‘The Mandalorian and Grogu’ will bring Star Wars back to theaters in 2026. Discover how Lucasfilm is redefining marketing, budgeting and fan expectations.
Star Wars’ return to the cinema should have felt like a galactic coronation. With the countdown to the release of The Mandalorian and Grogu (May 22, 2026) now well underway, here comes something rather unexpected — confusion.
It was a seven-year gap on the big screen, so people were expecting a “shock and awe” campaign. What they received in Super Bowl LX was a 30-second parody of a Budweiser commercial narrated by Sam Elliott’s gravelly voice that features Tauntauns pulling a sled. It was bold, it was weird, and it signaled a massive change in how Lucasfilm treats its most precious cargo.
Usually a $10 million Super Bowl spot is spent displaying “heavy artillery” — explosions, high-stakes drama and cinematic scale. Instead of a third wall-smashing joke, director Jon Favreau and new leadership team of Dave Filoni and Lynwen Brennan didn’t just shatter the mold; they pretended it didn’t exist.
The commercial, “A New Journey Begins,” indulged full-force in “Comfort Marketing.” Rather than treating the movie as “there’s mythology behind everything, and you have to do your homework” (a common critique of the Sequel Trilogy era), the ad treated the characters as old friends. It puts its chips on the notion that Grogu is a worldwide icon who doesn’t need a plot summary to sell a ticket — he just needs to make people smile.
Industry watchers have been quick to note the “Solo-esque” red flags. Like 2018’s Solo: A Star Wars Story, this movie has a May release date and a somewhat late marketing push. But the internal economics are another story:
A global take of $500 million would have made The Mandalorian and Grogu a massive success, but it would have been a flop for The Rise of Skywalker. The marketing department was allowed to be “bizarre” about the Super Bowl this year on account of the diminished financial burden.
It’s also the creative debut for Dave Filoni. Filoni, the master of “deep cuts” into Star Wars lore, has brought a surprising cast to the table:
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The Mandalorian and Grogu Star Wars fans expecting as much darkness as Dune will probably find the “Budweiser Parody” off-key. But it is a reminder to the wider world that this franchise can be enjoyable.
Lucasfilm is betting that audiences are ready for a Space Western that values character over complexity after years of galaxy-ending crises. This May will tell if this “confusing” strategy works or ends up as a cautionary tale like Solo. With Sam Elliott narrating and a “swole” Hutt, one thing is certain: this isn’t the Star Wars of 2019. Something much more human.
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Explore the ultimate list of the top 32+ Dwayne Johnson movies! Action, comedy, and drama collide as we highlight The Rock’s most iconic performances.
Dwayne “The Rock” Johnson is without a doubt high up on the list of the most bankable stars in Hollywood. The Rock has one of the most successful and diverse film careers in recent memory, going from an explosive breakout in action blockbusters to unexpected turns in comedy and family films. Here’s the definitive guide to the Top 32+ movies in which he demonstrates his stunning range as an actor and performer, whether you’ve been a fan for years or are just discovering his catalogue.
Dwayne Johnson was not a household name when he first got his start in Hollywood. Though his first feature film part was in 1997, in The Mummy Returns (2001) as the Scorpion King, a brief but impactful role that introduced him to mainstream audiences. That moment was pivotal, and then he had his first leading role a mere one year later in The Scorpion King (2002), which solidified him as an action superstar.
The Rock, meanwhile, solidified his status with The Rundown (2003), which remains one of his finest action-comedies. Co-starring with Christopher Walken and an early blend of comedy/action, the film gave Johnson a chance to display his charisma and potential as a leading man. As one of Johnson’s earliest films, The Rundown is a risky gamble, but it really pays off, as he portrays Beck, a taciturn bounty hunter who is sent to apprehend his boss’s son, who has been hunting for treasure in Central America.
As Johnson found his niche in Hollywood, he was offered an array of different roles. Walking Tall (2004) was the respectable action film of the bunch, and Doom (2005) was the most ambitious albeit least successful adaption of a video game craft so far. The same year saw Johnson donning his comedic flair in Be Cool (2005).
A guy who never limited himself to one genre, Johnson caught people off guard with Gridiron Gang (2006), a dramatic sports film in which he is a rehabilitation counselor employed by a juvenile detention center. This showcased his range as an actor and demonstrated that he could do more than just act in pure action movies. Family audiences started to become aware of him with The Game Plan (2007), while Reno 911!: Miami (2007) proved that he was a tour de force in comedic support roles.
Get Smart (2008) put him opposite Steve Carell in a secret agent-comedy schtick that favored action over humor. He added voice acting to his credits in Planet 51 (2009) when he provided the voice for astronaut Chuck Baker and Race to Witch Mountain (2009) once again took him to the family movie field. The decade concluded with Tooth Fairy (2010), a quirky kids movie that had Johnson actually turning into a tooth fairy. The film was savage but showed a performer ready to make wildly unconventional gambles. The same year, he made a return to his action roots with the more hard-edged thriller, Faster (2010), as a vengeful man.
All that changed when Johnson entered the Fast Five (2011) stable as brutal enforcer Luke Hobbs. That’s the turning point that made The Rock a megastar. His chemistry with Vin Diesel and the rest of the cast and crew, as well as the sheer physical comedy and action prowess he brings, revitalized the franchise.
After this breakthrough, Johnson was more selective about his parts. Journey 2: The Mysterious Island (2012) saw him get into family adventure material, taking on one of the genres with more long term potential. Fast & Furious 6 (2013) continued his momentum in the franchise, and Pain & Gain (2013) afforded him an opportunity to demonstrate his dramatic abilities in a true crime action film with Mark Wahlberg and Anthony Mackie.
Snitch and G.I. Joe: Retaliation were also out in the busy 2013 year. Empire State (2013) gave him the opportunity to extend his menacing presence as an NYPD officer with a vendetta. Hercules (2014) was another turn towards mythological adventure based storytelling, with Johnson playing the Greek demigod as he faces his mythic twelve labors. San Andreas (2015) turned out to be a turning point, demonstrating Johnson could lead a big disaster movie and become a worldwide mega-star who could open films on his own merits.
Furious 7 (2015) cemented his position as the franchise’s biggest earner, grossing over $1.5 billion and containing some of the series’ most memorable action scenes.
Johnson became one of the highest-grossing box office draws beginning in 2016. He teamed up again with Kevin Hart for the 2016 film Central Intelligence, and their comedic chemistry endured. Johnson made a multi-layered, vulnerable comedic and physical performance in Jumanji: Welcome to the Jungle (2017) a magnificent reboot of the franchise.
Also that year was The Fate of the Furious, yet another Fast & Furious installment that brought in more than $1.2 billion globally. Baywatch (2017) was a more frivolous affair, although it was almost universally panned by critics – but audiences turned out to see Johnson in that red lifeguard suit.
Skyscraper (2018) is vulnerable — Johnson playing a lame one-legged FBI agent who has to risk everything to save his family in a burning skyscraper. Rampage (2018) saw him furthering his action dominance with taking on mutants alongside a super-sized ape.
Jumanji: The Next Level (2019) brought back the enchanted game world, plucking players into even more chaotic, wilder adventures, with Johnson offering comedic narration as he pretended to be Danny DeVito as he took over his game avatar. Hobbs & Shaw (2019) gives the fans what they want—Johnson and Jason Statham finally getting their own spin-off, and finally teaming up, giving them a chance to demonstrate their comedy timing as well as their action chops.
The Rock has also undergone the voice over and producing process. He was in the heist comedy Red Notice (2021), alongside Ryan Reynolds and Gal Gadot. In the Disney adventure Jungle Cruise (2021), Johnson and Emily Blunt are joined by Dwayne Johnson as Frank Wolff, a steamboat captain who agrees to unwillingly escort Dr. Lily Houghton down a perilous river in search of secrets.
Fighting with My Family (2019), about a wrestler’s rise to prominence, showcased his knack for serious supporting roles. He was afforded the chance to lend his voice to Krypto the Super-Dog in DC League of Super-Pets (2022), showcasing his talent to captivate spectators in animated movies. He received a Teen Choice Award for his role as the charming and lovable demigod Maui in the 2016 film Moana.
(2022) was his debut foray into DC as the Egyptian mythological anti-hero, unleashing a formidable Kahlid who ascends as the ancient Egyptian magic avatar. This high-profile superhero venture, which was ambitious, had a budget of $250 million and grossed $393 million globally, demonstrating his capacity to lead big studio tentpoles.
A pattern is evident in all these 32+ movies. Johnson’s desire to do comedy and still be believable as an action hero makes him unique among action stars. He’s at ease being vulnerable — be it as a one-legged FBI agent or a demigod struggling with self-doubt. His work ethic and down to earth charm make him have on screen chemistry with all his co-stars and he has done just as well in family films, drama and blockbuster ensemble films.
From doubters questioning his talent as an actor to one of Hollywood’s highest paid stars, Dwayne Johnson’s filmography is a master class on how to have a sustainable career in the business. Whether you’re looking for action excitement, comedy laughs, family fun, or some real dramatic moments, his body of work has a little something for everyone. And that all makes going through his top 32 movies not only entertaining — it’s actually instructive on how to make a Hollywood career with a little authenticity and versatility.
Dwayne Johnson’s bankability and versatility is on full display across these top 32+ movies, proving why he’s one of Hollywood’s most powerful stars. Action packed, heart warm family film, comedy wise The Rock pumps charisma, commitment and authenticity in every role he plays. Not only is his filmography entertaining — it’s an education in how to craft a career that lasts and spans genres in the film industry.
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Avatar: Fire and Ash review explores James Cameron’s bold visuals, divisive story, critical backlash, and why it’s the lowest-rated film in the franchise.
The release of Avatar: Fire and Ash is an intriguing if somewhat chaotic, chapter in the career of James Cameron. Opening in theaters onDecember 19, 2025, the film is in an odd place: it’s both the most visually audacious entry in the series and the most critically divisive.
Although the technological crowd-pleasing remains unmatched, the “Pandora fatigue” some warned about seems to be setting in. The franchise is, for the first time, confronting the prospect of diminishing returns – not necessarily at the box office, but with the critics, who are starting to wonder, “Is spectacle enough?”
James Cameron isn’t merely making a movie, he’s defending an empire. With a mind-boggling $400 million budget, the film has to do more than just “well” — it has to dominate.
Premium Format Dominance: The film is designed for IMAX 3D and Dolby Cinema. In a streaming world, Cameron is betting everything on the ‘theatrical event,’ recouping sky-high production costs with now-higher ticket prices.
The Marvel Synergy: The cynical-looking (but actually rather smart) marketing move that Disney is rotating four different trailers for Avengers: Doomsday exclusively with Fire and Ash screenings. It’s a transparent play to encourage repeat viewings by exploiting the MCU’s “completionist” fanbase.
If the first Avatar was a dream and the second was a dive, Fire and Ash is a scorched-earth reality check. With the introduction of the Mangkwan (Ash People) the look shifts from bioluminescent wonder to something much more “brutalist.”
The Ash Biome: The conjugated neons are gone. Rather, smoke-soaked oranges and greys are layered over rugged volcanic stone.
The Design: The Ash People are a spiritual defeat. Their buildings and “soot-stained” clothing imply a society that has distanced itself from the peaceful ways of Eywa and embraced the industrial and hostile.
The reception to Fire and Ash has been polarizing. It is now Cameron’s lowest rated film on aggregators, trending at a 61 on Metacritic.
The Spectacle Faction: Reviewers from such publications as Empire are enamored with the movie, calling it a “sensory feast” and the most “nakedly emotional” film yet. They consider it a film of both grief and world-making.
The Redundancy Faction: But also savage critics like The Guardian are a different story. The main gripe? It’s too much of a rip off of The Way of Water. The “run off to a new tribe, pick up their customs, fight a final fight” pattern is beginning to look like a plot template, rather than a story.
The storytelling framework of the film’s seems to try and reject then repeat the “noble savage” cone tropes, by having a Na’vi antagonist: Varang (Oona Chaplin), who leads his own group of hunters who persecute the people of Pandora. Her performance is universally praised as the film’s best — a “witchy,” feral ruler who negotiates a dark pact with Quaritch.
But the movie still has to grapple with “the Spider problem.” The persona of Miles Spider Socorro is still a source of contention. Many consider his arc to be underwritten and the romantic tension that develops between him and Kiri (Sigourney Weaver) has been noted as “creepy” as the latter is quite a few years older and is an alien in the show.
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Avatar: The Fire and Ash is a huge paradox. It’s a movie about environmental conservation that uses up more computer power than the equivalent of thousands of cars. It’s a story that seems to be stuck in the past, told through technology from the future.
Whether this franchise “middle child” can carry the weight for Avatar 4 and 5 is yet to be seen. But this much is clear: If a James Cameron movie turns out to be “formulaic,” it’s still far more ambitious than 90 percent of what gets made.
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