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Director Deborah Chow brings the action in "The Sin," an effective and exciting installment that pushes deeper into the The Mandalorian's story.
[It] has done an admirable job of establishing its premise and most of its main characters in its first three episodes, but it remains to be seen if the rest of the season can move those elements in an interesting (and hopefully inventive) direction.
Three episodes into the series set in a galaxy far, far away, Baby Yoda has emerged as the shining star of "Mandalorian," the standout character who keeps fans coming back for more as the uneven series chugs on.
[The] series continues to impress through three episodes, employing a savvy blend of different genres, niftily mashing up the qualities of an old TV western with sci-fi special effects and the action-filled pacing of an animated show.
The Mandalorian Season 1 Episode 3, "Chapter 3: The Sin," continues to not be terribly interesting while also being wonderfully executed.
The shift toward the show being more about the Mandalorians hints at a show more focused on community - finding those who provide you comfort and those who lift you up and make you the best person you can be.
Is there anything more satisfying than seeing "The Cavalry Arrives!" trope fulfilled by a bunch of Space Rocketeers, just blasting the ever-loving hell out of some goons? I think not.
Like the Force, The Mandalorian is communicating to us what it thinks we need to know. It's holding back on the rest, but it seems like we'll all be better for it in the end.
Now we know Obi-Wan Kenobi's series for Disney+ is in very good hands. [Full review in Spanish]
This third episode, directed by Chow, is arguably the weakest, but it's also asked to do the most in setting up a hero's journey at the very instant the hero decides to be a hero.
As an idea, taking a page from Samurai Jack and turning it into a live action Star Wars show, is absolutely brilliant.
The Mandalorian is one of the more compelling things I've seen from Star Wars in a while.
Nothing in the character's body language hints at any internal turmoil, and little in the movement of the camera, or in the notes of the score, feels like the turning of emotional wheels. The show merely moves from one aesthetic state to the next.