The Mandalorian and Grogu review: Pedro Pascal returns, but Grogu remains the soul

The Mandalorian and Grogu review: Pedro Pascal and Grogu bring heart and emotional depth to a visually rich Star Wars adventure that values companionship over spectacle.

In Short

• Jon Favreau brings the series' space-western tone to theatres effectively
• The plot centres on Imperial remnants, bounty hunters and Rotta's kidnapping
• Grogu's reactions and Force play keep scenes lively and emotionally grounded

There is a moment fairly early in The Mandalorian and Grogu when bounty hunter Din Djarin pauses mid-mission simply to make sure Grogu is safely seated beside him before chaos erupts again. It is a small moment, almost throwaway in the middle of explosions, space chases and galactic politics. Yet it quietly captures why this corner of the universe continues to resonate more than many of its grander, louder counterparts.

For all its spectacle, The Mandalorian and Grogu works best when it remembers it is not really about saving galaxies. It is about companionship.

Directed by Jon Favreau, who also co-wrote the film with Dave Filoni and Noah Kloor, the film marks the first theatrical outing for characters introduced in the Disney+ series The Mandalorian. Rather than reinventing the franchise, Favreau chooses familiarity. The film leans heavily into the same space-western rhythm that made the original series successful: wandering heroes, morally grey worlds, episodic adventures and moments of emotional sincerity hidden beneath blockbuster spectacle. That approach mostly works.

Watch the trailer here:

Grogu remains the emotional centre

The story follows Din Djarin, played once again by Pedro Pascal, as he becomes entangled in another dangerous mission involving remnants of the Empire, bounty hunters and the kidnapping of Rotta, Jabba the Hutt’s son. The narrative itself is relatively straightforward, almost deceptively so for a modern franchise film. There are betrayals, large-scale action sequences and enough references to wider Star Wars lore, but the movie rarely gets lost in mythology.

Instead, it stays firmly anchored in the relationship between Din and Grogu. And unsurprisingly, Grogu steals nearly every scene.

At this point, the character’s appeal should not work as effortlessly as it still does. Yet every small reaction, every mischievous use of the Force and every silent interaction somehow lands. The film wisely avoids turning Grogu into a gimmick. Beneath the humour and audience affection, he remains emotionally important to the story. His presence softens the film’s rougher edges and gives its action genuine emotional stakes.

Ironically, the movie’s biggest weakness also comes from this balance.

For a film carrying The Mandalorian in its title, Din Djarin often feels strangely one-dimensional in his own story. Pedro Pascal continues to bring quiet gravitas to the role, communicating exhaustion, protectiveness and loneliness through minimal dialogue and physical restraint. But the screenplay rarely allows Din much emotional complexity beyond his role as protector and reluctant father figure. There are glimpses of deeper internal conflict, particularly around identity and belonging, but the film never fully explores them.

As a result, Grogu frequently emerges as the stronger emotional presence, even without speaking a single word.

Spectacle without losing sincerity

Still, the chemistry between the two remains deeply effective. The film’s strongest moments are often its quietest — Din watching Grogu navigate a dangerous world with curiosity rather than fear, or Grogu instinctively reaching for Din during moments of uncertainty, or tending to him when he almost hits a dead end. These scenes give the film warmth that many recent franchise blockbusters struggle to achieve.

Visually, the movie delivers exactly what one expects from a theatrical Star Wars experience. The scale is larger than the series, the action more polished and the production design richly textured. Favreau and cinematographer Greig Fraser create worlds that feel expansive without becoming visually overwhelming. The film also retains the dusty, lived-in aesthetic that separated The Mandalorian from the shinier worlds of earlier franchise entries.

The action itself is entertaining, though occasionally repetitive. Several sequences feel structured like extended side missions, enjoyable in isolation but lacking cumulative dramatic weight. Yet even when the narrative drifts, the film remains consistently watchable because of its tone.

Unlike many franchise films burdened by self-importance, The Mandalorian and Grogu feels refreshingly comfortable with simplicity. It understands that audiences are not necessarily looking for universe-altering revelations every time they return to Star Wars. Sometimes, they simply want a compelling adventure with characters they care about.

A heartfelt addition to Star Wars

The supporting cast, including Jeremy Allen White as Rotta the Hutt and Sigourney Weaver as Ward, alongside a cameo by Martin Scorsese, adds texture to the world. The film’s humour also lands naturally, never overwhelming the emotional beats or undercutting tension for easy jokes.

Most importantly, the movie remembers that emotional investment matters more than mythology.

For all its flaws, The Mandalorian and Grogu succeeds because it preserves the sincerity that made the series stand out in the first place. Beneath the action and nostalgia is a surprisingly intimate story about responsibility, connection and chosen family.

It may not be the boldest Star Wars film, nor the most narratively ambitious. But in an era where franchise storytelling often mistakes scale for substance, there is something refreshing about a film content with being heartfelt, adventurous and emotionally grounded.

And yes, Grogu still walks away with the entire movie.

The Mandalorian and Grogu released in India on May 22.

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