'The Acolyte' Episodes 1-2 Review: Back in a Familiar Galaxy
It seems fair to say that since The Last Jedi struck theaters and divides audiences in 2018, Star Wars hasn’t really been the same, and that’s coming from someone who actually likes that film. The painful, discombobulated revisionism that followed in The Rise of Skywalker only tipped the iceberg into what has pretty much been a period of revisiting the past as a result of being too scared to do anything new.
That’s where The Acolyte (supposedly) comes in. The show is set in the High Republic era of the fictional universe, a time period that has never been visited in either live-action or animated projects. Creator Leslye Headland appeared to be paving a new path forward for Star Wars stories. What we got is somewhere in the middle; both obnoxiously familiar and surprisingly well executed.
Focusing on the former, this is a narrative that, despite being fitted with a never before seen age and teeming with untapped potential, plays the same exact chords that have become common in the franchise up to this point.
It’s the whole “main character lost their parents” trope, which not only has been done to death in blockbuster, hero’s journey-type stories as is, but has been done three times over in the Star Wars universe already with Anakin, Luke, and Rey. There are slight variations, sure, but that serves as the basis for those characters' stories… so why revisit it here?
There are a slew of potential answers, but the most obvious, and perhaps most disappointing, is that it’s easy. The Acolyte often takes this route in written decisions; delivering exposition head-on and multiple times over to ensure that the audience has to do no work of their own, bypassing small hurdles and ditching sensibility in favor of moving the plot along, and, on occasion, refusing to explain something that otherwise makes absolutely no sense. I’ll stay away from specifics to avoid some deeper spoilers, but you’ll know these moments when you come across them.
All the same, Headland gains some serious ground in other manners. For one, the show looks fantastic. Complex and colorful practical sets and effects bleed passion through the screen; places feel as realistic as they can in this universe, and the bustling nature of everywhere and everything harkens back to the busy likes of the fan-favorite prequel trilogy.
Staying in that lane, so does the fight choreography. This is the most complex this aspect has been in a very long time, with the camera cutting and slashing often to cover every inch of the chaos. This feels professional, and dynamic. Characters fly past each other and between others, and fights feel like dances to the death. Throw in a few lightsabers and you’ve got yourself a visual, heart-racing feast. Massive kudos in this regard.
Headland’s overall penchant for old techniques that have worked to make this franchise last should prove to have the same effect for this show. If anything, fans will be happy to come back to this one over other recent entries simply because it nails the essentials, and the aesthetic. The Acolyte is expertly crafted.
The cast rules, too. Carrying a lead role in a Star Wars project is no small feat, especially considering the spoilery speciality of this one in particular, but Amandla Stenberg is up to the task and then some. She makes an immediate impression in these first two episodes with an undeniable charisma that glues her to any given character in every interaction. She elevates scenes, delivers consistently questionable dialogue with admirable earnestness, and simply brings her role to life. Going forward, she’s one to watch as a potential franchise star.
Accompanying her in subsequent roles are Lee Jung-jae, Charlie Barnett, and Dafne Keen, in addition to a flurry of other in-and-outers. The aforementioned three make a fantastic trio and all do well in introducing the audience to the various new bits and bobs that this era has to offer. Keen is especially impressive in delivering a worthy performance below heaps of alien garb and make-up. It may sound funny, but it can’t be easy playing the part of a person when you’ve got six horns protruding from your head. She’s brilliant nonetheless.
The big point of contention with The Acolyte is, and probably will remain to be as the series pushes on, whether or not you’re a committed Star Wars fan. With the first season of The Mandalorian, the wide appeal broke the barriers of fandom and flooded the world with “Baby Yoda” merchandise, among much else. Here, despite strong opening numbers, outliers are unlikely to stick around. This is a steeper, more specific endeavor that certainly requires a level of initiation that not just everyone is going to care enough to go through. Simply put, it’ll likely mean a lot less to casual audiences, and thus appeal less, too.
But for the Star Wars crowd, there should be enough to like (at least so far) to consider plugging into this one now and for the weeks to follow. Leslye Headland clearly has an appreciation for the best of this franchise, and has transfused those proclivities into her own work here. It feels at home in the canon, and fans should find comfort in the pulsing glare of sabers and piercing sound of their ignition. To the previous point and this one, The Acolyte is unmistakably Star Wars.
Who knows exactly where this one will go from here. With six episodes remaining and a ton of ground left to cover, this show could easily fumble the bag and spiral downwards, or push towards a more mainstream appeal and draw new fans into a franchise that could desperately use some positive attention right now. What we’ve seen of The Acolyte so far is a fair, inoffensive display of neat visuals and solid craft. It won’t blow any minds, at least not yet, but there’s enough to like here for fans to hop on the freighter before it hits hyperspeed. If you’re on the fence, you may as well give these first two episodes a go, and consult the force from there.