Solo was the second best film of the new series, after Rogue One IMO. Mind you, not as good as Rogue One, but certainly better than Episode I or II (okay, that bar is low). It respected canon, it demonstrates that
Han can't fly and that it's all the Millenium Falcon's magic, a nice twist.
So, "okay". "Decent". "Quite adequate". To be honest, I wish they would make more films like this and give the main stroryline a mercy killing. Which seems to be the case with Episode IX, from what I'm hearing.
The Star Wars univers is vast. There's tons of stories to tell. Just, please, no more déja-vus. I mean, The Force Awakens was a two-hour long déja-vu. A remake of a film that I like, so in itself not the worst move they could have made, but too much of a copycat to stand on its own legs. We had desert planets before, adolescent junk collectors before in which the force was strong, masked villains, hooded overlords, plane-busting starkiller space stations, swashbuckling fighter jocks, cuddly robots, space taverns teeming with alien creatures. What we didn't have before, ever, was a storm trooper turning good. And what do they do with Finn? They turn him into a sidekick. These are the kind of movie sins that I cannot forgive.
So, rather than rehashing everything for the nth time, explore the seedy side alleys of this universe. Tell us the youth of Solo (check), what happened before Episone IV (check), covert Jedi ops (The Mandalorian, check). These are projects where the writers have considerable creative leeway. Give them freedom, I say. That's why I think that Solo deserves more love. It's not a
great film, but
definitely not horrible either. It deserved success because it went into the right direction, and apparently the Disney top management is no longer capable of telling the difference between a good script and a horribly bad one. Credit where it's due, Walt Disney did. He may have been a better business man than artist, but at least he knew what was necessary to build a collective of creative people that could make great films (also a few mediocre, and one or two plain bad ones, but still a way better than average track record over multiple decades).
Todays' Disney managers know everything about IP protection, Franchise Management, Cross Media Marketing, Cash-flow management and a gazillion other important skills to run a multi-billion dollar empire. But they have lost their touch, completely, when it comes to identify<ing good skripts and how to protect the long-term value of the probably most valuable entertainment brand in their portfolio.