The reviews are going viral for THE MANDALORIAN AND GROGU and there seems to be a general consensus about the first big-screen return in seven years to that famous galaxy far, far away: it isn’t good but it also isn’t bad. Honesty? We agree, but how can this be? There’s a few unique factors at play.

Here’s our spoiler-free review of THE MANDALORIAN AND GROGU.

Of course, people are quick to decry the label of “Disney Adult” or “uber-fan” whenever you don’t come out swinging against something from the House of Mouse but in the case of this film, it’s really just not that simple. THE MANDALORIAN AND GROGU is like one of those fresh packs of infamous blue cookies that we’ve seen Grogu munching on for the past few years. It’s a fun sugary treat but at the end of the day, there’s not a lot of substance to the meal.

Seemingly, one of the biggest marketing hurdles for this project is whether or not it can shake the idea that a super-popular Disney+ series cannot translate into a good movie. There’s no good reason it shouldn’t be able to and yet what is landing in theaters on May 22 inevitably ends up feeling like a condensed fourth season where smaller story beats are excised for a slimmer package to send out in theaters. The problem is that part of what makes up the charm of the small screen version of this franchise (at least in its first and second seasons) is exactly those quiet pondering moments, the small character interactions and unassuming world building that help you feel like you’re in this incredible living, breathing, world.

To its credit, despite a lot of less-than-convincing CGI work, the film also has an extraordinary amount of that trademark tangible practicality. The sets range from intimate, to claustrophobic. to expansive when needed in the story with fun details and Easter eggs are sprinkled throughout plus some more truly gorgeous shots worthy of literal picture frame. There’s scenes on the Jabba-home planet of Nal Hutta that exude the warmth and I-can-feel-it surrealism from 80s and 90s fantasy films. Aided by the fact that Grogu is largely still a puppeteered figure, there were scenes that felt almost Henson-esque with a quality to the production design that just felt right. To that end, there’s also glorious use of stop-motion photography (or at least animation that resembles the original stop-motion photography) that creates a visual connective tissue to the previous Star Wars films.

So where’s the weakness in the Beskar armor? Frustratingly, it’s in the story itself — or the lack thereof. Whether by design or accident, this ends up feeling extremely episodic with several side quests taking up seemingly equal portions of time leading to a finale that feels like a proper ending yet by the time the final pew has pew pewed, it doesn’t feel like the story moved the needle much at all — neither for the larger world events that connect to the films set later in the timeline or for just core story beats for the lore of these characters. The biggest takeaway seems to be that Mando faces the harsh reality of his own mortality caring for a being that will outlive him by centuries but beyond that, there wasn’t really much offered to have us clamoring for another movie. It’s unclear exactly where the franchise is going exactly.

Despite the weary path traveled, THE MANDALORIAN AND GROGU is also quite action packed with the bounty hunter plowing his way through one baddie after the other in that exciting and ruthless way that we’ve come to love and expect from this character. In fact, memorable characters are another strong suit in this adventure. Pedro Pascal is consistent as ever as the grounded merc with a heart and Grogu continues to be both an intriguing and adorable comic relief. The tiny puppeteered Anzellans also steal the show with their playful antics and boisterous personalities that we’ve already seen in other Star Wars films. Sigourney Weaver slots naturally into this world as a potentially formidable component of the post-Empire world leading up to the birth of the First Order. Jeremy Allen White brings a lovable giant to life with a portrayal of as Rotta that we couldn’t stop comparing to Korg in the Marvel Cinematic Universe. The ensemble is filled out with several others notables including Jonny Coyne as Bondesque villain Lord Janu and an endearing cameo from Martin Scorsese as a lovable Ardennian fry cook.

Carrying over from the series, the music is another strong component with the iconic and recognizable themes and music composed by Ludwig Göransson. We get a nice treat of before-film credits that not only give us a nostalgic nod to the 80s where this practice was common but it also gives us the chance to soak in gorgeous visuals while enjoying that iconic music.

So, yes. While it seems trite to say a film is both not good but also not bad, it’s how we felt after the end of the credits. (Which reminds us, there’s no post-credits scene to stick around for in case you’re wondering.) THE MANDALORIAN AND GROGU is a good time at the movies it just doesn’t quite pull together into something bigger than a fun stack of blue cookie nummies. And maybe that’s ok? It’s just odd because this really seems like it should have been a slam dunk but sometimes that’s how the Empire crumbles. At the end of this, we’re still eager to see what happens to these characters and, surely, there’s still a ton of story to tell — we just hope the next outing gives us more than a blue tongue afterwards.

See it for Yourself

THE MANDALORIAN AND GROGU lands in theaters May 22, 2026.

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