Rogue One: A Star Wars Story postures itself as a one-off stand alone, the first (and only?) entry in the “anthology” series versus the “saga” series where the other seven franchise films fall. Just to set the table right, Rogue One does slide into the deck seamlessly in terms of chronology, just where exactly shall remain a mystery as one of the things Disney has done with this change-up is to pack it with nuggets of surprise — so much so that they pleaded with the critical masses to not burst their bubble in their reviews, “that you as press continue to be our partners on this journey.” Such requests generally go unheard as most critics are aware of their responsibility to audiences and art, but having seen the film I get it, and you will too. Though I am sure there are those out there who will spoil, I will not.
The big win for the series and fans overall when Disney took over the franchise from LucasFilms back in 2012, was the infusion of new blood and reined-in filmmaking. No disrespect to creator George Lucas, but Return of the Jedi (1983) couldn’t hold a torch to the darker and meatier The Empire Strikes Back (1980) and the three films in the prequel trilogy (1998-2005) were wooden and so overpacked with CGI magic, that all the character and mythos that cemented the original series got lost in a vortex of filmmaking overindulgence. The Force Awakens, JJ Abrams’ 2015 initial go at the sequel series, was an admirable reboot, leveraging its ancestral roots while setting the stage for the next new adventure, even if it was too much a plot redux of A New Hope (the 1977 original that anointed and defined the blockbuster). Now comes Rogue One charging out of the gate, a breath of fresh air and more restrained in all the right places, but primarily in that it saves its best for last and is orchestrated in a way that every laser blast and saber slash bears profound impact. There’s nothing indiscriminate about what’s placed on screen. Continue reading






The term “fingersmith” refers to either a midwife or a pickpocket. Given the film’s title you might assume the former, and we start off by meeting Sook-Hee (Kim Tae-ri), a young Korean who tends to infants whose fates are more likely dictated by matters of profit than the kindness of charity. But the reality is it’s both – and fingers in general play a large part throughout. Sook-Hee’s plucked from among the nannies by the dashing Count Fujiwara (Jung-woo Ha) to become handmaiden to Lady Hideko (Min-hee Kim), who lives in a stately manse that would be a perfect fit for a Merchant-Ivory project. As quaint as this all is, we learn quickly that all is not that tidy and proper; Fujiwara isn’t Japanese, or even a nobleman – just a shrewd opportunist trying to get ahead during tumultuous times, and Sook-Hee, for all her nurturing, wholesome innocence, has a past of using her dexterously light fingers for illicit gains.
For all their power and pop, these tales of the übermensch are pretty pat affairs; backstory and arch-villain, that’s how they go, a two-step do-si-do. “Doctor Strange,” sadly, is no exception, despite the more cerebral and human orientation of its protagonist and the inspired casting of Sherlock Holmes himself, Benedict Cumberbatch, as the doctor. It’s not for Cumberbatch’s lack of effort, but anytime you have a team of writers – three, in this case – tying to communally distill the tortured essence of an uber-being grappling with a newly acquired superpower, loss of former self and world annihilation by some unhinged megalomaniac with his hand on the button and a battalion of minions on call, you’re in a dark place. And we’re not talking about inner conflict.
Few probably knew that balancing the books could be such a lethal endeavor, or that such a cockamamie idea, especially with the normally tacit and wooden Affleck, could translate into such a satiating pleasure – a guilty one. With ledger-entry care we get into it one plodding record at a time, beginning with blurry images of a hitman taking out linguini-eating mobsters in a scene that’s reminiscent of the young Michael Corleone removing the family nuisance in “The Godfather.” Then, before we get the assassin’s mug, we flash to a quaint country manse in the hills of New Hampshire where the young Christian (Seth Lee), having a bit of an OCD fit, is being interviewed by a doctor who specializes in children with Asperger’s and autism. It’s here, in the unhappy family moment, that we also learn that the lad can solve a complicated puzzle in 20 licks.