Directed by Ron Howard
Starring – Alden Ehrenreich, Woody Harrelson, Emilia Clarke
The Plot – Through a series of daring escapades deep within a dark and dangerous criminal underworld, Han Solo (Ehrenreich) meets his mighty future copilot Chewbacca and encounters the notorious gambler Lando Calrissian (Donald Glover), in a journey that will set the course of one of the Star Wars saga’s most unlikely heroes.
Rated PG-13 for sequences of Sci-fi action and violence.
– This is a heist film above all else, so the twists and turns that the conflict, as well as the slow burn transformation that each character takes feels necessary. When the film started, I was kind of disappointed with how little character exposition there truly was for each character that came in and out of the story, but when you realize that this is a ship full of rebels, you start to understand (Like Han) the task of trusting a stranger with your life.
– As usual, Howard is a master behind the camera, gliding through fast-paced sequences with the precision of a master craftsman. Besides the fact that nothing ever feels out of focus or out of frame, Ron dazzles us with many unorthodox movements in every possible direction that these endless galaxies entice us with, and does so without it ever feeling dizzying or traumatic to our vision.
– While a majority of the performances were disappointing for me, it was Ehrenreich as the title character who clearly won the day. Glover is full of charisma, but little humanity, Clarke always hints at something bigger, but by the time we see it, it’s too late, and Harrelson is easily forgettable despite having the second most screen time. Where Alden finds his range is playing Han with this tug-of-war between confidence and immaturity that often times gets the best of him. Alden is never trying to be Harrison Ford, rather choosing to fill in the gaps to this legendary character with his own inspiration, and it’s one that was fun and attention-grabbing at each scene.
– The set pieces were decadent and immense in their revealing detail. Perhaps Solo’s greatest feat of strength is in the contrasting landscapes that the story takes us on, giving us much in the way of imagination that this saga has carved out for over four decades. Some of my personal favorite involved a swanky nightclub complete with lounge acts and sheer garments, as well as the Millennium Falcon itself, in all of its neon lighting schemes and crisp, clean interiors that showcase the prized piece in perhaps a new and energetic depiction.
– The next John in the booth. While John Williams of course isn’t behind the soundboards of this whimsical score, John Powell confidently picks up the ball with an overall score that caters to the crossroads of generations associated with this fandom. The obvious musical numbers are clearly still there, but they’re worked into with the kind of familiarity that doesn’t hang on too long to audiences who expect it during particular scenes. In addition, there is much versatility to the kind of audible stories that his sounds take us through, emulating one of my favorite scores halfway through the 2018 movie season.
– I was very much surprised with how light-hearted the atmosphere in the film surrounded me with, considering the trailers were promising anything but. Solo definitely feels like a story of hope for this protagonist, despite the fact that he comes from such a defeated place on the geographical map. It’s in that hope where we see a man we’ve known for years with his eyes wide open for perhaps the first time in his ambitious on-screen life, and in that aspect we can just sit back and enjoy him learn all of life’s harsh lessons that evolved him into the iconic presence that we came to know.
– For one chapter, Solo is a worthy enough installment, but for the overall bigger spectrum it sadly retorts to much of the same that we’ve already beaten into the ground in nine prior Star Wars movies. Once again this is a rag-tag group of misfits who team together aboard a ship, one of which being an android, to stop this sinister force, and while that is just enough for some people, the overwhelming lack of impact that this film left me with is something this critic simply can’t ignore. Because of such, Howard’s Solo will ultimately be forgettable with how little it shaped everything besides this one man. It’s an origin story that strongly lacks originality.
– Much of the first act is poorly lit. At first I thought it was just the screen that I was watching the film on, but as the film progressed I noticed it got a lot better, leading me to wonder why the first thirty minutes of the film are shot so ugly. Much can be attributed I’m sure to this lower-class city that Han comes from, but that’s no excuse in leaving too much room to decipher just what is transpiring on-screen. This and the overall juxtaposition for the way some scenes transition certainly commute that feeling of a two-director project that this screenplay can’t escape.
– My biggest problem with the film is how telegraphed every twist and turn feels. More times than I care to admit, this film shows its hand to the audience, and unless you’re deaf or playing on your cell phone, you will hear these obvious lines of dialogue and interpret them as such for what is inevitably coming. Because of this, I was never even remotely surprised at anything except a brief one minute cameo towards the end that honestly wasn’t even necessary when you really think about it.
– The pacing really hit me hard around the midway point, when the overwhelming lack of interest poured over me. I mentioned earlier the benefits of minimal character exposition in this particular story, but the unavoidable negative to this concept is that lack of pull that the film has on this conflict that we’ve seen too many times. It’s easy to say that certain scenes can be cut or trimmed, but the biggest obstacle feels more in the way that this film sells itself to its audience, skimming over what are supposed to be these defining moments for Han with little danger or vulnerability to sizzle the steak. It’s all undercooked.