie…
If you’re looking for a story that has broader galactical impact and consequence, you will be disappointed. The Mandalorian and Grogu is very self contained, to the point where someone being unkind or unjustly critical may even describe it as superfluous.
What Jon Favreau and his team have delivered, is a movie that is reminiscent of a time before our shared cultural hyper-focus on “canon” and “cinematic universe” something entirely focused on getting people into theatres and giving them a good time, while they are there. It is clearly a love letter, not only to George Lucas’ work, but to the puppet and creature driven films of the 70’s and 80’s that were powered by innovation, creativity, craft and imagination. It utilises some of Star Wars most effective tools, all without a lightsaber ever being brandished.
Impressively, The Mandalorian and Grogu can be enjoyed equally by fans new to the franchise and those with a longstanding love of a galaxy far, far away- it is not a story that requires “homework” which is quite a feat when you consider this film spins out of multiple seasons of streaming shows.
As a passionate lover of creatures, puppets and practical effects, this movie brought me a lot of joy.
It is packed full of more aliens, droids, monsters and mythical creatures, than we have ever seen before in a singular Star Wars movie- the visuals achieved in The Mandalorian and Grogu, vastly surpass anything we have seen in The Mandalorian on Disney+, in scale, volume and quality.
There is so much craft in this film, not only does it push the envelope technologically, but it makes effort to actively include the very best of the disciplines that paved the way for this kind of story to be told-
Phil Tippett’s stop motion work was exemplary and instantly recognisable, composited in beautifully amongst the smorgasbord of visual and practical effects, this kind of rich-creative-tapestry is sewn throughout The Mandalorian and Grogu, making it philosophically in-keeping with the ideals of George Lucas/ILM, that created the foundation of what-makes-a-Star-Wars.
Grogu shares equal billing with The Mandalorian for this production, and that is fully earned throughout the film, as we see the tiny-titular-titan activate a level of agency and independence that takes him from charming, cutesy, adorable side-kick, to capable and brave protector of those that he loves.
Jeremy Allen White’s Rotta the Hutt took a far more prominent role than I had assumed he would,
White plays it very straight- Rotta is a young man (Hutt) trying to forge his own identity and escape the reputation of his deceased, galaxy-wide-know criminal syndicate mob-boss father. The relationship that Rotta and Grogu strike up feels authentically tender and once again, an incredible example of the compositing of practical and visual effects.
Out of the ensemble cast of creatures, the Anzellan Droidsmiths steal the show, bringing a Labyrinth-esqe goblin energy to the party. They’re so endearing and play a great foil to Grogu, assisting him on a mission right at the centre of the the film’s plot, I laughed countless times at their quippy broken-english, the physicality of their movement tickled an itch in my brain that is usually reserved for classic Henson productions. It was Star Wars levity at its very best.
In amongst the Grogu’s, Rotta’s and Zeb’s of this movie are a small human cast of imperials, X-Wing pilots, new republic officers and of course, the Mandalorian- Din Djarin, himself. The character is brought to life by a trifecta of actors- Brendan Wayne, Lateef Crowder and Pedro Pascal. Wayne and Crowder are responsible for the majority of the physical performance, with Pedro Pascal primarily providing the voice and stepping into the suit for moments where our hero has his helmet removed.
Din’s physicality is significantly amped up from previous outings on Disney+. His introduction in the movie is a brutal attack on an Imperial Remnant enclave, with take-down-after-take-down of Stormtroopers, fighting through the crowd relentlessly and fluidly at pace. Multiple times throughout the film we are treated to this kind of dynamic, all action brutal brawl, where visually stunning elements of dance, acrobatics and rhythm are showcased in stunning IMAX via Lateef Crowder’s Capoeira skills. It was great to see Wayne and Crowder given billing alongside Pedro Pascal, the work these two put in to making The Mandalorian who he is should never be under-estimated.
Meanwhile, newcomer Sigourney Weaver’s Colonel Ward effortlessly slots into a galaxy far, far away- conveying an understated level of control and competence whenever she is on screen.
Ludwig Goransson’s soundtrack did not disappoint, providing multiple moments of head-nodding unity from the audience in the screening. Goransson re-defined the meaning of the term “Star Wars music” with his work on The Mandalorian, and he continues to push the boundaries of this in The Mandalorian and Grogu.
“Shakari” is an incredible reimagining of the five note structure at the core of The Mandalorian, that feels distinctly fresh and new, despite housing that key character motif.
Prevously, Goransson has spoken of how his music acts as facial expression for the helmeted, Din Djarin and a similar trick was executed with Grogu in this movie, when for a prolonged period we follow the brave baby independently, with Goransson’s purposeful piece giving us insight into what Grogu is thinking and feeling in the absence of speech.
I found Favreau’s back to basics approach refreshing and entertaining, but I do wonder just how popular it will be with a generation of now adults, who were brought up on cinematic universes, end credit scenes and an insatiable need for this-thing-to-tease-the-next-thing…
There is low-hanging fruit to pluck, for those seeking to criticise and it’s easy to focus on what the film isn’t, rather than what it is- but quick and easy answers are the path to the dark side. In my opinion, it’s important to remember, these films are made for kids. The Mandalorian and Grogu is going to be an exciting entry point for millions of new Star Wars fans, a beautiful bonding piece between parents and their children, an exciting all-action adventure featuring fun fantastical monsters, locations and characters.
I took immense joy reconnecting with my 9-year-old-self during my viewing. I wasn’t thinking about online arguments, box-office statistics, YouTube grifters or inane top-10 lists about “WhAt WeNt WrOnG wItH tHe SeQuEl TriLOY?!” I was just enjoying a pretty wizard movie.
Verdict
The Mandalorian and Grogu is charming, exciting and the perfect entry point for new Star Wars fans. No “homework” is required to understand or enjoy Jon Favreau’s fun, fast paced intergalactic extravaganza of droids, monsters and aliens, story-wise, it stands strongly on it’s own two legs, adjacent to the Disney+ streaming show.
⭐⭐⭐⭐
