Clay (T.J. Miller) runs a branch of his late fathers company but his sister (Jennifer Aniston) is the ruthless CEO with a grudge to bare and sets him an ultimatum to increase profits or close in the new year. With best friend and employee Josh in tow (Jason Bateman) Clay embarks on a mission to save the jobs of his beloved workforce.
​
Unfortunately Clay is something of an emotionally stunted man child and somehow the plan becomes to hold an epic booze filled Christmas party (something his sister is strongly against) to try and seduce a wealthy potential client to save the company. But somewhere between an overly enthusiastic DJ and an unpredictable drug dealer things get out of hand, and the safety of the company seems to be more and more unpredictable with every passing second.

This movie is not nearly as much fun as it sounds. The characters are a nice mix but the story is much too tame and the set up is squandered on a plot that inches up to the line several times but doesn’t have the guts to cross it. On the positive side there’s some good laughs and the main storyline basically concluding about halfway through the movie was a nice twist that actually left me wondering where this whole thing was going, but did little more than waste time as the plot resets making a huge chunk of the movie kind of pointless.
​
Whilst this sounds like a classic comedy set up of our heroes battling increasing disaster our characters are never really allowed to fail so the stakes don’t feel real. Problems are solved almost as soon as they appear, characters change their personalities to fit whatever it is they need to do to move the plot forward from scene to scene, and without giving away any spoilers the ending just seems like super convenient nonsense.

An extended segment of the office party turning into some sort of post apocalyptic war zone has a lot of potential but is over before it has a chance to develop. A surreal segue into this kind of thing could have really saved the movie and added some much needed drama, comical though it would have been. Ultimately that’s the problem, the cast are a gaggle of very funny people and the jokes largely land but there isn’t a drop of dramatic narrative to be found and it’s impossible to get invested in anyone or anything.
​
This goes double for Bateman and Olivia Munn’s burgeoning romance that plays like the emotional core of the movie but is actually really boring and has absolutely no reason to not work out so what’s the point. On top of that almost all the side plots of the various employees fall completely flat.

​All in all this is more like the Christmas special of a fairly average sitcom without the bonus of you already being invested in the lives of the characters. I’d skip this one as I expect it’ll disappoint.

All the way back in 2012, when Disney purchased Lucasfilm and announced their desire to venture back into a galaxy far, far away, the news was met with understandable skepticism. Thanks to the return of writer Lawrence Kasdan ('The Empire Strikes Back', 'Raiders of the Lost Ark') and director/reboot wizard JJ Abrams ('Star Trek', 'Alias'), 'The Force Awakens' successfully managed to not only quell those concerns but brought a whole new generation into the rabid fan-base.
 
With the release of 'Rogue One' - the franchise's first attempt at a standalone anthology film - a new question has arisen. Could Disney capture lightning in a bottle for a second time? Thankfully, all signs point to a resounding yes...
 
"In a time of conflict, a group of unlikely heroes band together on a mission to steal the plans to the Death Star, the Empire's ultimate weapon of destruction. This key event in the Star Wars timeline brings together ordinary people who choose to do extraordinary things, and in doing so, become part of something greater than themselves."

​One of the major criticisms of 'The Force Awakens' was that is relied too heavily on nostalgia and fan-service, ultimately seeming to many too much like a direct retread of 'A New Hope'. It's an opinion that isn't wholly without merit, and served to drive concerns regarding 'Rogue One' to fever-pitch levels. Especially given numerous reports of behind-the-scenes issues and frequent reshoots. After all, 'Rogue One' would directly be revisiting the time period of the original trilogy rather than serving as a continuation.
 
Fortunately, the script penned by Chris Weitz ('About a Boy', 'Cinderella') and Tony Gilroy ('Devil's Advocate', The Bourne Trilogy) deftly navigate this potential minefield. Familiar faces are seen and familiar thrills and chills are evoked, but the film also offers something new and some much needed freshness to the franchise. 'Rogue One' is simultaneously vintage Star Wars and something you'd never thought you'd see in Star Wars.
 
For starters, it's more mature. It's ambiguous. It's at times darker. It's unafraid to pose serious questions about what a rebellion actually entails and what it's actually like to be at war. Because that is what 'Rogue One' is when boiled down. It's a war movie. And, like in war, not everything is black and white. In Gareth Edwards' capable hands, it could stand up there with the likes of 'Saving Private Ryan' --- if Matt Damon was playing a set of plans, that was, and the missions were in space. The horror of conflict is palpably conveyed, though never without a sense of hope running knowingly through it.

Following 'Godzilla', Gareth Edwards is no stranger to wars of a more unusual nature or visually stunning set-pieces. With 'Rogue One', he delivers that beautifully conceived action in spades. Each scene is beautifully and artfully realised, an amazing attention to detail serving to not only replicate the world of the original trilogy but widen the scope, presenting imagery both dazzling and haunting, and battle-scarred worlds both new and visibly lived in. Edwards of course has back-up from some amazing CGI (especially effective when watching in an IMAX screen), though two particular CGI decisions threaten to distract rather than enhance the experience. To say more would be a tad spoilery, but you'll know them when you see them. And while the intention is pure and heartfelt, the execution unfortunately threatens to pull you out of the film at times.
 
In terms of the aforementioned action, however, each burst is wonderfully conceived and outdoes the one previous. Each one creating a level of escalation that will drag audiences to the edge of their seats, steadily building to an occasionally brutal, constantly tense, and chilling climax.
 
Stakes, however, are is nothing without compelling characters at the centre of them, so it's good that the cast of 'Rogue One' is solid across the board. You'll find no Jar Jar Binks here. With the exception of Jyn Erso - played by Felicity Jones ('The Theory of Everything', 'A Monster Calls') with a rebellious charm and intense ferocity that manages to outshine Daisy Ridley's Rey - the script offers very little in the way of backstory for most of the characters. There are grand speeches from Diego Luna's morally-ambiguous Rebel Leader, Cassian Andor, and Riz Ahmed's regretful former imperialist pilot, Bodhi Rook that serve to fill in the blanks. Those, coupled with some poignant moments from others, attempt to add shades of nuance and humanity to them, but mostly the motivations boil down to the desire to bring an end to tyranny that's traditional of Star Wars.

Still, 'Rogue One' never loses sight of the human (and droid) elements at the centre of the spectacle.
 
Each character is so likeable and portrayed with such charm and/or pathos, that it is hard not to be invested in and pulled into the plights and adventure. Each gets an opportunity to shine, bursting with great lines and moments of badassery aplenty. Though Alan Tudyk's K-2SO takes his share of opportunity and somehow manages to double it with every cynical and sarcastic line, repeatedly stealing the show from his physically present co-stars. And no act of badassery will prompt cheers more than those of Donnie Yen's Chirrut Imwe.
 
Ben Mendelsohn is sufficiently smarmy and arrogantly sadistic as Director Orson Krennic, adding a more personal element to Jyn Erso and The Rebel Alliance's universe-saving endeavours. The shadow of Darth Vader, however, looms understandably large over proceedings. Even literally in one instance. Many will no doubt be disappointed with the brevity of his appearances, but there is no denying the chilling quality of those few scenes. One in particular that serves as both a reminder to fans and an education to newcomers why the character is a force (pun intended) to be reckoned with and remains one of the most iconic villains in movie history. Still, Mendelsohn turns in an effective performance with the material offered, displaying subtle ticks that betray a minor degree of humanity not always afforded to Star Wars villains whilst remaining perpetually hateable.

All in all, the film complements and, in some cases, retroactively amends and even elevates what came before, whilst simultaneously opening up new facets and adding new depths to the universe. A few CGI niggles and minor pacing lags aside, the characters, a solid script, and stunning visuals in and out of the action serve to make 'Rogue One' a truly compelling addition to the canon of Star Wars.