Rogues, would you live forever?

Rating: 9/10 (20 December 2016)

Rogue One is a film with plenty of imperfections, but is still an outstanding Star Wars experience when taken as a whole. In this way, it is the most natural addition to the franchise since Return of the Jedi. Uneven pacing and plot holes haunt the legacy of every Star Wars film (even The Empire Strikes Back), yet these stories endure because of unparalleled visual imagination and an unbreakably strong human element. Director Gareth Edwards and writers Gary Whitta and John Knoll all understood this. Combined with intense passion as both artists and Star Wars fans, they sought to create an offbeat tale within the mythos that proved that not every ounce of brand value comes from epic heroes combating the forces of evil with laser swords. In that respect and many others, the production team crushed expectations.
For the uninitiated (if there are any left), Rogue One is an ensemble war film, centered on acquiring the Death Star plans. It isn't intended to be optimistic and colorful like a typical Star Wars movie. The atmosphere is grim, depicting a galaxy drained of hope by an oppressive fascist dictator. Here the rebels have to walk on eggshells, working from the shadows to make calculated strikes at the Empire. As a result, the scale is somewhat smaller in this adventure and significantly more personal. Dialog is sharp, carefully representing a small team at odds with themselves. However, there is a surprising amount of levity in the script to offset the otherwise bleak narrative. In particular, Alan Tudyk's portrayal of the sarcastic droid K-2SO steals the show. Though Ben Mendelsohn as the self-absorbed Director Krennic and Diego Luna as the morally conflicted Cassian Andor also turn in memorable performances.
Yet acting of any quality is no substitute for a compelling plot, which is where Rogue One occasionally loses steam. The first act of the story jumps around liberally, putting crucial details in jeopardy of being lost to all but the most attentive viewers. In the second act, the story grinds to a halt so the female lead can fulfill her arc. It is also where one or two subplots are entirely dropped, leading to unnecessary confusion about the state of a crucial character. In the final act, the story picks up again and ties up every loose end with extraordinary diligence. Rogue One has arguably the most comprehensive and satisfying finale to any Star Wars narrative, including the entire gamut of expanded canon. It is also worth noting that even if the pacing is uneven, virtually nothing is out of context. Contrary to the insultingly shallow exposition of The Force Awakens, everything in Rogue One has a substantial visual or verbal explanation. It helps reinforce the plight of the team and flesh out the world they inhabit. Also, the attention to detail ensures Rogue One will be a pleasure to watch for years to come.
To that end, there is an item in Rogue One that will serve as a discussion piece both immediately and well into the future. In the film, a certain character from the original trilogy is recreated with the use of CGI. This is not merely a cameo, he is a fully functional cast member. His likeness, mannerisms and voice were entirely reproduced to fill a role. While it has handled with the utmost taste, the actor in question has been dead for over two decades. This sets a dangerous precedent not just for Star Wars, but for the future of filmmaking. Hollywood is desperate enough to remake any film from yesteryear, though now they can also remake people. While currently a gimmick with frightening potential, these techniques could one day become a crutch to the creatively bankrupt. Hopefully Lucasfilm and Disney discourage widespread adoption of this approach. Beyond that ethical quandary and a few missteps, Rogue One needs little improvement. A director's cut of the film with touched up editing would address the vast majority of complaints. The first act could slow its breakneck pace and add a bit more articulation to each action sequence. Cut content could be added back into the film to minimize the confusion caused by the dead ends in subplots. Perhaps a few more establishing shots on the tropical planet of Scariff would better emphasize how visually diverse and interesting it is from other locales in the Star Wars universe. Certainly the score could be more melodic, even if Michael Giacchino did do a phenomenal job emulating John Williams. Overall, the next freelancer artists to tackle a Star Wars film need to take risks. If Rogue One is the barometer for future installments however, there is little reason to be concerned.