What do I expect from Star Wars? It’s part of my childhood. More than any other episode, A New Hope was the catalyst that allowed me to love these movies. Hard to forget the opening crawl as John Williams’ fanfare leads the picture.

Because the Emperor (Ian McDiarmid) frightened me, I mostly stayed away from Return of the Jedi. With the news that director Gareth Edwards would seize the torch following The Force Awakens, it seemed daft at first. However, first-hand exposure to soundtrack and film offers unforeseen pleasures.

Briefly, Rogue One occupies the timeline between Revenge of the Sith and A New Hope. Crucially, the Rebels discover that the planet-destroying Death Star carries a built-in flaw. Chief architect Galen Erso (Mads Mikkelsen) has left a clue inside the blueprints, and obtaining them involves bravery only the Force can muster. Ergo, Galen’s daughter Jyn (Felicity Jones) joins the alliance.

With A New Hope, George Lucas more than entertained, he gave us a mythology; something to excite the spirit like Tolkien’s literary sensation The Lord of the Rings. Thus, the former’s notion of good versus evil achieved a crossover for viewers of all ages. His film determined the rules when all that existed was a blank page. Inevitably, producers have enjoyed the benefits, including merchandising, box office and creative inspiration ever since. To this end, Star Wars shows few signs of putting away the lightsaber.

If there was any scepticism regarding Rogue One, I can bury it now. This installment adds so much to the Jedi/Sith storyline. Personally, A New Hope remains my all-time favourite with Revenge of the Sith and Rogue One following in close pursuit.

As an event movie, Rogue One appears stunningly detailed, the effects benefiting most of all. There’s clarity to the action, something traditional and ground-breaking. While coming across somewhat lukewarm at first, Jones finds her footing rapidly, thus removing any doubts.

Congratulations to composer Michael Giacchino, who assumes scoring responsibilities previously taken by John Williams. As the film unfolds, it seems the maestro was never far away. That’s not to downgrade or lessen Giacchino’s achievement for it’s grand in nature. With the words, “A long time ago in a galaxy far, far away…” I expected to hear the famous Williams fanfare. Yet Giacchino bites the audience with a stinger, a horror chord associated with jump scares. Two hours later, I wanted to hear every melodic cue again.

Also, there’s much to enjoy about the ensemble. However, special mention must be made concerning Ben Mendelsohn. As Orson Krennic, he’s answerable only to Darth Vader and the Empire. Above all, he masterfully conveys the subtleties and charm of a king snake.

Giving credit where the boat man lives, editor Jabez Olssen contributes a sorcerer’s wisdom. Joined by John Gilroy and Colin Goudie, they track parallel lines of narrative sans arbitrary montage. It’s remarkable to witness editing that follows the characters rather than the money.

On that note, here’s a poem:

Rogue One with Star Wars belongs.

Great characters, the worthiest songs.

A missing piece we didn’t realise

following The Force Awakens, what a surprise!

Snapshots that stick to memory banks.

Battles and heartfelt scenes own the ranks.

Rewind it once more

to appreciate what we just saw.

(Released by Walt Disney Studios Motion Pictures and rated "PG-13" by MPAA.)