SPOILER ALERT: The following review contains mild spoilers for "Solo: A Star Wars Story."
The most important thing about "Solo: A Star Wars Story" is that it is well-known behind the scenes despite its publicity, culminating in the replacement of directors Phil Lord and Christopher Miller by Ron Howard after several months of shooting , the movie is not the disaster that suggests its production history. In fact, it is not even close. Although she has a slow start and enough thirsty fan service to last for a decade for Comic-Con's Hall H, she has a kick-like, kinetic run-down movie in her heart, and her action sequences are machine-made glasses first Order. His appearances, beginning with Alden Ehrenreich as the young Han Solo to the film-robbing Donald Glover as his clever friend Lando Calrissian, are entertaining throughout. And thanks to cinematographer Bradford Young, "Solo" provides moments of real grit and something that approaches interstellar realism among all the expected top VFX. Say what you're going to say about Lucasfilm's itchy trigger finger under Kathleen Kennedy, but the team certainly has the common sense to keep their cash cows from racing pasture.
And yet they could stand it a bit more ready to fail. Since Lucasfilm and Disney already have monopolized multiplexes for the rest of our natural lives, these "Star Wars Story" branches should give them plenty of room to stretch their hair and play in George Lucas' vast sandpit Lift to the numbered rates of the series. At first glance, "Solo" seems to be the perfect vehicle for it. It's the first "Star Wars" movie without a single use of power; the first without Anakin Skywalker or any of his descendants; the first to be largely excluded from a broader galactic policy; and the first to contain everything that could go through as a dirty joke. But still, "Solo" retains an almost religious reverence for the legacy of the franchise, and the free-spirited story at its center is too often peppered with the weight of the past.
It's hard to think of many characters from the past The last 45 years of American filmmaking need less an introduction than Harrison's Ford Han Solo, but Howard's film spends an excessive amount of its early run through the original literature. We finally get answers to a few unanswered questions, how did Solo get its name? And where does he have his blaster? (If you think the answers are "his parents gave it to him" and "he probably bought it somewhere", you are wrong, but the alternatives presented here are not much more interesting.)
Long before his run together with Luke, Leia and the inside of a Tauntaun, the young Han lives in a kind of thieving cave on the dirty planet Corellia. He has just stolen a speeder and a small vial of coax, a rare and valuable mineral used as fuel for spaceships, but he does not intend to offer it as a tribute to the local Capo Lady Proxima (Linda Hunt). He dreams of becoming a pilot, and is beaten by a fellow thief called Qi'ra (Emilia Clarke). He plans to use it as a security to bribe himself on an outbound ship to freedom. There are complications, and Han manages to save himself by abruptly locking himself in the kingdom and leaving Qi'ra behind.
Three years later, he's flashing, and he's a grunting recruit scooping it out on a muddy planet in a trivial battle. He waits for a chance to go to WITTER to save Qi'ra, and finally gets his window as he runs over a roving gang of smugglers: Jaded leader Beckett (Woody Harrelson), his hard-bitten wife Val (Thandie Newton) and pilot Rio Durant (Jon Favreau). Now also accompanied by the friendly Wookiee Chewbacca (Joonas Suotamo), Solo manages to flatter and lie to their uncomfortable manners.
It has definitely started to pull to this point, but Solo's first job with his new crew shakes off the slack. They are aiming for a new planet. Their goal is a trainload of coaxial cables that are transported on a dramatically elevated rail through the mountains. The band's daredevil raid, filmed on location in the snow-capped Italian Dolomites, is mid-air, but feels a bit more down-to-earth than most of the new pieces of Star Wars. The contours of the battle are alive and felt. Thanks to a split-second decision by Solo, the band's loot is lost, forcing a fearsome Playboy gangster named Dryden Vos (Paul Bettany).
On Dryden's floating space yacht with dueling alien lounge singers, Solo is surprised to find Qi'ra. By some mysterious, implicitly unappetizing means she is referred to as one of Dryden's best "lieutenants" and offers a subtle help, while Solo offers him to eliminate the demise of the gang: they will travel to the mine planet Kessel, steal a batch of Coaxium in its volatile raw form, and race the cargo to the planet Savareen to refine it before it blows them all to pieces. (No points to guess how fast he has to make this run.) But first the crew needs a ship.
It would be a waste of a movie ticket to sit through "solo" and try to guess which pieces the last cut belongs to Howard and belongs to Lord and Miller, though it's in the scenes with Lando, the solo and co And trying to win, quite evidence of the style of the "Lego Movies" director with careless cultural demythemization gives ownership of his ship, the Millennium Falcon. Played by Glover as equivalent parts of a sweet rascal and nasty brat, Lando gets all the best laughs of the movie ̵
If only Solo and Qi'ra had a fraction of this chemistry. For a movie that keeps taunting us with the allusions to the original "Star Wars" trilogy in the ribs, "Solo" has few favors to commemorate the firefight between Ford and Carrie Fisher moments. Clarke and Ehrenreich have few such sparks, though this is less the fault of the actors than the unimaginative relationship they have to work with. Above all, Ehrenreich is permanently visible: He tickles Ford's cocky gait, his mischievous wink, his cheeky finger pointing, and while the performance initially acts as a gifted facial expression, he succeeds at the end of the film (19659005) Few would refuse, if Ehrenreich the Character in future episodes would resume ("The Young Han Solo Chronicles?" "Wookiee and the bandit?"), But a grubby, nerve-wracking smuggler Like Han needs space to stretch and cause trouble. After all, it took the same unrestricted imagination to produce both "A New Hope" and "The Dark Threat" – if you're not ready to risk the latter, there's no great chance of ending with the latter.  RELATED CONTENT: