Solo: A Star Wars Story ★★½

One would expect that a film should be critiqued on its own merits, but sometimes outward factors force the film to be observed in a new light. In the case of Solo: A Star Wars Story, its troubled production history is impossible to ignore. Original directors Phil Lord and Christopher Miller were reportedly fired by Kathleen Kennedy over their shooting style—their improv-heavy methodology not exactly sliding with the well-oiled machine of Lucasfilm. Rumours were also circulating that an acting coach was hired for Alden Ehrenreich—a painfully ironic mirror to the actor’s role in Hail, Caesar! as a young movie star struggling to give a good performance. Its reputation as an unrivaled disaster occluded the final product itself. Would that it t’were so simple.  

 

Walking into the Grand Lumiere for a repeat gala screening—and feeling more glamorous than I ever will—what I was thinking (other than “DO NOT FALL OVER”) was: “Can they really salvage a good film out of this?” Replacing Lord and Miller with Ron Howard seemed like the safe option—and it really was. Ron Howard’s career as a director is dominated by films that are generally well-liked but are rather unremarkable. He’s prolific too, and so his films maintain a middling quality that means they leave the cultural conversation as quickly as they entered. (Does anyone actually remember In the Heart of the Sea?) My expectations with Ron Howard at the helm were met, but I was still disappointed. Star Wars films shouldn’t just be solid, they should be exhilarating but emotionally resonant—and that is nowhere to be seen with Solo. What is revealed by this replacement is that the puppet masters over at Lucasfilm prefer a director who won’t step out of line over a director with a fresh, innovative perspective. Solo: A Star Wars Story is so concerned with playing it safe and appealing to the masses that the end result is wholly underwhelming. To put it bluntly, Solo is downright bland.


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