The “Andor” premiere is full of resonant, relevant imagery, but it’s hard not to get hung up on dozens of dangling gloves. Elbow-length and densely padded, each pair of worker’s mitts are tied together and stored on floor-to-ceiling hooks. Soon, the mechanics and scrap collectors who use them to salvage spare parts from broken or discarded machines will arrive, lift their set from the wall, and proceed with the daily grind. As they do, I doubt they think much about their gloves. Each pair has its assigned position and distinguishing colors, but they’re essentially the same. Their owners know they need them for the job, and that’s all they need to know.
But the mere existence of these gloves, highlighted in director Toby Haynes’ brief but memorable framing, is enough to spark interest in the latest “Star Wars” series. For one, the gloves are real; weathered workers pick them up and put them on. Like so many other objects in “Andor,” they can be touched and held, and like so many more shots in “Andor,” this one is designed with intent. The gloves fill the screen, edge to edge, which means the wall was built, the props were made, the colors were chosen, all to tell us something about the world we’re being invited into and the characters who fill it. Rather than another fantastical tale of glowing swords and magic powers — where stagecraft isn’t the skill of bringing stories to life, but a cost-saving set built by Industrial Light and Magic — the tools essential to this “Star Wars” chapter are practical. Utilitarian. Common. You may only see them for a second, but their impact lasts much longer.
After the recent chicanery of “Obi-Wan Kenobi” and “The Book of Boba Fett” — two Disney+ originals that held some promise before soon revealing their hollow, content-driven cores — it’s a relief to get swept up in a “Star Wars” show that adores details and puts them to good use (like investing in characters and enhancing an unambiguous perspective). Writer and showrunner Tony Gilroy gets so much right about underdogs and uprisings in his working class vision of George Lucas’ mythical universe, while also investing this rousing fantasy revolution with pointed real-world parallels. There are structural and conceptual issues (some irritating, others unavoidable), but even within its canonical and corporate constraints, “Andor” appears primed to revive the franchise’s rebellious streak — and make it OK for “Star Wars” to take risks again.
On one gloved hand, “Andor” is like many other “Star Wars” stories. It mirrors the classic trilogy in following a young, restless man who’s told he’s special and gets called to a higher purpose. It even fits snugly in the franchise’s decade-long Disney-fication: a prequel series to a prequel movie, made to fill in the chronological gaps once left to our collective imaginations. (Gilroy co-wrote “Rogue One,” the 2016 film which outlined events leading up to 1977’s “Star Wars: A New …read more
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The Suicide Squad | Official IMAX® Red Band Trailer
From the horribly beautiful mind of James Gunn and filmed in IMAX. Experience