Even if you couldn’t muddle through the first six seasons of Star Wars: The Clone Wars, which aired from 2008 through 2014, fans of the Disney+ series The Mandalorian now have one reason to take a look back at the animated series. Earlier this year executive producer and creator Dave Filoni presented a fill-in-the-blanks, seventh and final season of The Clone Wars for Disney+. Last week on The Mandalorian, Katee Sackhoff (Longmire, Battlestar Galactica) reprised the character Bo-Katan, a Mandalorian she voiced in 2012 and 2013 on the series, with a reference to fan-favorite spin-off character Ahsoka Tano, voiced by Ashley Eckstein in the animated series, and soon to be played by Rosario Dawson (Marvel’s Luke Cage, Men in Black II) in The Mandalorian. If you want to see some interesting connections between the past in the Star Wars movies–the prequels, the animated series Star Wars Rebels, and more–and the current happenings on The Mandalorian, it’s time to revisit the 2020 season of The Clone Wars.
Disney+ shared a new trailer for The Mandalorian late Monday, adding more great clips and images from the coming season, tying viewers back to the original 1977 Star Wars. The Mandalorian (Pedro Pascal), who we now know as Din Djarin, flying around with his backpack? Check. Cara Dune (Gina Carano) and Greef Karga (Carl Weathers) putting an Imperial troop transport through its paces? Check. Someone found Yondu’s Yaka Arrow? Check. The Abyssin cyclops from the Mos Eisley cantina? Check. More of The Child (we know, you know him as Baby Yoda)? Check.
Every new glimpse, new scene, new image from the Disney+ incredible, monumental hit series The Mandalorian provides another dream come true for any fan of the original 1977 Star Wars. Take a look at this week’s trailer for the second season below, and see if you don’t think this is one of the best trailers from the entire franchise. Now with 100% more Banthas, 200% more Gamorreans …and throw in a cyclopsian Abyssin straight out of the cantina at Mos Eisley.
Plenty of genre television is out there right now for viewers at home to consume. But discovering that one that is so exceptional is truly an exciting thing. So you might stumble through Tales from the Loop or Locke & Key or Briarpatch and give up before you even get to the halfway point, but then you land on The Mandalorian and know what great genre television has the potential to be.
With three episodes in and a new episode dropping today on the new Disney+ streaming service, it’s time to dig into the latest entry in the Star Wars universe. Great music, callbacks to prior Star Wars elements, and the best alien creations of any sci-fi or fantasy that have come along in years provide fans a lot to talk about. With a complete story arc, and what is essentially a new, full-fledged Star Wars movie in the AStar Wars Story vein, The Mandalorian might be the greatest innovation in the Star Wars saga since the original movie that started it off back in 1977.
If there are faults in The Mandalorian, it is in its faithfulness to George Lucas’s world building. Sometimes that includes clunky, simple dialogue. Sometimes that includes characters with names that lack creativity (such as a mercenary named Greef, since a General Grievous wasn’t enough). Sometimes that includes lack of rich character development and layered storytelling. That said, there is so little fan service in the major creative franchises, so that when–at last–someone is listening to fandom, and the people pulling the strings grew up with the original trilogy like they did (I’m talking about you, Dave Filoni and Jon Favreau), and they artfully deliver in such a satisfying way, well, the perceived faults just don’t seem to matter. The Mandalorianis the dream of every kid who lived through Star Wars in multiple viewings in the theater in 1977. Every kid who played with a Jawa in a plastic Kenner Sandcrawler. Every kid who had action figures of Boba Fett, IG-88, and Bossk, battling each other, and mashed up his/her Ugnaught action figure from The Empire Strikes Back with a patrol dewback toy from the first movie. And every kid who still thinks Boba Fett can’t be surpassed as the word “cool” is defined, despite lots of variants on the character in the prequels and animated shows. All that plus so, so many Easter eggs to find.
But The Mandalorian probably couldn’t have happened before now. It relies on the effectiveness of Roger Christian’s lived-in distressed look of buildings and objects replicated so well in Gareth Edwards’ Rogue One in 2016. It relies on the confidence that the Western is not dead, as tried on for size in Ron Howard’s Solo in 2018. And it even skips over The Empire Strikes Back to find what may be a simple Western story framework as seen in Lucas’s original Star Wars, itself an interpretation of Akira Kurosawa and Jin Yong’s legendary heroic adventures. In good writer style, it has all those beats needed so that the first three episodes could have been released with only little tweaks in theaters, and shown on the big screen, as a standalone. Say, The Mandalorian: A Star Wars Story, as a major motion picture. You need a good story and good writing, regardless of genre, to grab viewers. This first tale may not be complex, but compare it to the first three episodes of any other sci-fi or fantasy series or any movie, and it’s The Mandalorian that rises above the rest.
The trailers look just like Rogue One: A Star Wars Story and Solo: A Star Wars Story, which both reflected so much the original Star Wars from 1977 more than the other entries in the franchise. It’s not so much that Disney and Lucasfilm put together a movie based on every kid in the 1980s’ favorite background character, because George Lucas already made a movie about that guy, his dad, and a whole army of lookalikes. It’s hard to find a cooler character than Boba Fett in The Empire Strikes Back, until Lucas delivered on the fan service and inserted him into the original, special edition of Star Wars. It’s not only that. Or that, like Solo: A Star Wars Story, it’s clearly a full-fledged space Western. Or that fans get to see familiar elements of the franchise again, like carbon freezing, speeder bikes, scout walkers, patrol dewbacks, familiar bounty hunters, and Imperial bunkers hidden in the forest. And it’s not that the lead is played by its rising young actors known for badass characters, Pedro Pascal and co-star Gina Carano. Or that the series features a story by genre favorite Jon Favreau, with a host of episode directors like Thor: Ragnarok’sTaika Waititi, or noted Star Wars animaster Dave Filoni, or Solo director Ron’s daughter, actor Bryce Dallas Howard.
Well, it’s that, but not only that. It’s that added gravitas that Star Wars is better at than possibly any other franchise. It’s adding those dynamic, major character actors in supporting roles who make the magic happen sometimes even from the corner of the screen, from the likes of Peter Cushing, Alec Guinness, Christopher Lee, Terence Stamp, Brian Blessed, Liam Neeson, Samuel L. Jackson, Linda Hunt, Mads Mikkelsen, Forest Whitaker, Max von Sydow. Would Star Wars be Star Wars without the characters these actors brought to life? Definitely not.
For the second trailer for the new streaming series The Mandalorian, that means more Carl Weathers–who we saw in August’s first public trailer and April’s “sizzle reel” at the annual Star Wars convention. Along with Giancarlo Esposito and that toughest of older tough guys in movies, director and Jack Reacher villain Werner Herzog, we have plenty to look forward to. As the norm these days, unfortunately to watch this series you’ll need to subscribe to another streaming platform, this time that’s the Disney+ streaming service (or… once the Blu-ray arrives should you not want to feed the Disney machine any further).
So check it out–your next look at The Mandalorian, plus five new official posters:
It’s not so much that Disney and Lucasfilm put together a movie based on every kid in the 1980s’ favorite background character, because George Lucas already made a movie about that guy, his dad, and a whole army of lookalikes. It’s hard to find a cooler character than Boba Fett in The Empire Strikes Back, until Lucas delivered on the fan service and inserted him into the original, special edition of Star Wars. It’s not only that. Or that, like Solo: A Star Wars Story, it’s clearly a full-fledged space Western. Or that fans get to see familiar elements of the franchise again, like carbon freezing, speeder bikes, scout walkers, patrol dewbacks, familiar bounty hunters, and Imperial bunkers hidden in the forest. And it’s not that the lead is played by its rising young actors known for badass characters, Pedro Pascal and co-star Gina Carano. Or that the series features a story by genre favorite Jon Favreau, with a host of episode directors like Thor: Ragnarok’sTaika Waititi, or noted Star Wars animaster Dave Filoni, or Solo director Ron’s daughter, actor Bryce Dallas Howard.
Well, it’s that, but not only that.
It’s that added gravitas that Star Wars is better at than possibly any other franchise. It’s adding those dynamic, major character actors in supporting roles who make the magic happen sometimes even from the corner of the screen, from the likes of Peter Cushing, Alec Guinness, Christopher Lee, Terence Stamp, Brian Blessed, Liam Neeson, Samuel L. Jackson, Linda Hunt, Mads Mikkelsen, Forest Whitaker, Max von Sydow. Would Star Wars be Star Wars without the characters these actors brought to life? Definitely not.
For the latest trailer for the new streaming series The Mandalorian, that means Carl Weathers–who we saw in April’s “sizzle reel” at the annual Star Wars convention (yet to be posted by Lucasfilm, but check out a watchable version below), with a first look at Giancarlo Esposito, and that toughest of older tough guys in movies, director and Jack Reacher villain Werner Herzog. Not seen in this trailer, but expected to be added to the list, is Nick Nolte, who we can imagine could get us to that similar kind of character as Woody Harrelson or Paul Bettany in Solo.
So check it out–your next look at The Mandalorian:
For me, Close Encounters of the Third Kind was the film that got away. I was lucky to have been taken to every great sci-fi classic and Spielberg film from Jaws forward, but multiple Star Wars viewings probably nudged out my chance to see this one back in 1977. Close Encounters didn’t arrive in theaters until the Christmas season that year and it would likely have generated some nightmares as I was only about a year older than the boy co-star of the film–so it was probably a good thing. Close Encounters of the Third Kind is back in theaters this week to celebrate its 40th anniversary. Watching it for the first time on the big screen was like filling in a last brick in the wall. It’s a satisfying re-watch, and every time you screen a classic in the theater again you learn something new. The film is being preceded this week by a behind-the-scenes featurette, including an interview with Steven Spielberg and excerpts from the home movies he routinely films as he directs his movies. It also contains a clip of each iconic scene in the film, so those who haven’t seen the film and want to view it for the first time may want to duck out for popcorn during the previews. Close Encounters is screening only for a few more days, so no matter how many times you have seen it, it’s time to go back again. Nothing beats a classic, especially a Spielberg film, on the big screen.
You might find Close Encounters’ pacing to stand out as a bit slow. Movies today need to be action-packed to grab viewers. The elements the viewer needs to know are laid out methodically, and yet the film is not told in normal storytelling fashion. Richard Dreyfuss’s innocent everyman Roy Neary is not your normal protagonist. Every bit the victim here, he also may be more like a lottery winner, selected to do what many dream of. He asks for none of the personal invasion he encounters–ripped from his family and job, this uncontrollable compulsion arrives, pursuing him with only a realization that whatever this vision is about it’s somehow important. From the film’s abrupt start it feels very avant-garde, a bit like modern independent filmmaking, with its back and forth explanation of a communication project in progress spliced with a utility worker who experiences a strange event. Sequences of real world end-to-end conversations that other directors might have edited to more quickly get to the point also illustrate unusual directing decisions. Only in what doubles as a horror movie sequence–basically a child abduction–do we get a clear realization of aliens as one possible antagonist of the film. And when the movie really kicks in at Devil’s Tower the audience can see the international marriage of scientists and military is possibly another villain. Or is there a villain at all? Many scenes suggest dissonance itself is the culprit–all the barriers to clear communication that get in the way–the ongoing, pounding barrage of multiple interpreters in a single conversation, air traffic control operators speaking at once, Neary’s wife played by Teri Garr and her kids all talking or screaming or beating toys to pieces, Roy’s co-workers on the radio all speaking at once, a room full of scientists babbling at each other as they try to interpret these six repeated numbers beings sent to them from outer space, aliens playing rapid tones against humans doing the same. And the sound of all the toys turning on at once, the toys of little Barry (Cary Guffey) that wake up his mom Jillian, played by Oscar nominee Melinda Dillon, forcing her to join the story as a victim along with Roy. Then the resolution of conflict only arrives as the aliens and humans finally reach clarity with the tonal communication between them in the film’s climactic encounter. In the preview to the film, Spielberg mentions Pinocchio and Jiminy Cricket’s crooning “when you wish upon a star, makes no difference who you are” as his inspiration–what the film is all about. That familiar Disney motif is certainly present thanks to John Williams’ beautiful score. Maybe Roy is his own enemy–unable to break away from the influence of these beings? Or by following this calling does he rescue himself from a family that doesn’t understand or listen to him, and a mundane job and neighborhood of zombie-like suburbanites who always seem to be watching him?
Whatever the through line of the story is intended to be, the film is sweeping and enormous in scope, addressing subjects everyone can get sucked into: telepathy, conspiracy theories, all the UFO theories (from cattle mutilations to Area 51 to alien abductions and flying saucers), and unexplained phenomena (from missing people to the curious fascination of aliens with rummaging through refrigerators). It’s all there in this suspenseful package, all from this brilliant young filmmaker who said he and his cast just couldn’t wait to show everyone this great thing they had created. Hints at so many films are contained here that you could wonder if Spielberg starts generating every subsequent project idea by first watching Close Encounters: We see the young child’s parents terrified in their home by some strange force in Poltergeist as Jillian tries to prevent the aliens from breaking into her home. We see the quiet standing crowd at night waiting at the foot of Devil’s Tower for something good or bad to happen filmed similar to the soldiers waiting as the Ark is opened at the end of Raiders of the Lost Ark. And it’s almost a surprise to realize the mother ship at the end of Close Encounters is not the ship from E.T., the Extra-Terrestrial, another giant, flying, lit-up Christmas tree-house transporting that curious little botanist who would arrive only five years later.
What would Devil’s Tower be today–40 years after the release of Close Encounters of the Third Kind–if director Steven Spielberg hadn’t located his point of first contact with aliens at that singular national monument? Think about the revenues Spielberg drove into the National Parks over the years–today it gets 400,000 visitors annually. How many side trips have we all taken off the beaten path between Yellowstone Park and Mt. Rushmore to see it for ourselves? Would it have the same allure?
Forty years later and Close Encounters of the Third Kind has been given a full 4K restoration, and it’s coming to theaters for one week this summer followed by a home release. Fresh off the success of Jaws, it was a return: Spielberg, John Williams, Richard Dreyfuss, production designer Joe Alves and more–and nobody knew what Spielberg was bringing to audiences as the big follow-up after his first summer blockbuster. A science fiction film nominated for eight Academy Awards? It would take home the award for sound effects editing (Frank A. Warner) and cinematography (Vilmos Zsigmond). Plus we saw memorable performances from Teri Garr (Young Frankenstein, Mr. Mom), Melinda Dillon (A Christmas Story) nominated for her role, French director François Truffaut in one of his few acting performances, and Bob Balaban (Lady in the Water, Best in Show).
This new theatrical version has been restored from the original negatives–it’s the director’s cut, for those familiar with the various releases over the years. If you missed it in the theaters (or weren’t born yet!), don’t miss this epic masterpiece on the big screen. And for eagle-eyed genre fans, watch for brief encounters in the film with Carl Weathers (Rocky, Predator) and Lance Henriksen (Alien).
Check out this smartly edited new trailer for a sci-fi classic:
How often does a franchise include seven films? How often are any of them up to the quality of the original that launched the franchise in the first place? The 1976 surprise hit Rocky was nominated for ten Academy Awards and took Best Picture, Best Director (for John G. Avildson), and Best Editing. In every way Rocky Balboa and Sylvester Stallone have been synonymous ever since. Stallone was nominated for his original screenplay and for best actor. Rocky is the story of an underdog, and Stallone was the mirror of Rocky in real life, proving himself to the world as a wannabe A-list movie star. As the franchise continued, Stallone became an international megastar, with movies like Rambo. Many argue the sequel to Rocky, simply titled Rocky II, is akin to the Godfather 2 or Superman 2, an example of Hollywood crafting a truly worthy sequel. From there critics and audiences diverge: Was Rocky vs. Dolph Lundgren as Drago in Rocky IV up to the adrenaline rush of the boxing rounds in the earlier films? Where does Rocky III fit in? The latest entry in the Rocky series, the reboot and eighth film in the series, Creed, is now streaming on Amazon Prime. If you are looking for an inspirational, feel-good movie, it should be the next movie on your list.
What seems to be unanimous is a drop in quality and excitement beset Rocky V and the sixth film Rocky Balboa. So when Creed was released at the end of 2015, who could have guessed it could be on par with the original? The odds were against its success, much like the character of Adonis “Hollywood” Johnson, the son of the late Apollo Creed, played by Michael B. Jordan in the film. Director Ryan Coogler, born ten years after the original Rocky film, grew up with Stallone’s boxer already part of the national psyche, along with other motivational sports films like Rocky director Avildson’s other unforgettable classic, The Karate Kid. Coogler draws from that film’s sensei Mr. Miyagi in one particularly well played training sequence between Stallone and Jordan. Stallone has played sensei before in the series, but only now, with the actor a real-life wise, elder thespian, does he provide a performance that in some parallel universe garnered him not only an Oscar nomination but a win (Stallone was only the sixth actor twice nomination for playing the same character). The young Jordan is equally superb, holding back when others may take obvious choices with a hot-headed fighter. Coogler’s subtlety is the stuff of great filmmaking, such as editing in musical cues from the original Rocky like a whisper throughout the film, only to release the full weight of Bill Conti’s goosebump inducing theme when it meant the most.
