TV-sarjan luojat:
Jon FavreauNäyttelijät:
Pedro Pascal, Gina Carano, Carl Weathers, Werner Herzog, Nick Nolte, Emily Swallow, Omid Abtahi, Taika Waititi, Giancarlo Esposito, John Beasley (lisää)Suoratoistopalvelut (1)
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Imperiumin kaatumisen jälkeen yksinäinen Mandalorialainen matkaa läpi sekasortoisen galaksin löytölapsensa Grogun kanssa. (Disney+)
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I am not a fan of Start Wars, but I have to say that I'm happy with The Mandalorian. Pedro Pascal's voice has charm, Gina Carano is acting for the first time in a while, baby Yoda is cute and I enjoyed the IG droid. It has nice visuals, a decent amount of decent action and each episode is about something different so the series doesn't get boring and keeps a nice pace. Hardcore SW fans will probably be drooling with bliss and I at least had a nice 8 weeks of enjoyment. 8/10.
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I’m going to tell you something, but it’s going to be our little secret. If this series didn’t have Baby Yoda, I’d never give it five stars. It’s basically impossible to connect to the main character Mando played by Pedro Pascal; you don’t see his face, know nothing about him except that he can fight. Fortunately there’s Baby Yoda who made my heart melt every time he appeared on the screen. And the creators sort of relied on that, putting him in every other scene. The story is quite simple and doesn’t really develop into anything. I appreciate the Star Wars environment, which is very rich, and especially the supporting characters, where the most interesting are clearly the ones played by Werner Herzog and Nick Nolte. Moreover, it is obvious that the episodes were filmed by different directors. Some of them did a routine, if solid work, and some created original and unique pieces of work, which is the case of Jon Favreau and Taika Waititi. Moreover, Taika Waititi also didn’t hesitate to put a piece of himself into the last episode, so its opening scene featuring the debate of two Stormtroopers is the funniest of the entire series. I knew from the beginning that I would give it full five stars and I kept that enthusiasm to the very end. I hope I will keep it in the following seasons as well.
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This is (almost) the Way. Mandalorian is like a box of chocolates. You never know what you're gonna get. It can be the most luxurious praline from the best chocolate master or completely interchangeable “meh" chocolate candy from Lidl supermarket to the horrible Polish “fake" chocolate delicacy from a Vietnamese grocery. It's all a little bit weird after all. The basic premise “of the dirty adult spaghetti western in the world of Star Wars and without all those Skywalkers, lightsabers, etc." is excellent and stimulating. But it is just a premise and the execution, let’s put it this way, never actually takes place, i.e. as a result there are hardly a few properties and it is neither sufficiently developed nor fully family. It's an attempt to make a concept of the modern Doctor Who, but it's not finished. Then there is the construction of the whole series, which is obsolete. By a few decades. At a time when even soap operas (not to mention quality TV and genres) are mass produced and are based on characters and their development, Disney came up with a flag series whose only connecting storyline is the Star Wars universe; and, of course, Göransson's phenomenal soundtrack. The duo of central characters consists of a guy without a face and any progress that anyone can play (who knows if Pascal was ever on the set for some episodes and didn't just say a few sentences over the phone) and a stuffed animal whose only role is to sell as much merchandising as possible. He is cute for the first ten second but after that he becomes annoying and overused and he can even compete with Jar Jar Binks in this department. Yes, it's outdated, I understand, it looks more like a Hercules / Xena with a blockbuster budget, rather than the 21st century movie, the authors often think “a obliging fan service will do the job", it looks unfinished. In the final, the biggest shortcoming is the already mentioned imbalance; I don't understand what kind of playwright / approver can agree with something as horrible as the fourth or fifth episodes and at the same time something as captivating as the final one, which is exactly what it wanted to be like (and should have!) all the time and not just in one or two episodes. It looks like someone came up with a good idea for an adult (non) Star Wars, described the beginning and the end, Disney said “ok", but it’s too dirty add some more cuteness and some more killings of outcasts, then they hired a bunch of directors and screenwriters to fill the padding between the opening and the ending, but they didn't say to them anything about the concept and unfortunately no one checked the result “because it’s Star Wars, man, just randomly put it together and it will work". And it must be said that yes, it is the Star Wars setting supported by considerable (I really mean it) production values, impressive large-format action, incredibly good music that is original and excellent even without the movie and not just considering Williams, and three successful episodes evoking the hope that, with a more secure grasp with a clearer and better communicated vision, it could exploit the immense potential in the next series, which, despite the contradictory introductory series Mandalorian undeniably has. Although its potential needs to be awaken... In that final episode, the full potential was seen clearly, we just need more of it. | S1: 3/5 |
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I'm thrilled with the first series. A Western from a galaxy far, far away that reminded me in the best sense of the word of the original Polish The Witcher, it's bursting with ideas and it's a joy to see that the Star Wars universe can do without the famoous characters and still be great if the creators want to. And the creators of The Mandalorian – from Pedro Pascal to Favreau, Filoni and Waititi to Ludwig Göransson – certainly wanted to. The second series is not behind the first. Like, I actually had to watch the first episode twice in a row because of how great it is, and it was just a warm-up. Even though I knew who (and what) was coming at the end, I still felt like a little child.
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I wonder if Disney, following the example of certain video-game developers that built into their games extra bugs that are activated only in pirated versions, released into the world an intentionally faulty version for those who will watch its VoD flagship elsewhere. Otherwise, I can’t explain the fact that, while most people root at the fan-service trough, I – despite expectations – saw a series of absurdly pathetic scenes cobbled together by an unprecedentedly hopeless screenplay. If the aim was to return to the trashy fairy-tale roots of the oldest trilogy, then Favreau overshot the mark by several galaxies into worlds where Ed Wood and David A. Prior are considered to be refined masters of sophisticated narratives. Sure, I see the inspiration of spaghetti westerns and samurai films, as well as variations on ensemble origin flicks spread out across the series, but that really doesn’t add anything beyond the framework in which viewers can feel terribly clever because they recognise it. The Mandalorian focuses on superficially cool and cute moments, genre allusions and hinting at races and worlds to such an extent that it completely forgets that it should have at least a somewhat functional screenplay, not in terms of structure, but purely in terms of internal causality and logic. The load of hokum, which a five-year-old would be embarrassed by when making up a story for a battle between his action figures, only cuts the rug out from under the series’ feet with illogical twists for the sake of twists and lets the characters behave like retards. I imagine the genesis of this project, wherein Disney’s big kahunas came together in a wild orgy of bullshit and began to brainstorm what it would look like if Andy Sidaris, James Nguyen, Donald G. Jackson and Charles Band got their hands on Star Wars. They came up with the whole thing and then the next day they found the scenarios that they had sweated out during their coke binge. But they decided to have them shot by normal, skilled filmmakers. And therein lies The Mandalorian’s greatest failure – if it had been shot by the aforementioned directors, it would have at least been properly unintentionally fun, and not just appallingly stupid. At least Gina Carano, Werner Herzog, Richard Ayoade and Taika Waititi can make rent for a while and perhaps do something proper thanks to their involvement here. This is the way the world ends, not with a bang but a whimper of baby Yoda. This is the way.
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