Sadly, the Writers Guild of America does not publish their arbitrations for writing credits, because the one on Rogue One has got to be a doozy; I desperately want to know how they go to this script. Did it actually start as a video game or did director Edwards really have no idea how to do action scenes not out of a video game? Was there ever a satisfying conclusion to the various characters or was it always going to be amid the biggest Star Wars action sequence featuring the toys—sorry, spaceships–from the Original Trilogy ever mounted.
Because you know how they do all the rest. They do it with CGI. They even bring Peter Cushing back in CGI and credit some guy named Guy Henry who… stood in? Got CGI’ed over? Cushing doesn’t look real, he doesn’t even look alien (though the alien designs in Rogue One are like sixty percent good and forty percent perplexingly odd). He kind of looks like a video game character but maybe a little better… whenever he’s on, I wish I was just watching CGI further adventures of the Original Trilogy cast. I mean, probably not anymore because I wouldn’t want to see what the do with Carrie Fisher but still. There’s a novelty in it.
There’s no novelty in CGI Cushing in Rogue One because they still haven’t gotten the acting down. The face makes expressions but pointlessly. Kind of like the James Earl Jones cameo. His inflections make no sense. Partially because the exposition-full dialogue plays worse onscreen than George Lucas’s. Again, that Writers Guild arbitration has got to be some great reading. Like who wrote the Darth Vader cameo, which I’m not going to consider a spoiler because you should be able to get a “Rogue One Darth Vader” playset, complete with the bigger looking, Darth Helmet homage perhaps helmet.
The reason the dialogue is so bad is because they’re targeting a younger audience. There’s this really silly “Rosebud” running throughout the movie and it gets repeated time and again before it finally comes into play and then they even explain it. Because they’ve got to hit the eight year-olds, which is nice, right? It makes an eight year-old feel smart… which is kind of Star Wars in a nutshell.
The big space and land battle plays with all the good toys. There are ships from various movie periods fighting each other and whatnot, there’s AT-ATs, there’s… a samurai. There’s everything you could want. And lots of callbacks to the original movies, both in shots and dialogue.
As bland as the action direction, Edwards does pretty well with the pseudo-main plot, involving the creation of the Death Star (the first one, so pre-Star Wars; the movie assumes you’re very familiar, because otherwise why would you be watching Rogue One). Empire scientist Mads Mikkelsen tries running away but gets brought back by bad guy Ben Mendelsohn (who’s great but has to play second-fiddle to CGI Cushing, which is a choice); Mikkelsen’s wife dies and their daughter is rescued by Forest Whitaker. Jump ahead fifteen years and now the daughter is Felicity Jones and Whitaker’s an old man (so they can make prequels to this prequel, which would still be sequel to the prequels), and they’re estranged. Blah blah blah, needlessly complicated plot to get Jones and Whitaker reunited, bringing in Rebellion spy and secretly soulful assassin Diego Luna, who, with his trusty reprogrammed attack droid (voiced by an over-enthusiastic given the writing Alan Tudyk), will reunite father and daughter and hopefully save the universe.
Along the way Luna and Jones team up with Jedi Temple protectors but not Jedi Donnie Yen and Jiang Wen. They’re like Jedi groupies. Yen gives what’s probably the best performance… and there are good performances. Not just Mendelsohn. Luna’s a strong lead until Jones takes over for… ten minutes or so. She’s good. It’s a silly part, but she’s good. Riz Ahmed’s really good as the Imperial spy. Forest Whitaker’s good. Until they get to the direct prequel to Star Wars stuff, it certainly seems like it might add up to something for its cast. But once Threepio and Artoo show up… it’s just a countdown to their suicide mission overtaking them and clearing the board for the actual heroes to show up.
The ginned up martyrs all get their big exits but they play trite, mostly because the script, some Edwards. Michael Giacchino’s score almost, almost, almost finally makes it work but then he doesn’t because he never makes it work. Giacchino’s score is middling when it’s not aping or anti-aping John Williams and much worse when it does.
Rogue One is a successfully executed Star Wars prequel slash midquel, which says nothing about it as a good use of $200 million or two hours and ten minutes…. In those terms, it’s an abject, even desperate fail and a complete waste of its (human) actors’ time.
I assume CGI Peter Cushing has nothing better to do.
Directed by Gareth Edwards; screenplay by Chris Weitz and Tony Gilroy, based on a story by John Knoll and Gary Whitta, and characters created by George Lucas; director of photography, Greig Fraser; edited by John Gilroy, Colin Goudie, and Jabez Olssen; music by Michael Giacchino; production designers, Doug Chiang and Neil Lamont; costume designers, David Crossman and Glyn Dillon; produced by Leifur B. Dagfinnsson, Simon Emanuel, Kathleen Kennedy, and Allison Shearmur; released by Walt Disney Pictures.
Starring Felicity Jones (Jyn Erso), Diego Luna (Cassian Andor), Alan Tudyk (K-2SO), Donnie Yen (Chirrut Îmwe), Wen Jiang (Baze Malbus), Ben Mendelsohn (Orson Krennic), Forest Whitaker (Saw Gerrera), Riz Ahmed (Bodhi Rook), Mads Mikkelsen (Galen Erso), Jimmy Smits (Bail Organa), Alistair Petrie (General Draven), and Genevieve O’Reilly (Mon Mothma).