Alright, who's to blame for this? The team in Rogue One did not fight and lay down their lives for a mediocre Star Wars film. Do we blame Batman Begins, who started the trend for films to explain every single detail of a main character's journey to immortality. Do we blame the Marvel Cinematic Universe, which has led us down the path of siphoning off characters for sub-franchise tangents instead of the films we actually want to watch. Do we blame Disney, whose billions of dollars have given them a toy box packed with nostalgia-filled properties to repackage and sell to us as extended merchandise adverts. Or do we blame ourselves, the viewer, who now demand a regular fix of our favourite franchise that comfortably fits within our narrow pre-determined perspective on what these films should be. Who is to blame for Solo: A Star Wars Movie being so approachably bland, so passable, so instantly forgettable, so lifeless?

For those unfamiliar with who Han Solo is (and these people are probably not going to get much out of this film), here he is a young street rat who, in escaping one criminal underworld, finds himself partnering with nefarious characters to take part in a series of heists all while trying to save his friend from the life of crime she has become part of.

In the original trilogy Han arrives fully-formed. It doesn't matter how he ended up on Tatooine, how he end up with a wookie as a partner, how ended up on the wrong side of Jabba the Hutt. A prequel feels unnecessary, the details covered here are ones I did not need to know. As the film moves forward at its relentless pace, little of it impacts. There are occasional sparks of life in this film. An early action scene on a train as it twirls and whirls its way through a winter landscape is effective. There are fun moments between Chewbacca and Han who quickly click and become friends. Bradford Young's cinematography has an epic sweep to it but comes undone in a browny-grey murk for the interiors. And, at the very least, the costumes, and in particular the capes, are just fabulous. Solo's real heroes are the costume designers Glyon Dillon and David Crossman.

The cast feel mostly wasted here, battling a chunky, clunky script. Alden Ehrenreich is an effective, often charismatic lead who feels too passive to match Harrison Ford. But that is such a mammoth task that he deserves credit for having any impact at all. The rest of the ensemble feel like talent unused. Woody Harrelson is effectively reheating his performance from the Hunger Games. Donald Glover, as Lando Calrissian, has the swagger but not the screen team he deserves. Emilia Clarke is saddled with a love story that is just not compelling, in a film that can never seem to nail down her motivation. Thandie Newton and Phoebe Waller-Bridge are both criminally underused. Paul Bettany has some impact in the villain's role but disappears for much of the film, potentially a victim of the film's reshoots.

I have purposefully not talked about this film's troubled production. It is a fascinating story, one we will be talking about long after Solo has left our collective memories. The film ends on the promise of more adventures with Han and I'd be lying if I didn't feel a pang of curiosity of where the series goes next. I am programmed to be curious about Star Wars, a franchise I have loved since I was a child. But a 'just fine' Star Wars is a crushing blow for any of fan of the series. And after four film's in the new Disney incarnation of the series, one has to question where this is all going. Star Wars has been so driven by the creative force of George Lucas (both for the better and worse of it) that it now seems devoid of an artistic centre. Are we now doomed to an eternity of mediocrity, paying fan service without adding anything new or exciting? If this is the case, I have a bad feeling about this.

For Star Wars fans who were somewhat disappointed by the 1999-2005 prequel trilogy (and who wasn’t?), the news that LucasFilm’s new owner, Disney, has spawned yet another prequel – this time about the backstory of Harrison Ford’s breakthrough role of Han Solo, the galactic smuggler and reluctant rebel hero – might have been greeted with some apprehensive premonitions. The omission of Han’s character was just one of the disappointments of the prequels – but it turns out this enjoyable new film makes up for more than just that.

It certainly fulfils the spec, like showing how Han befriended his first mate Chewbacca and how he gambles to win the Millennium Falcon from Lando Calrissian (whom pop-culture followers will recognise as voguish multitalent Donald Glover, aka Childish Gambino). Both of these characters are given more attention than in the original trilogy, which is a great thing. The film even hints at the source of Han’s trademark deftness with blasters.

The story is virtually free of the ‘hokey religions and ancient weapons’ (in other words, Jedis and the Force) of which the original trilogy’s Han is initially so sceptical. Instead, one of its big strengths is how it fleshes out in gritty details what the reality of an oppressive Galactic Empire really looks like on the ground.

The film is supposed to be set sometime between Episodes III (the last of the prequels) and IV (the original Star Wars), though suffice to say the reappearance of a certain character might be confusing to those less familiar with the wider universe of Star Wars spin-offs. Inevitably, the film sets itself up for one or more sequels which would more fully explain Han’s situation and outlook when we first encounter him in Episode IV. Whether such a sequel sees the light of day will of course depend heavily on the box-office returns of this first instalment.

The films starts fast and keeps moving at a good pace. At 2 hours and 15 minutes, it does not feel excessively drawn out. As far as genres go, you should expect something more like an action movie than a sci-fi epic – think Guardians of the Galaxy, though perhaps with a little more of the sincerity of a space cowboy odyssey like Firefly. All in all, the film does not take itself as seriously as the main Star Wars franchise, something that certainly fits Han’s character. Nonetheless, it seems the film might have been saved from excessive farcicality by the hiring – midway through its production – of director Ron Howard, a good friend of George Lucas.

Star Wars films traditionally pluck little-known actors out of the ether and give them their big break. Solo: A Star Wars Story is no exception, with the leading role played by relative newcomer Alden Ehrenreich. A good choice – there’s certainly something Harrison Ford-like about him, bringing humour, energy and a touch of earnestness to the role.

However, there’s a few more familiar faces among the cast as well, not least Emilia Clarke, Woody Harrelson and Paul Bettany. To its credit, and perhaps surprising given the main subject, the film gives plenty of attention to female and non-white characters, in a way that does not seem simply tokenising.

As ever, the Phoenix Picturehouse in Jericho made for a great evening out. The staff are welcoming, the beer selection good, the seats comfortable. Solo: A Star Wars Story is showing there all week.