When I wrote about Rogue One, the first of the Star Wars anthology films, one of my main takeaways about the picture was how much it broke from the previous movies in the Star Wars universe. It was thematically dense in a way we had never seen in a Star Wars movie, and it only tangentially relied on callbacks to the earlier films to connect us to the series. Much of the credit for that innovative feel was probably due to The Walt Disney Company (which now owns and produces all things Star Wars) introducing fresh blood into the franchise. Neither director Gareth Edwards nor writers Chris Weitz or Tony Gilroy had ever been involved with any Star Wars project prior to Rogue One. The new anthology entry, Solo: A Star Wars Story, is like the anti-Rogue One, but I don’t mean that in the strictly pejorative sense that you’re probably expecting.
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It’s hard to overstate how big of a disaster Warren Beatty’s film Rules Don’t Apply is. The man who ruled Hollywood for over two decades has delivered the first movie he wrote, directed, and starred in since 1998’s Bulworth, and it’s a complete mess. Beatty became an instant sex symbol in 1961’s Splendor in the Grass, and he won the Best Director Oscar for Reds, his 1981 ode to John Reed, one of only two Americans ever granted burial at the Kremlin in Moscow. Almost none of Beatty’s earlier successful filmmaking skills are visible in his latest project.
Like Reds, Beatty’s focus for Rules Don’t Apply is also a real-life figure, mercurial billionaire Howard Hughes. The legendary stories about Hughes, a man who inherited his father’s oil drill bit company and used his fortune to focus on his twin passions of aviation and filmmaking, are practically the makings of a fantastic movie all on their own. If you need proof, Martin Scorsese’s The Aviator is a remarkable example. Not only was Hughes an eccentric and mysterious figure of great renown from the 1920s through the 1960s, he was also plagued with mental health issues, most notably a serious case of obsessive-compulsive disorder.
Beatty’s movie, by contrast, suffers from bipolar disorder.
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