Review: In many ways, Andor is the closest ‘Star Wars’ has come to going rogue. It’s all the better for it.
The Mandalorian.’s jittery seriousness, its honed emotional stakes, and jags of snappy dialogue. At its best,seems made for more discerning viewers, if any are left—even those who aren’t totally immersed inOf course, some knowledge is necessary. You must understand, for example, that the show is set just before the events of the very firstwas about Andor and others stealing the plans to the Death Star, the terrible planet-killing space station that was first blown up in 1977.
What he’s made is a nervous espionage thriller, set on a varied array of planets rather than in the corridors of Washington D.C. or, say, 1940s Germany. There’s a flint to Gilroy’s writing, a sharpness that lends everything disarming credibility. Which is a silly thing to say about a space fantasy, I realize, but Gilroy givesMichael ClaytonPart of the show’s success lies in its knotty morality.
And yet, the show doesn’t feel like an equivocation. It’s just that both heroes and villains are, thus far , refreshingly complicated in their motivations. The show encourages closer attention than its brethren; its murky liminal spaces prove far more intriguing than do the brighter absolutes seen elsewhere.give the series a tarnished palette: crisply shot grays and mossy greens and faded blues.
Perhaps most crucial in achieving the show’s palpable mood was the decision to eschew a central piece of technology heavily employed by the othershows, which are largely filmed on a soundstage surrounded by a 360 LED screen, a contraption first used for, the characters traverse elaborate and tangible sets and actual locations, like the misty and forbidding Scottish Highlands.characters—or Marvel characters, for that matter—standing on actual earth.
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