Competition | Let The Wookie Win?
“Now be careful, R2.”
R2-D2’s hologram monster destroys Chewbacca’s with a body slam.
“He made a fair move. Whining about it won’t help you,” C-3PO notes to the disgruntled Wookie.
Amidst the growls of dissatisfaction from the bettered party, Han Solo comments from the cockpit that it’s not wise to upset a Wookie. C-3PO defends the honor of the droids, however Solo’s remarks about arms being ripped out of sockets changes the tone among the robot tandem.
“I suggest a new strategy, R2. Let the Wookie win.”
And SCENE!
Star Wars was, and still is, a major part of my life. I quote and reference it daily. Now if I can just peak into my own Jedi intuition, I bet you are asking yourself; what’s this have to do with sports?
Flashback to Memorial Day weekend….
It is a hot, mid-80s Saturday afternoon. The sun is shining in Schnecksville, PA…
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“Thor: Ragnorak” Movie Reaction – Stanko’s Take
Between Spider-Man: Homecoming (2017), Logan (2017), and Wonder Woman (2017), 2017 was a BANNER year for the re-emergence of the comic book movie. I just got to seeing (I know very late to the party) another strong contender for the best adaptions of the year in Thor: Ragnorak (2017).
I LOVE how self-aware this movie was. It embraced that idea that Thor is a GOD who often deals with crisis events that are larger than life. Thor: Ragnorak also put Chris Hemsworth’s Thor and Mark Ruffalo’s Hulk/Bruce Banner in delightfully housebroken and confined settings. All credit to director Taika Waititi and writers Eric Pearson, Craig Kyle and Christopher Yost for creating an experience that broke the traditional formula and combining the absurd with a simplistic efficiency.
The poking of the audience begins right from the jump. The appearance of breaking the fourth wall and immediate over-the-top hero versus and absurd amount of villains tradition brings the audience into a delightful gallop that is wonderfully self-contained and most importantly…IMMEDIATELY discontinuing the possible story that Thor: The Dark World (2013) brought forth. Still my least favorite Marvel movie to be produced. Whoof.
Chris Hemsworth thrives in playing an over-the-top Thor. It brings back the charisma that makes the 2011 induction Thor one of the best Marvel variations. The comedy is not crammed into one-liners but rather created by environment all the characters find themselves. For example, when Thor and Hulk wake up in the same room following their big bash. That scene was hilarious. Same can be said for when Thor meets Hela in the throne room of Asgard before the final showdown.
The way Waititi shot those moments was pulped with wide shots to show both characters engulfed in a large room or setting. It shows that while the characters are larger-than-life in both the story and in culture, they are part of a universe that is still growing and gigantic enough to hold the personalities in check.
Speaking of Hela, just massive props to Cate Blanchett.
She made it public that she took part in Thor: Ragnorak due in large part to her children:
“I’ve only done action a couple of times, so it feels like…a departure is too strong a word, but it certainly seems like a change for me. So, I am looking forward to getting really fit, and wearing lycra, and hoping to earn a bit of street cred from my kids. I can’t wait.”
She wanted to have fun, and to appears to have succeed even with a limited amount of screen time. Her portrayal of the Goddess of Death reminded me of Cruella de Vil. It was a strong upgrade of Elizabeth Banks as Rita Repulsa in Power Rangers (2017).
One of the subtleties of Thor: Ragnarok is its strong ties and references to real recorded Norse mythology. Odin going to Norway. Loki and Thor’s tale with the snake. There are nods to the origins of Thor the comic that was first thought of being brought to the flip-page by Stan Lee, Larry Lieber and Jack Kirby.
If you are interested in Norse Mythology, you should read Neil Gaiman’s Norse Mythology. It’s a quick page-turner that’ll take you down the source of your favorite God of Thunder.
Thor: Ragnarok is a phenomenal starts off with combining Deadpool (2016) self-assurance and the Matrix Reloaded (2003) bonkers park fight scene. From there it brings in the wit of Ocean’s 11 (2001) and the pace of Mad Max: Fury Road (2015). It culminates with a Marvel-esq home run smash.
STANKO RATING: A-
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“It Comes At Night” Movie Reaction – Stanko’s Take
It Comes At Night (2017) is DARK. Like I enjoy depressing, dreary and self-reflecting stories…but even the ending to this Trey Edward Shults written and directed production got me reflecting in silence for an extended while.
I fell in love with the idea of watching It Comes At Night when its first teaser trailer dropped. It remains the best trailer that I saw the entirety of 2017. If you haven’t seen it, check it out.
A family leading an all-to-careful life is living isolated in the woods surrounded among a post-apocalyptic setting with a seemingly deadly virus sweeping the area. Paul, played by Joel Edgerton, is the father of a family three. Joining him in seclusion are his wife Sarah, played by Carmen Ejogo, and son Travis, acted by Kelvin Harrison Jr.
The family’s world of rules and guidelines is thrown into flux when another family of three are hurled into their lives. A young couple of Will and Kim, played by Christopher Abbott and Riley Keough, are forced to acquiesce to Paul’s rules while also trying to shelter their young child from the horror they are living in. Of note, two of the unbreakable rules are storing all weaponry in a safe and never opening the red door.
The most divisive part of It Comes At Night is its vagueness. The audience is purposely kept in the dark in terms of what the characters are facing. Travis is the main vessel for the viewer is thinking; through his constant nightmares and silence, we come as close as possible to finding out what’s truly torturing this family and the world as a whole…and by come as close as possible, I mean we see his eyes get large and his diseased riddled grandfather spew bloody liquids from his mouth. Tasty.
These nightmares stemmed from the first scenes in It Comes At Night when Travis had to help Paul dispose of his grandfather. The elder, and father of Sarah, is still alive when the dad and son literally wheelbarrow him out into the woods where they shoot him, throw him in a ditch, and burn him. Sarah states her concerns to Paul about how their son may be affected mentally…and as is always the case…mom is always right.
A spark for the final confrontation of the It Comes At Night comes when the family dog Stanley runs away into the woods chasing after…something. We don’t know what, who or it may be.
Again using vagueness as a weapon of storytelling, director Shults leaves the viewers dumbfounded. Could it be an animal who suddenly made the dog go quiet? Could it be a supernatural creature who lives in the apocalyptic world? Or is it simply other humans who are seeking to same survival advantages Paul and his family have?
With both families on edge, it’s only natural that Travis should discover that same evening that the vaunted red door has been opened…and a wounded and affected Stanley is laying in the dimly lit hallway.
The story of survival reaches full paranoia when Travis suggests that the child of Will and Kim is infected. He came to this realization by snooping on them, and mainly Kim…for your adolescent reasons. Travis tells his parents that he overheard them speaking how they were going to leave.
The distrust that was continuing to build between Paul and Will erupts when the over-protective father asks to check in on the family (after he had ordered time of isolation for the two parties) in the middle of the night. There we find that Will had a gun hidden away…yet another lie.
Now let the yelling, fighting, betrayal and violence now all fall into place.
I do not want to spoil the ending for it is truly one of the most depressing, heart-wrenching, thought-provoking conclusions I have seen in a long time. There is no happiness. There are no answers. There is a punctuation mark, whether that be an ellipsis, question mark, exclamation mark, or period is up to you the viewer.
SPOILER THOUGHTS BELOW
And in something I did not notice until watching FoundFlix’s video recap of It Comes At Night (Check it out below), the ferocious outdoor killing spree contains the same musical score that was previously only prevalent in Travis’s nightmare. A truly masterful touch of direction that shows how peoples deepest subconscious fears can come to live.
END OF SPOILER THOUGHTS
It Comes At Night is not for everyone. It uses subtlety to a nauseating degree and forces everyone to pay attention. The acting isn’t what I would call stellar. The more impressive part of It Comes At Night is the tone and pace. Shults finds a way make the dark-lit conversation fascinating as character studies and the tense gun-pointed moments frantic with virtuous anger.
The film is not long but the pace isn’t rushed. The characters from It Comes At Night all obey by rules…but the movie itself breaks countless tropes and its extremely refreshing. It doesn’t give answers…it only forces you to ask more.
STANKO RATING: B
“XXX: Return Of Xander Cage” Movie Reaction – Stanko’s Take
Completely and utterly forgettable. That is the best way I can describe XXX: Return Of Xander Cage (2017).
I watched this movie about two weeks ago and literally cannot remember one scene that stuck out to me in a positive way. The only aspects I remember from this money-grab are its poorly directed action sequences and horrendously simplified T-for-teen action plot.
Now I know, the XXX franchise is not one designed for highbrow understanding. It’s supposed to be simple. It’s supposed to be mind-numbing. However, the one thing an action movie can’t be is BORING. XXX: Return Of Xander Cage is exactly that.
Not being a major fan of the first two installments in the franchise, this third chapter just saps Xander Cage for his un-charismatic nostalgia and pushes the audience on a rocky roller coaster ride with a valley of uninteresting exploding moments.
STANKO RATING: D
“The Ritual” Movie Reaction – Stanko’s Take
A strong sense of atmosphere and a strong potency for patience are influential in creating a solid horror movie. Too often scary movies rely on jump scares or gore. The Ritual (2018) sticks to the positives and avoids many of the classic pitfalls. As a straight to Netflix movie, director Dave Bruckner delivers the fright and some surprising deep character arcs.
A group of college friends reunite in the in the woods Sweden to commemorate a loss of a friend. When a mishap forces the team to make a snap decision to take a shortcut through the woods, a series of menacing supernatural incidences begin to wreak havoc on the individuals psyche already unbalanced friendships.
Rafe Spall plays the spotlighted character, Luke. We are introduced to him as the egotistical persona who is to cool to go on a hiking adventure, but a strong early twist acts as a catalyzing push to make him fall into a cavern of self-doubt. The other hiking acquaintances Phil, Hutch, Dom and Robert all have their own personalities shined upon in small flashlight illuminated sequences, but The Ritual’s remarkably clever character-digging is all around Luke.
A special shout out needs to be given to location assistant Singureanu Andrei and Bruckner. Those two picked the picture perfect forest setting for this horror tale. Daunting pines combined with those quick-twitched harsh branches reminded me of my own woods from childhood.
There are some horror movie themes and symbols that many people will recognize in The Ritual. The most obvious keynote is the classic cabin in the woods brought to major prominence by The Evil Dead (1981). However, again crediting Bruckner, the standard tropes don’t constrain the viewing experience.
The audience is kept in the dark about what’s going to unfold until the very end of the movie. Not knowing who the antagonistic being/entities puts you in the shoes of the men who are trekking through the terror. It is a personal irritant of mine when movies or TV shows show the big bad guy first. Taking away the mystique is always a risky move, and not many can recover from it. The Ritual doesn’t attempt the take the risk and that is a commendable decision.
The only part of The Ritual that let me down was the very end. The opening 70 minutes is riveting tension, but the final 20 steers a little too far down a beaten path. The audience learns, although in vague portions, the cause for the terror inflicted. It leads to a final confrontation that ends a bit to happily and tied in a bow for what I wanted.
The Ritual follows the same over-surpassing of expectations that Gerald’s Game (2017) laid out. Everyone skip the over-advertised The Cloverfield Paradox (2018) and tune into The Ritual.
PS: An extra recommendation; watch V/H/S (2012). Bruckner contributed to one of the first Netflix horror specials, and the whole movie creeped my the F out.
PSS: While The Cloverfield Paradox was bad…everyone watch Daniel Brühl in TNT’s The Alienist. It is FANTASTIC.
STANKO RATING: B-
“When We First Met” Movie Reaction – Stanko’s Take
Folks. It’s been a while. Working in college athletics and being at a basketball centric school has deeply hampered my availability to watch movies. I haven’t sat down and watched a movie since the middle of February (cue the sad violin music).
This a trip back to a movie I watched upon its initial release on Netflix back on February, 9.
When We First Met (2018) is a Netflix original romantic-comedy that has more than a few recognizable faces: Adam DeVine of Comedy Central’s Workaholics and the Pitch Perfect (2012), Shelley Henning of MTV’s Teen Wolf, and Unfriended (2015), Robbie Amell of ABC’s Revenge and The Babysitter (2017), and Alexandra Daddario of HBO’s True Detective and San Andreas (2015). These core four make up a group of friends of which we the viewers see very different versions of.
The film centers around Noah, played by Devine, and his undying love for Avery, portrayed by Daddario. Unfortunately, in a situation familiar to many, he is friend zoned to the umpteenth degree. Through the magic of time traveling photo booth, Noah has a chance to go back the first time he met is ultimate crush and try and rewrite his own romantic history.
With a crazy premise and a cast that is recognizable, When We First Met is a quintessential Netflix and chill date movie. It has enough witty dialogue to earn some chuckles. There are some cringe-worthy awkward moments followed by enough purposely (or so it seems) over-acted coming of understanding moments.
Devine carries When We First Met to the highest level it can reach. His facial expressions and timing are enjoyable even if the movie as a whole falls short of a truly touching mark. While his acting style was expected, the standout is Henning playing Avery’s best friend, Carrie. It’s her sarcasm and charism-altering changes between timeline swaps that are most compelling. None of the characters are truly deep, but if I’m being candid, Henning just brings a bit more depth than the other personalities.
Also, for the fans of Robbie Amell, he has his contractually mandated shirtless scene.
When We First Met is directed by Ari Sandel and it’s is the first film since The DUFF (2015). I was supremely impressed by The DUFF when I first saw it, and while this latest film from Sandel shares the same shooting styles and pacing, When We First Met can’t help but fall a bit short of modest expectations.
Is When We First Met a bad viewing experience? No. Is When We First Met a movie I’d recommend to many? No. But if you need a small 90-minute respite and a solidly entertaining rom-com, this flick can do the trick.
STANKO RATING: C
“Blade Runner 2049” Movie Reaction – Stanko’s Take
Magic. Pure cinematic magnificence. For the second time in as many weeks, director Denis Villeneuve took me along a science-fiction existential viewing comatose crisis. Blade Runner 2049 not only lives up to the majestic larger-than-life atmosphere of Ridley Scott’s 1982 original Blade Runner; this latest delve into the realm of Replicants ups the ante in terms of compelling story telling and subtle undertones.
Taking place 30 years following the original trails of Rick Deckard, the post-blackout chaotic squalls of society are in fear of the elder version of the Replicants. It is the job of LAPD officer K, played by Ryan Gosling, to track down the deemed-dangerous personas.
Blade Runner 2049 doesn’t waste time setting up any meaningless word-building exposition. The opening text that flashes is just enough to thrust the audience into the mire. As the viewer, your only chance for more understanding is committing your time to admiring the journey that’s about to unfold.
While tracking down an old Replicant to “retire,” Officer K inadvertently digs up a world-shattering secret that has the prospective to knock humanity off its already teetering edge.
So begins the cat and mouse game of the insanely large conglomerate under the rule of a monologue-loving dictator (played to the utmost degree by Jared Leto) using Officer K without his knowing to try and shift the power in society. The all-to-human Replicant law enforcer is just obeying the orders of his superior Lieutenant Joshi, played by Robin Wright, until he is confronted with a “memory” that subjects his “soulless” base to multiple scenarios and hypothetical situations.
There are a couple scenes and tidbits in Blade Runner 2049 that stick out above the rest. I’m just going to rattle them off here. In case anyone is worried about spoilers, this may be a part to avoid.
- “You’ve never seen a miracle”
- This line is constantly referenced throughout the entire movie…and I love how when it’s first said, it’s just a passing thought. Sapper Mortan, played by Dave Batista, simply says this line with a self-understanding that doesn’t even register on K’s radar. It’s just very cool to see how the officer’s understanding of that line parallels with his self and worldly discovery.
- “To be born is to have a soul”
- What a profound line. Coming from K when asked why killing someone who is born is different from killing something that is made, Joshi simply states how he has survived without a soul.
- As the movie gathered steamed, I went back to this line and thought: Can someone appreciate a miracle if they don’t have a soul?
- What a profound line. Coming from K when asked why killing someone who is born is different from killing something that is made, Joshi simply states how he has survived without a soul.
- The wooden horse…AKA the Trojan horse.
- This memory implanted in to K is a backdoor path the he follows without knowing the massive ramifications at its end. It acts as a land mine trap to society’s understandings regarding Replicants. K is the Trojan horse that was brought forth into the urban decay with joy and comfort while containing dangerous knowledge and profundity inside him.
- “You can’t hold the tide with a broom”
- I am going to steal this quote. Plain and simple. Expect it in a broadcast shortly.
- The confident delivery of this line by Sylvia Hoeks as Luv, Wallace’s go-to assistant, is eerie as F. The coldness is terrifying, and her follow-up statement of how she is going to kill the Lieutenant is phenomenal. This scene illustrated the murderous length that the Wallace Corporation is able to go.
- “A life of freedom as long as its behind glass”
- The fact that Dr. Ana Stelline, played by Carla Juri, is playing with birthday cakes upon K’s entrance is perfect.
- We see K show his first emotional outburst when he shares his memory to the doctor. He doesn’t get the answers he wants, and we see visible violent frustration for the first time.
- And just how deep is that line? I mean come on: the “glass” can be the veil of ignorance that all living in 2049 are happy to live behind. Much like how the society likes to live without knowing where the Nexus-9 Replicants are.
- Three UNBELIEVABLE still shots
- These two shots are proof that only Villeneuve and cinematographer Roger Deakins could have made Blade Runner 2049 as visually appetizing at it is.
- Not shown here is a simple medium shot standing behind K’s back while he is staring into straight blackness. It takes place at the orphanage while he is trying to acquire and wrap his head around the impossibly large scope of the tar pit he caught himself in.
- These two shots are proof that only Villeneuve and cinematographer Roger Deakins could have made Blade Runner 2049 as visually appetizing at it is.
- I love how Rick Deckard is hiding in a casino
- He is still living in the shadow of “the house,” aka the people running the Replicant production (Wallace in 2049)
- K arrives at the Casino looking for answers, trying to beat the house, trying to cash it all in with Deckard and learn all the answers…but in the end of that scene…its again “the house” that comes on top and beats down those who try and tear it down.
One last random tid bit, Gosling was the perfect cast as K. Can’t help but think he took some inspiration and traits from his experience portraying the unknown stoic character in Drive (2011).
Also credit to Den of the Geek for this fact that completely skipped past me upon viewing (SPOILER WARNING): “It is implied that K may very well die from his wounds, as the “Tears in Rain” theme from Vangelis’ Blade Runner score begins to play in the background. This is the same music that accompanied Roy Batty’s final moments, as his time finally ran out.”
The whole Blade Runner 2049 is immersive, deep, and a must-watch for any science fiction lover. Set aside three hours, adjust your eyes to adoration and just sink in.
STANKO RATING: A-
What did you think of Blade Runner 2049? Share your comments and thoughts below!
“The Cloverfield Paradox” Movie Reaction – Stanko’s Take
Are we sure this is a Cloverfield movie? Really? Are we 100% positive?
The Cloverfield Paradox (2018) is a 50-million-dollar investment by Netflix that’s based off an original project called God Particle. Instead of this being a standalone science fiction isolation thriller like Life (2017) and Pandorum (2009), someone in-the-know decided it’d be best to make this a third installment in the often-rumored Cloverfield Rubicon.
The plot centers around a crew in space who are all working on a permanent solution to an energy crisis that’s ravaging earth. When something goes wrong with the particle accelerator on the station, it brings about immense problems regarding alternate dimensions and grounded earthly political turmoil.
You see why I asked if this is a Cloverfield movie? If you explained this to someone who had a cursory knowledge of Cloverfield (2008) and 10 Cloverfield Lane (2016), would they be able to connect the dots?
It is readily apparent to me that there were late Botox-like injections of Cloverfield-lingo and exposition into the original God Particle cut/idea. The most obvious dose of implanted reshoots is in the first 10 minutes of the movie when a political correspondent is barking on the TV about how the particle accelerator can lead to things such as monsters and demons.
CAN THEY MAKE IT ANY MORE OBVIOUS?
The Cloverfield Paradox is a dull sci-fi trope that frankly belongs solely on the Sci-Fi channel. It looks like a B-rate movie but with a truly impressive cast. This is Netflix’s second straight critical backfire following the dreadful reviews for Bright (2018), which I have still yet to force myself to see. But with all the reviews and feedback being on the negative connotation…we have to begin asking the question as to whether or not it matters in the eyes of the publisher.
When Cloverfield (2008) first come out, it became one of the first movies to take the Internet by storm. Cut to 2016 and 10 Cloverfield Lane being released with an incredibly short buildup. Now The Cloverfield Paradox comes with literally no tease; its sudden “Oh hey by the way, watch this after the Super Bowl” debut was a mic drop by Netflix on its ability to control the market.
I respect the idea and the brashness. When the commercial aired on Sunday, I saw a cast that remains impressive…even if The Cloverfield Paradox fails to live up to the hype as a viewing experience. You throw some loveable IP together with a cast that people respect, it’s a fantastic trap for everyone to into.
That talent is noteworthy with the personalities of David Olelowo, Daniel Brühl, Chris O’Dowd, and Gugu Mbatha-Raw. Regrettably, the only thought I had after the movie finished was that I really need to see Brühl in The Alienist.
There is one other thing about The Cloverfield Paradox that ruffles my feathers. Did we really need to know how the monsters came to earth? Is a definitive answer what we all wanted?
The convoluted particle accelerator, alternate dimension, and different realities resolution seems a bit too over the top. Sometimes the simplest answer, or no answer at all, is what is needed. The same drive for filling the voids has been a detriment before, i.e. Alien: Covenant (2017) and Star Wars Episode I: A Phantom Menace (1999).
The Cloverfield Paradox is a major disappointment. By being forced in Cloverfield cloud, the story has an overcomplicated plot and as a result of that the strong cast doesn’t have a chance to shine. Here’s to hoping Netflix’s original series magic can eventually translate into its motion pictures.
STANKO RATING: D
“Solo: A Star Wars Story” Trailer Reaction – Stanko’s Take
During the opening moments of Super Bowl LII Disney and Lucas Film dropped the first teaser trailer for Solo: A Story Wars Story (2018). When I saw it literally left my frozen for a split second mid buffalo wing bite, I am not lying.
I was entranced when I first saw the action unfolding on my television…but I have some distressing news. The full trailer that was released in the morning on Monday, Feb. 5 has me more than a bit worried about this next installment into the ever expanding Star Wars Universe.
With the Lorde brothers originally at the helm of project being dismissed for the 180-degree different styled Ron Howard, this preview was the first glimpse as to who the original footage would mesh with re-shoots. To credit of all those who produced this trailer, Solo does seem to have a uniform feel and style. It looks a lot like Rogue One: A Star Wars Story(2016), which I still contest is the best of the three newer ventures into the Star Wars collateral.
One other positive I’ll take from the preview is that it appears writers Jon Kasdan and Lawrence Kasdan have focused on a heist story to act as a vessel to get to know Han Solo rather than making it a biopic feel. This worked well for Rogue One, so don’t fix what isn’t broken. We get a glimpse of the ring-leader Woody Harrelson and other crew members…
Enter the man who simply stole the trailer. This isn’t my point of view; this is literally the entire Internet’s point of view.
Donald Glover as Lando Calrissian is DASHING. That first big smile and unique mustache movement remains the one clip that has stuck in my mind. The fact that we haven’t even heard a word he has said yet (except for one little scene at the end with a yelp) and he is the most beloved part of the trailer should maybe be a red flag.
Emilia Clark, best known for playing Daenerys Targaryen in Game Of Thrones, is playing a character known as Qi’Ra. Seemingly a member of the robbery crew with Solo, it’s very safe to say that she’ll be a somewhat romantic interest that may accentuate the odd sadistic charismatic nature that was most evident in Star Wars Episode V: An Empire Strikes Back (1980).
My prediction for Qi’Ra is that she’ll die. Pretty safe assumption seeing how she isn’t mentioned (to my knowledge) in any other Star Wars movies. She will serve a purpose. This most likely end is not a bad thing. The death that punctuated Rogue One made the movie more profound. If done right, it can provide proper character context that’ll ripple through the past and future Star Wars cannon.
Now the biggest gripe I have with the Solo trailer revolves around the one character I haven’t mentioned yet.
Han Solo, played by Alden Ehrenreich, just doesn’t seem like THE Han Solo. I’m sorry, it may be very presumptuous, but it just seems off. About six months ago, when the Lorde Brothers were dismissed, the Hollywood Reporter noted how LucasFilms brought in acting coach Maggie Kiley to work with Ehrenreich. LucasFilms was supposedly not happy with the way that he was approaching his Han Solo portrayal.
It concerns me that he is not prominent in the trailer. Most of his talking is voiceover, and the three lines of dialogue we seen him deliver are literally as short as possible. This may just be me overthinking, but I can’t help but think they are hiding him from the limelight. Maybe it is Howard and LucasFilm steering into the controversy and creating some natural buzz that’ll be spun into surprising positive PR…or it’s a legit problem.
This movie is just three months away and this is the first glimpse of Solo: A Star Wars Story. Correct me if I am wrong, but when Star Wars: The Force Awakens (2015), Rogue One, and Star Wars: The Last Jedi(2017) came out, it was like A YEAR of advertising and generated buzz. This is just three months.
Knowing the turmoil that Solo has gone through thus far in its production, I’ve been weary of how this origin story of the franchise’s most heralded sarcastic bad-guy hero would turn out. This trailer did not quell any of my inhibitions.
Stanko Films 