‘Solo: A Star Wars Story’: Lively origin tale, but young Lando beats the Han we’re dealt
“Solo,” the new “Star Wars Story,” is a fun galactic go, breezy and lithe with just the right amount of darkness. That said, it doesn’t do much to deepen the whole Star Wars mythos the way “Rogue One” so ingeniously did back in 2016. That first “story” implied a series of one-off backstories that would embrace and extenuate the goings-on in the three “Star Wars” trilogies (we’ve gotten eight to date, with one more to go). “Solo” does the former, giving us an intimate look at the young Han Solo pining away for a woman who isn’t Leia, but two and a half hours later, I was wondering: To what end? After all, the mature Han, as played so iconically by Harrison Ford, perished in “Episode VII: the Force Awakens” (of course, we know a return is not out of the realm of possibility) and the big reveals that made “Rogue One” such an inviting companion piece are scant here by comparison. “Solo” does answer the long lingering questions of how Han got his name, how he and Chewbacca met and how they got their mitts on their Millennium Falcon. But it also raises a few.
At one point in the movie, someone says, “It’s not about you.” It’s an astute observation, as the film is at its thriving best when the screen is filled by the potpourri of personality that orbits the pivotal pilot of the title. The problem with Han (played by Alden Ehrenreich) as a character here is that he’s just not all that interesting of a dude, or in the least close to what was hinted at by Ford’s wisecracking incarnation. Also too, and I hate to say it, Ehrenreich is no Ford – not even a shadow. He tries, but you spend more time searching for vestiges and mannerisms of the Han you know than you are transported to the then and there. Continue reading
Moll lives with her controlling mother (an icy-cold Geraldine James), who stalks her progeny and questions her every whereabouts despite the fact Moll’s a mature woman with a full-time job (as a tour bus guide). Given mum’s iron glove, moving out would be a good idea, but there’s that troubled/damaged thing. Can Moll truly be on her own, or does she need constant monitoring? We get the answer to that quickly as Moll goes clubbing one night into the wee hours with a scruffy drifter/handyman by the name of Pascal (Johnny Flynn). Elsewhere, news blips on the TV tell us there’s been a recent murder of a girl nearby, and another girl is missing. The short list of suspects the film and police pursue includes Moll – she had a violent incident back in high school that haunts her – and Pascal. Moll may be somewhat lost and misunderstood, but there’s always deep down inside an ember of hopeful ebullience, and she becomes spirited at the prospect that she and Pascal might hie away together for happier destinations. Darker matters beyond legal suspicion cloud the notion, such as nightmarish incursions that come in the middle of the night or Moll’s ill-conceived insistence on showing up at one of the victim’s funerals. Ultimately “Beast” becomes a tug of war between hope and despair, with an ever-shifting emotional landscape.

If you’re wondering if any of this seeming free associations has a payoff, it does – sort of – as “Little Pink House” shares the trappings of “Erin Brockovich,” another true-life tale about an iron-willed woman who fights the good fight, taking on bureaucracy and big money against all odds. That 2000 film garnered Roberts a Best Actor Oscar.
“Wah!” you might think, but a quick walk through IMDB shows myriad actors employed by the Marvel universe have signed up for a mysterious “Untitled Avengers Movie.” I can help all the people at Disney and Marvel: Your untitled film’s title is “Infinity Wars, Part Deux.”
On the outside Séverine (Catherine Deneuve) has it all: a spacious flat in a nice neighborhood and a classic, good-looking husband by the name of Pierre (Jean Sorel) who works long hours as a surgeon. Everything’s perfect, yet there’s an aloofness and conflict behind her wide, luminescent eyes. The film begins with Pierre and Séverine in a horse-drawn carriage ambling though the countryside when Pierre orders its driver to halt and his assistants to assail her. It’s one of the many fantasies we get from Séverine’s point of view. In another she’s dressed in a virginal white gown and men throw mud and perhaps worse at her – thoughts of Pasolini’s “Salò” well up.
If that sounds like the boilerplate to “Taken” or “Taxi Driver,” you’d be right to think so – at least on paper – but for Ramsay, getting at her protagonist’s state of mind and backstory is anything but a linear exercise. In wisps we catch Joe (Joaquin Phoenix) in military fatigues within the confines of a desert encampment feed a candy bar through a chain-link perimeter to a youth who is promptly shot dead by a surprising source. Later, ostensibly in the FBI or some investigative law enforcement unit, Joe uncovers a van full of dead bodies. And then there are the flashbacks to a highly abusive father and Joe’s attempts at suicide via asphyxiation (dry cleaning bags being the impermeable of choice). These images are littered throughout, giving brushstrokes of insight to the enigmatic Joe, bearded, burly and employing the peen end of a hammer to bash his way through his first assignment. To save the senator’s daughter (Ekaterina Samsonov), he employs the same implement – a new one of course, selected carefully from the hanging racks of a Home Depot, Ace Hardware or the like – working his way through the Manhattan brownstone in a more “Old Boy” style than Travis Bickle might consider.