Another week, another new episode of The Mandalorian on Disney+.
After time on two desert planets and a forested world, our leading man’s latest journey keeps him out among the stars, but not far enough out of trouble.
The Mandalorian (Pedro Pascal) reaches out to a mercenary he knows named Ran (Mark Boone, Jr), looking for work. What he gets is a prison break job, where he’s teamed up with Ran’s assistant Mayfield (Bill Burr), a Devaronian named Burg (Clancy Brown), a crazy Twi’lek named Xi’an (Natalia Tena), and a droid named Zero (voiced by Richard Ayoade).
Mando finds there are added stipulations, but takes the job. However, it just feels like this deal is getting worse all the time.
After a few minutes with this week’s crew, it feels like Mando has fallen into a combination of Suicide Squad and Rogue One with this episode. This is one of those scenarios where it seems the operatives were chosen for their skills, and if they happen to work well as a team…well, that’s just a bonus.
We get some hints of people having knowledge of Mando in this one. From Ran to Xi’an, there are small bits of information that their paths have crossed, but we’re left in the dark regarding most of those past exploits. There also is a continued mention of Mando’s disliking of droids, and a little more information on his ship, the Razor Crest.
Rick Famuyiwa directs his second episode of the season, taking us from open desert terrain, to the confining hallways of a New Republic prison ship. There’s definitely some flashbacks to the sleek-white interior of the Tantive IV from Episode III & IV, mixed in with some new elements as well (after the fall of the Empire, the New Republic now has the credits to afford droids to guard their prisoners).
Fortunately, The Prisoner ends up not relying so much on nostalgia like last week’s episode, The Gunslinger. The little shout-outs to certain areas of the Star Wars universe in this episode, are a little more unexpected. We get a minor reference to The Last Jedi, while one of the character’s call-outs to a certain prequel species, shows that racism is still alive and well in the galaxy.
With a crazy crew of characters, I was hoping there would be some faces here that would be more memorable. Alas, the characters are pretty much here to serve their basic purposes of being colorful scum, that feel like we’ve seen them in other popular culture materials. I’d dare anyone to watch this, and not think of Xi’an as a Twi’lek “Harley Quinn,” or Burg as the team’s “Drax.”
The highlight of the episode is seeing how resourceful the Mandalorian can be in a tight spot, and when things really start to go downhill at one point, some of what he does brought a smile to my face. Pity that I couldn’t have enjoyed the rest of the episode as much as one little scene at the end, where Famuyiwa gets a little “house of horrors” in how he stages a tense scene or two.
Just like last week, The Child is relegated to a smaller role, as our focus is mainly on Mando. All showings of The Child in this episode, seems mainly to let us know he’s still alive, but that’s about it.
In my humble opinion, The Prisoner is definitely better than The Gunslinger for an overall story that doesn’t rely on nostalgia, but it doesn’t give enough decent characters to really make me care much for plight of most on-screen.
With two episodes left in the season, The Mandalorian started out strong, and seems to have become rather middling with it’s recent stories. With two episodes left in this season, I am hoping the first season will conclude in a way that will make us eager for season 2.
Final Grade: B
Half-way through it’s first season, The Mandalorian has become a runaway hit for the Disney+ streaming service. Each new episode has revealed a little more about the helmeted lead (played by Pedro Pascal), and opened our eyes to the galaxy beyond the live-action feature films.
For the fifth episode, writer/director Dave Feloni, takes us back to a familiar locale.
After a space battle severely damages his ship, The Mandalorian is forced to seek repairs at the nearest spaceport…which happens to be in Mos Eisley on Tatooine.
Needing to pay for the repairs, Mando accepts a request to help a rookie bounty hunter named Toro Calican (Jake Cannavale). The assignment leads them out to the Dune Sea, intent on capturing an assassin named Fennec Shand (Ming Na Wen).
While we have seen some locations this season that reminded us of places we knew from the older Star Wars films, this is the first episode that drops us back into a familiar locale…but things have changed since we were last here.
Mos Eisley does not seem to be the bustling spaceport we once knew, with Feloni showing us a place affected by the downfall of the Empire (and most likely the death of local crimelord, Jabba the Hutt!). This could be a sign that while the New Republic may be good for certain areas of the galaxy, it might be hurting newer areas that have opened up in the often-overlooked Outer Rim Territories.
The search for Fennec Shand utilizes a bunch of touchstones we’ve come to associate with the planet over the years. From speeder bikes to dewbacks, the episode is a veritable drinking game of callbacks…pity that the story can’t really overpower the visual moments (or composer Ludwig Göransson’s “south of the border” musical flourishes) .
As a new bounty hunter looking to make a name for himself, Toro comes off almost like a mixture of Hayden Christiansen and Shia LeBeouf in tone. Canvalle’s acting reminds me of the way Hayden spoke as Anakin Skywalker, and I do wonder if this was intentional. Like Anakin, Toro is someone who wants to prove himself, and in some cases, is willing to do whatever it takes.
Much of the story between Toro and Mando is focused on the mission. I feel there could have been some moments where Mando could have opened up more and given Toro some deeper life-lessons, but The Gunslinger doesn’t want to slow down and smell the roses. It’s storytelling is pretty straight-forward, and there aren’t a whole lot of surprises to be found here.
Fennec’s role is also much more brief than I had expected. I was hoping we would have gotten more time with her, like with Gina Carano’s introduction in last week’s episode, Sanctuary. Alas, it feels like Ming Na’s role is over before she’s had much time to register with us.
While The Child is involved in the story, it’s role is much smaller this time around. Much of the interaction with him is done through a docking bay mechanic (played by Amy Sedaris), who provides some minor comic relief during the story. Out of all the new characters in this story, Sedaris’ role was the only one that stuck in my mind after it was all over.
The Gunslinger drops us back into familiar territory, but the storyline just doesn’t feel as engaging as in previous episodes. Toro and Fennec have their moments, but pale next to Sedaris’ docking bay mechanic who steals almost every scene she’s in. Writer/director Dave Feloni does manage to give us a teaser at the end of the story, possibly hinting that the adventure on Tatooine might have future repercussions for The Mandalorian’s journey.
Final Grade: B
Since it’s premiere on Disney+, The Mandalorian has become one of the most surprising things to come out of Disney since the acquisition of Lucasfilm Ltd.
Creator Jon Favreau (Iron Man) and showrunner Dave Feloni (Star Wars: The Clone Wars), have managed to channel into the gunslinger/samurai mentality that George Lucas often cited in various parts of the Star Wars saga. The episodic nature of the series is one part Saturday afternoon serial, and one part Spaghetti Western, with each week revealing more about our title character, and his place in the world of Star Wars.
Following events at the end of episode 3, The Mandalorian (Pedro Pascal) and his new companion (simply known as The Child) attempt to lay low on the planet Sorgan. However, Mando comes across two unexpected encounters.
The first is a woman named Cara Dune (Gina Carano), A former shocktrooper of the New Republic who has settled down in the area.
The second is a small group of villagers, who request Mando’s help to take care of some marauders that threaten their isolated community.
Given the action-packed pacing of the first three episodes, it stands to reason some will be disappointed with how “simple” Sanctuary is. However, it’s the first real “breather” we’ve had since the show began, and I welcomed the chance to see Mando and the Child interacting with other beings. It’s one thing to see characters in intense situations, but it’s another to learn more about them when they aren’t being fired on from all sides.
Cara Dune proves herself to be another worthy addition to the ever-growing cast of supporting characters. Seeing her team up with Mando to assist the villagers, gives us some more insight into her, let alone how her own training can be utilized to help the people. While Cara may have turned her back on the New Republic, that doesn’t mean she isn’t capable of helping others in need.
The village doesn’t feel that far removed from a native tribe, intermingled with a Japanese village from the days of the Samurai (those who have seen Akira Kurosawa’s films will surely see some connections!). Our main contacts to this world are a widow named Omera (Julia Jones), along with her daughter, Winta (Isla Ferris).
While Winta happily acclimates The Child into the village’s younger ranks, Omera seems to quickly take an interest in the Mandalorian. Her character isn’t that far removed from the young woman we’ve seen in Westerns, entranced by a strong-but-silent newcomer. In Omera’s case, it almost feels like her type of character is a little “too soon” for the series. The writers still manage to keep her interesting, even if she seems a little “by-the-numbers” at times.
The effects provided by Industrial Light and Magic in this story, really works within the environment. This is the first time we’ve seen The Child really stretch his legs, and while certain scenes may involve an animatronic figure, computer-generated effects are used in a sparing way, almost hearkening back to the days of Terminator 2, and Jurassic Park.
Episodes like Sanctuary are a great way to use the slower moments to understand more about characters. We learn not only about the galaxy post-Empire via Cara, but more about the Mandalorian code, and a few more hints about our lead character’s past. The storytelling of Mando being tempted with a life of simplicity however, feels a little too soon to tell, given we’re only four episodes into our adventures with him.
Most will probably discount this episode given it’s tone, but for managing to “simplify” where others want a lot more, I feel it’s a bit more worthy of praise than most will give it credit for.
Final Grade: B+