Arrow-right Camera
A&E >  Movies

‘Solo: A Star Wars Story’ first reactions from the premiere: A humorous, charming thrill ride

UPDATED: Fri., May 11, 2018, 2:10 p.m.

The cast of Solo: A Star Wars Story arrive for its premiere on Thursday, May 10, 2018, in Los Angeles. (Colin Young-Wolff / Invision/AP)
The cast of Solo: A Star Wars Story arrive for its premiere on Thursday, May 10, 2018, in Los Angeles. (Colin Young-Wolff / Invision/AP)

Perhaps Lucasfilm can now exhale deeply with relief.

The keepers of the “Star Wars” cinematic franchise have had a couple of white-knuckle landings into theaters since Disney bought Lucasfilm and rebooted George Lucas’ creation. But arguably none has been as harrowing as “Solo: A Star Wars Story,” which opens May 25.

Ever since Lucasfilm head Kathleen Kennedy fired original “Solo” directors Chris Miller and Phil Lord last year over “creative differences” that reflected fissures at the film’s very core, hand-wringing and doomsaying on social media have tracked the new movie as closely as an Empire ship. And reports that new director Ron Howard was methodically reshooting much of the movie, scene by scene, did little to allay concerns.

At last, however, “Solo” had its world premiere Thursday, and though reviews are embargoed till next Tuesday, nothing can stop the first buzz from critics and lucky fans.

“Solo” tells the spinoff story of young Han Solo (Alden Ehrenreich) as he befriends Chewbacca (Joonas Suotamo) and gains a Millennium Falcon.

Some early viewers, including IndieWire’s Kate Erbland and Uproxx’s Mike Ryan, tweeted to reassure that Ehrenreich eventually finds his footing.

Other first-lookers – including Mashable’s Angie J. Han and Yahoo Entertainment’s Kevin Polowy – had praise, too, for Ehrenreich’s co-stars Thandie Newton (who plays Val) and Phoebe Waller-Bridge (as the droid L3), as well as Donald Glover, who inherits Billy Dee Williams’s Lando Calrissian role.

Film journalist Simon Thompson said he went into the film with concerns, but that they were “totally laid to rest” thanks in part to the high-octane film’s laughs and emotional levels.

Some other viewers – including Collider’s Perri Nemiroff – still questioned whether a young Han Solo spinoff was even needed.

Mostly, though, Howard seems to have delivered the high-blast thrill ride with enough swagger and heartfelt story to assuage the first wave of worriers.

Enough so that the Bantha milk and champagne can safely sit on ice at Lucasfilm, ahead of the May 25 box-office confirmation.


Subscribe to the Spokane7 email newsletter

Get the day’s top entertainment headlines delivered to your inbox every morning.

There was a problem subscribing you to the newsletter. Double check your email and try again, or email webteam@spokesman.com

You have been successfully subscribed!


Top stories in Movies

Review: In ‘First Man,’ Ryan Gosling as Neil Armstrong thrills without theatrics

Ryan Gosling does his best to dial down his star power in “First Man,” in which he plays astronaut Neil Armstrong with unsmiling reticence and stoicism. Based on James R. Hansen’s biography of the same name, this absorbing, meticulously detailed chronicle of Armstrong’s career – culminating with the Apollo 11 NASA mission, during which he became the first man to walk on the moon – continually undercuts the story’s inherent triumphalism and mythmaking. Like its protagonist, “First Man” doesn’t go in for theatrics or gratuitous emotion, however justified. It gets the job done, with professionalism, immersive authenticity and unadorned feeling, of which Armstrong himself might just have approved, however apprehensively. “First Man” prepares viewers for the experience they’re about to have from its first moments, when Armstrong – a gifted aeronautical engineer and Korean War flying ace – is flying a hypersonic X-15 aircraft over the Mojave Desert in 1961. With shaky close-ups and a deafening roar, director Damien Chazelle (working from a script by Josh Singer) never pulls back as Armstrong bounces off the atmosphere, frantically trying to bring the plane safely to ground. Of course, Armstrong himself isn’t frantic. It’s audience members who are likely to find themselves pulling back in their seats or lurching to one side or another as his unseen, collective co-pilot.