Solo: A Star Wars Story Review

Taking its first steps into a fourth decade of cinematic expedition, the Star Wars franchise proves once again it has the mettle to survive with this thrilling spin-off detailing the early years of our favourite scoundrel, Han Solo. Played here by Alden Ehrenreich, the titular flyboy who isn’t quite at the top of his game. Having fled his home world of Corellia to avoid capture and now a deserter from the Imperial infantry, Han decides throw in his lot with a motley crew of mercenaries led by Tobias Beckett (Woody Harrelson). His hopes of excitement and adventure leads him to cross paths with rival gangs, the ire of crime lord Dryden Vos (Paul Bettany), the dashing Lando Calrissian (Donald Glover) and, of course, future first mate Chewbacca (Joonas Suotamo).

It’s the relationship between Han and his furry companion that forms the beating heart of Solo: A Star Wars Story, despite the protests of an ill-advised and rather emotionally weak romance between Solo and teenage sweetheart Qi’ra (Emilia Clarke). Han and Chewie’s early escapades are now untrodden ground thanks to the dissolution of the pre-Disney era expanded universe, and Solo does a great job of integrating elements from those stories whilst adding a fresh twist. Han may share more banter with Lando, learn more lessons from Beckett, feel a deeper connection with Qi’ra, but it’s the wookiee by his side that makes him truly whole, and early scenes bereft of Chewie feel suitably empty: there’s no-one there to expose the young smuggler’s swagger in quite the same way.

Suotamo - taking up the hairy mantle for good from Peter Mayhew - has Chewbacca’s lope and bearing down to every quizzical head tilt and disparaging sniff, and plays off Ehrenreich’s determined bravado brilliantly. The Hail, Caesar graduate himself delights in the lead role, mercifully steering clear of Harrison Ford caricature and blasting his own path through the storm of unverified rumours of an acting coach hired during reshoots to provide damage control. Crucially, it’s a performance which understands that Han Solo isn’t as great as he pretends to be. He’s a smart-mouthed klutz, and a sharp script from Jonathan and Lawrence Kasdan ensures that, despite his clear talent for swiping starships and shooting first, it’s more often than not pure luck that saves him.

Our new collection of characters are a fine bunch too, though they’re all outshone by Glover’s marvellously smooth Lando; a dream piece of casting that pays off tenfold. Phoebe Waller-Bridge (television’s Fleabag) as his frank and irritable droid, L3-37, adds another amusing android to this new era’s ever-growing roster. Harrelson deploys his trademark brand of sly wisdom with aplomb, made even more endearing when placed into direct confrontation with Bettany’s villain-of-the-week sneering. He and Clarke are the solitary weak links, with the latter not quite matching the pace of Ehrenreich’s delivery in their shared scenes (areas in which the script also feels lacking).

A slight pang of regret over the loss of original directors Phil Lord and Christopher Miller still remains during these lapses in energy, but generally the film still visibly bristles with their kind of zeal, albeit redirected through the prism of new helmsman Ron Howard. Howard’s no stranger to franchise spectacle, and Solo finds him on full ‘sit back and enjoy the ride’ form.

The film moves with the breakneck speed of an over-cranked podracer, zipping between planets and asteroid clusters and battlegrounds within minutes. Action sequences involving the newer, sleeker Millennium Falcon are breathlessly orchestrated, and the sheer exhilaration of seeing the very first time a TIE Fighter fails to hit the flying dustbin lid at thirty paces is worth every penny of admission. John Powell’s accompanying score bursts with irresistible fanfare, pockmarked with musical references to match the myriad of visual Easter eggs (though the binary sunset/Force theme is, for once, utterly absent from a Star Wars film).

While the script, music and general thrust of the film conveys a lightness of tone, the same cannot be said for the frame. Bradford Young’s shadowy cinematography and the plot’s penchant for diving into the galaxy’s grim underbelly makes this the most physically grounded Star Wars yet, somewhat at odds with the swashbuckling aspirations of the story.

As was inevitable with a film not gifted the Episode moniker - and therefore not laden with heavy implications for the larger Star Wars universe - Solo does feel rather disposable. It’s not about anything, but that’s sort of the point, and that’s why I had such fun with it. How great it is to have these little frivolous respites between the continuing Skywalker saga, and greater still to find them every bit as entertaining. Solo won’t disquiet the landscape of Star Wars fandom as The Last Jedi did, but it’s by no means a placation tool for Original Trilogy purists. Indeed, in its penultimate moments, an entire generation of younger fans (whose experience of a galaxy far far away has been largely ignored by these new enterprises), will feel joyfully seen.


Despite emotional shortcomings and a sense of frivolity, this is the sort of swashbuckling adventure that George Lucas himself dreamed of all those years ago, with dashing heroes, double-crosses and derring-do to spare.


out of 10

Star Wars

Star Wars is a science fiction film series created by George Lucas. It debuted in 1977 and the first film was quickly retitled to Star Wars: Episode IV - A New Hope. It was followed by two sequels - The Empire Strikes Back in 1980 and Return of the Jedi in 1983. A trilogy of prequel films were launched in 1999 with The Phantom Menace, Attack of the Clones and Revenge of the Sith. In 2015 Star Wars returned to the screens for a new trilogy under the control of Disney with The Force Awakens directed by J J Abrams. This was follows in the main Star Wars saga by Rian Johnson's The Last Jedi with the final film of the sequel trilogy, Episode IX, due in cinemas in December 2019 with J J Abrams back at the helm,A series of spin-offs were launched in 2016 with Gareth Edwards' Rogue One, which was followed in 2018 by Ron Howard's Solo and a fourth trilogy of films has been announced for release after 2020 which will be overseen by Rian Johnson which will feature entirely new characters and an entirely separate story.In addition, there are the animated TV series The Clone Wars and Star Wars Rebels along with Star Wars Resistance which starts in late 2018 and finally a new live action series currently being developed by Jon Favreau set some time after the events of Return of the Jedi.

Did you enjoy the article above? If so please help us by sharing it to your social networks with the buttons below...

Latest Articles