“This is the way.” That mantra, repeated by the helmeted bounty hunter Din Djarin throughout ‘The Mandalorian’ series, became a shorthand for loyalty, tradition, and purpose. But after watching ‘Star Wars: The Mandalorian and Grogu’, Jon Favreau’s big-screen continuation of the beloved Disney+ series, one wonders if the franchise itself has forgotten its own way.
The film, which marks Favreau’s feature directorial debut in the Star Wars universe, brings together Din (Pedro Pascal, once again doing heavy lifting with only his voice) and Grogu (the adorable puppet-powered phenomenon) for another adventure. This time, they are hunted by a shadowy Imperial remnant while trying to protect a young Force-sensitive child.
What works
Grogu. The little green guy remains the franchise’s most potent weapon. His mischievous antics — eating alien eggs, playing with dangerous gadgets, using the Force to swipe snacks — continue to elicit genuine laughter and warmth. In a film that often feels mechanical, Grogu’s scenes are alive.
Pascal’s voice work. Despite being hidden behind a helmet, Pascal conveys more emotion through vocal inflections than many actors do with their entire faces. His Din remains a compelling character — a man of few words but deep convictions.
The action. When the film lets Favreau do what he does best — stage set pieces — it delivers. A mid-film chase sequence through the sewers of a Coruscant-like city is thrillingly choreographed. A climactic duel between Din and a mysterious dark-side user has genuine weight.
What doesn’t
The episodic structure. ‘The Mandalorian’ worked as a series because its episodic “quest of the week” format gave viewers breathing room. Forced into a two-hour movie, that same structure feels disjointed. The film hops from one location to another, introduces characters only to abandon them, and resolves conflicts with convenient coincidences. It plays less like a movie and more like three episodes of television stitched together.
Underdeveloped villains. The Imperial antagonist, Captain Enrich (a wasted Giancarlo Esposito clone), has none of Moff Gideon’s menace. He monologues, he gestures, he loses. The film also introduces a bounty hunter droid with an intriguing backstory (voiced by Lizzo), only to write her out after two scenes.
Too much fan service. Favreau and co-writer Dave Filoni cannot resist winking at the audience. A cameo by a certain beloved character from ‘Return of the Jedi’ will delight fans but confuses the film’s internal logic. Another scene forces Grogu into a cutesy costume that exists solely to sell toys. The film constantly reminds you that it is a Star Wars product, not a Star Wars story.
The Jon Favreau problem
Favreau is a talented director (‘Iron Man’, ‘The Jungle Book’) and a savvy showrunner. But his strength has always been in adaptation and world-building, not in crafting tight, character-driven narratives. ‘The Mandalorian and Grogu’ suffers from a lack of focus. Favreau tries to balance fan expectations, franchise lore, television pacing, and theatrical stakes — and ends up satisfying none of them fully.
The film also struggles to justify its existence. Why was this story told on the big screen? The answer, cynically, is money. Disney needed a Star Wars theatrical release, and ‘The Mandalorian’ was its most bankable asset. But nothing in this film requires a cinema — the scale feels contained, the stakes feel personal, and the climax takes place in a room.
The supporting cast
The film introduces several new characters, most of whom are forgettable. A young Padawan survivor (played by newcomer Xolo Maridueña) has potential but is reduced to a plot device. A grizzled Ugnaught miner (voiced by Nick Nolte, reprising her role from the series) provides comic relief that falls flat. Even returning characters like Cara Dune (Gina Carano) and Bo-Katan (Katee Sackhoff) feel sidelined, appearing just long enough to remind you they exist.
Where does it leave the franchise?
‘The Mandalorian and Grogu’ ends on a note that suggests more adventures to come. But after this middling outing, the prospect of a sequel feels less exciting than exhausting. The film answers few questions (What is Grogu’s species? Why is the Empire still a threat?) and raises several it has no interest in exploring.
For fans who have followed Din and Grogu since 2019, the film offers moments of joy — seeing the duo back together, watching them bond, hearing Pascal deliver another heartfelt “This is the way.” But for anyone seeking a cohesive, compelling Star Wars film, this might not be the way.
