The current era of Star Wars under Disney is a mixed bag to say the least. From the highs of Andor, Rogue One, and The Mandalorian to the lows of The Rise of Skywalker, Kenobi, and The Book of Boba Fett, fans have been on a roller coaster of quality for fifteen years.
In the era of brand oversaturation on streaming platforms, many have missed theatrical releases. For better or worse, each of the entries in Disney’s sequel trilogy were cultural events that kept the brand relevant. After seven years, we finally have The Mandalorian and Grogu to review as a new Star Wars film in cinemas. Is Star Wars back for a new generation, or is this another mediocre entry that dilutes the brand? Well, it, like everything around this film, is complicated.
The Mandalorian and Star Wars in 2026
Disney’s overall handling of its many beloved brands in recent years has been the subject of endless criticism. Many have focused the most on Marvel, but Star Wars also has arguably suffered. The six George Lucas films, despite their many problems, were always lauded for pushing both the brand and filmmaking forward. Lucas was never one to play things safe, and this creative passion showed through in even his worst films. This unrelenting and unapologetic creativity has been missing from the Disney-era projects.
Despite adding plenty of new characters, vehicles, and planets, the newer films and shows lack the previous constant forward momentum. The Force Awakens and Solo did too little for the status quo, while The Last Jedi and The Acolyte did too much. One show that struck the balance however was The Mandalorian, the brand’s first Disney+ outing, and before Andor, its best. Its first two seasons were hits with both fans and casual audiences, with the adorable Grogu, western-style tone (a rarity nowadays), and a new perspective on the galaxy all being welcome additions to the Star Wars canon.
Even this show could not stay strong. Season three had mixed to negative reviews and much lower metrics, signaling declining quality and relevance. Right as it seemed the show was now no better than its contemporaries, it became the basis for the first new Star Wars film in seven years. Has Lucasfilm reestablished itself on the silver screen, or just reminded most of us why we stopped caring? Many reviews and articles have speculationed throughout the year on if The Mandalorian and Grogu is what the brand needed.
Is The Mandalorian and Grogu actually good?
Regardless of how the worded it online, Star Wars fans everywhere just wanted a good film. I am sad to say though that Lucasfilm largely failed to deliver. The film looks really solid on the surface, with great production value, a fun cast of characters, and an understandable plot. This actually is the film’s problem, as this is all there is to it. The action is tight if generic, Star Wars’ signature hopeful tone shines, and many can appreciate newer characters taking the spotlight, even if they are still safe picks. But on a deeper storytelling level, the film is painfully hollow.
A very common critique of the film is that it feels more like several episodes of the show stitched together than a large, cohesive plot. If this is actually what happened, it would explain the lack of significant stakes. Films are expected to have payoffs from earlier events and distinct arcs for the main characters as the story goes on. Serialized television is different however, with episodes contributing more to a larger season than being complete stories themselves. The Mandalorian and Grogu finds itself in an awkward middle ground, not having the best elements of either. Things happen with no consequence and the narrative scope feels tiny.
A lot of casual viewers, less critical fans, and families have stated they enjoyed the film’s simplicity and carefree nature. Their reviews describe The Mandalorian and Grogu as a fun, unserious, and easy-to-watch film. I am happy to see people liking the film, but to me this is just not what Star Wars needed. In a franchise known for being a cultural event, an adventure with two tired television characters feels underwhelming.
What could have made The Mandalorian and Grogu better?
As I have indicated, the fundamental problem holding this film back is its lack of ambition. Critics have noted its lack of a thematic message other than a vague sense of found family, something the show already did. Similarly, the plot was made to be understandable for viewers not familiar to the show, which while fine on its own, means it feels disconnected from the show. In trying to be as approachable and agreeable as possible, the film stripped itself of a strong creative voice.
The easiest way to give The Mandalorian and Grogu a creative voice to improve reviews is challenging the status quo. I think separating the title duo, or at least stressing their relationship, is the way to go. The film did show Grogu caring for an incapacitated Din Djarin (The Mandalorian), but it was far too little. They would need to be separated for most of the film or go their separate ways for it to stick.
Another easy fix would be to tighten the plot and make it more of a cohesive film narrative. The film has essentially four parts, the beginning seeing title duo taking a job to rescue Rotta the Hutt in exchange for information on finding the warlord Commander Coin, the second them rescuing and befriending Rotta, the third them capturing Coin and setting Rotta free, and the last them liberating Rotta from his vile family. As-is, Coin feels inconsequential and Rotta, while fun, is essentially a plot device. Focusing on just finding Rotta or Coin would create a more focused narrative than these two disparate plotlines stitched together.
How Disney can recapture the magic of Star Wars
Most Star Wars fans agree that Disney has long been more interested in the old than the new with this franchise. The sequel trilogy was a heavy-handed attempt original trilogy nostalgia, the same going for most shows with the prequels. Even their more original and freestanding shows fall into a comfortable status quo. Season two of The Mandalorian shook things up with Grogu leaving Din in the season two finale, but their next appearance immediately undid this. This unwillingness to push forward is antithetical to Star Wars under George Lucas.
Andor is almost universally considered the best of the Disney projects, and it indeed sets an example. Despite lacking a lot of Star Wars iconography, its story had a grounded feel that many have not felt with the franchise in decades. It was never afraid to kill characters, even unceremoniously, giving the narrative real stakes. And most of all, it has an exceptionally powerful anti-authoritarian message, much in line with the original trilogy. In addition to being a plain good show, Andor shows that, like any franchise, the message is more important than the visuals or fan service.
Fans and critics are already looking towards the next slated film Starfighter to be a more true-to-form Star Wars film. While reviews and the box office look disappointing for The Mandalorian and Grogu, merchandise sales are bound to close the gap. The current formula of safe, easygoing nostalgia is still making Disney money, but anything beyond that needs a better showing. Innovating in the Star Wars brand involves giving fans not what they want, but what they did not know they wanted.
