Daniel Nava reviews “Rogue One” for his Chicago Cinema Circuit


Beginning with the omission of its opening crawl, if Gareth Edwards’ Rogue One aspires for one thing it’s to not be the same. Which, with a cavalcade of media properties ranging from film to video games to an R2-D2 thermos, not to mention the incalculable $$$ at stake and soul-crushing “creative committee” involved, one can ask without a hint of irony: how can you afford to be different? Well, this becomes a bit of a gray area, as Rogue One is a peculiar product of dueling ambitions. It exists within the spectrum of a massive industry complex defined by arranged sequels when its intentions are, surprisingly, much more noble. Instead, it’s defined by a sense of finality. And to suggest anything conclusive within the Star Wars Universe™ is most assuredly an act of not being the same.


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