Star Wars: The Last Jedi (2017)
As I stated in my review of Star Wars: The Force Awakens, “The first mission for Episode VII is to reset the course, to wash away the bad taste of the prequels that haunt many.” Mission accomplished, mostly, though the biggest criticism for J.J. Abrams’ resurgent sequel was how all too closely it hewed to the original plot beats of its own past. It was an overcorrection, a swing too far in the other direction and turned a reboot into “a loving homage that approaches facsimile.” I enjoyed the new characters, the next generation of Star Wars heroes, and wanted to see what would happen to them next. I just hoped the franchise could steer a course of its own. Having a talent as unique as Rian Johnson (Brick, Looper) as the writer/director of Episode VIII certainly portends to that. The Last Jedi is a better movie, structurally and even emotionally than Force Awakens, but it’s flawed and definitely less fun and is driving so many fans to the dark side.
The First Order is crushing the last vestiges of the puny Resistance. General Hux (Domhnall Gleeson) is chasing the last ships of General Leia (Carrie Fisher) through the galaxy. Finn (John Boyega) is looking for Rey (Daisy Ridley) who is missing. He is teamed up with Rose (Kelly Marie Tran), a plucky mechanic, to find a master code breaker to thwart the First Order’s tracking system so everyone can safely escape. Meanwhile, Rey has sought out the last Jedi, Luke Skywalker (Mark Hamil), who agrees to train her just to teach her why the Jedi are wrong and he will not help the Resistance. She’s also been psychically linked to Kylo Ren (Adam Driver), who is still struggling with his own identity as a pupil of the dark side. Supreme Leader Snoke (Andy Serkis) has lost his faith in Kylo, who he feels is too weak to embrace his darkest impulses. Kylo believes he can convince Rey to join him, and Rey believes that Kylo can be saved and turned into an ally. The Resistance is looking to survive another day and rebuild their rebellion in the hearts and minds of the downtrodden.
I was hopeful Johnson would be able to tread safely away from the undertow that is the pull of Star Wars nostalgia, and he did so, both to the movie’s great benefit and oddly to its peril at different points. Episode VIII is not a repeat of the plot beats of Empire Strikes Back, though there are some thematic similarities that go along with a middle chapter in a trilogy, like separating the heroes, experiencing losses, etc. Clearly, once Johnson received the handover from Abrams, there were certain Star Wars storylines setup in Force Awakens that he had no interest in continuing. I won’t specify what they are for the sake of spoilers but Johnson definitely undercuts the expectations of extraordinary developments with ordinary, mildly indifferent responses. Certain characters fans may have thought would be more important are gone. It’s as if Johnson is saying to the audience, “Did that thing really matter to you? Who cares?” It’s not Johnson’s fault the fanbase spun off intense theories. He undercuts your expectations throughout. The characters are allowed to fail. The reported saviors don’t want the responsibility. By upsetting the balance of the force, if you will, Johnson has injected a sense of uncertainty into the Star Wars mix, a badly missing element ever since the original trilogy. When a major character looks ready to sacrifice his or herself, you start to believe that this genuinely may happen. When the characters finally fulfill their mission and track down their special contact, they’re denied their goal. You can tell Johnson is having fun with misdirection and, as one character says, “letting the past die.”
However, that same sense can also get Johnson into trouble. From a narrative standpoint, we’re not much further by the end then where we began. From an emotional standpoint, I don’t know if we’re that much farther either. There are elements you can clearly tell that excited Johnson, namely the Rey/Luke/Kylo moments. That relationship, dynamic, and hidden history is easily the best part of The Last Jedi. The decision to psychically link Rey and Kylo seems cheesy at first but works out beautifully, synching up the two force wunderkinds forces them closer and each one looks at the other as a potential kindred spirit. They each think they can save the other, and so it becomes a far more concrete battle over the soul of our characters rather than just a philosophical exercise. It opens up more of a literal dialogue between these opposites and deepens their chemistry. Luke might be following a typical hero’s journey/acceptance of the call, but it’s still an interesting path because he’s bitter and lost his faith in the moral primacy of the Jedi.
On the flip side, there are also elements where you can clearly tell Johnson had less excitement. The middle section involves a side mission onto an alien casino, and it feels like filler, especially with where it eventually goes and what it opens up about the world. I think it’s meant to showcase the exploitation of the underclass, the rich getting richer off war profiteering and the subjugation of civilizations. It doesn’t land and detracts from the other, more interesting storylines. The cutsey comic relief characters inserted to sell toys are not overpowering but they clearly feel like a studio requirement. At least I’m giving Johnson the benefit of the doubt that he didn’t decide that his Star Wars movie needed winged, big-eyed guinea pig creatures. The concluding half hour also could have been eliminated considering the second act break feels like a more climactic ending. The premise of an elongated chase through space that exhausts fuel supplies and where an enemy ship can track light speed jumps is oddly reminiscent of the first episode in the Battlestar Galactica reboot series (maybe Johnson was a fan). There are things the Force is able to do that we’ve never seen before. It begs questions over what exactly are the parameters of this invisible made-up zen power. Also, if you just solve things by saying “new Force powers” then it becomes a Star Wars cheat. There are also nobodies that could have been, and should have been, replaced by other higher-profile characters. There’s a moment of pure unchecked badassery that should have been someone else taking the sacrifice. By cramming in all of this other material, Johnson is trying to find things for his various characters and storylines to do, and not everything is on the same plane. Finn and Poe (Oscar Isaac) recede into the background all too easily. This is the longest Star Wars movie in franchise history and it could have easily been cut down by 20 minutes.
Fortunately for us, Johnson’s eye for striking visuals and strong, punctuated character moments is still alive and well, and The Last Jedi has moments that left me awed. There are a handful of visuals that are burned into my memory. A multi-dimensional shot of action that pans over to a frantic eyeball. A blast of light that cuts through space like a razor, with the sound dropping out for that extra degree of awe. Speeding ships kicking up red plumes. A slow-motion team-up that all but dares you not to pump your fist. Johnson’s unique sense of visual composition is still present an accounted for. He also reveals a strong handle over the coordination of action sequences, an unknown quantity for him until he landed on this biggest stage. The opening sequence is a great showcase for Johnson with multiple points of action both macro and micro. The X-wing fights are snazzy but the simple struggle of pilot trying to reach a detonator is terrific tension. Abrams, and now Johnson, have brought the feel of Star Wars back, where the alien settings are real and not just a green screen warehouse like the prequels. The light saber battles (all two of them) are given personal stakes. The fights matter. Unlike the prequels, we have people that behave and fight like human beings and not cartoons that leap off walls, do thirty flips in the air, and take leaps off 100-foot canopies. The characters and their conflicts don’t get lost among all the special effects wizardry and explosions.
The characters with the best material are also the ones who give the best performances. Hamil (Sushi Girl) is fantastic as the old curmudgeon, the bitter man who’s lost his faith. There are later moments where all of his acting is performed through his eyes and little twitches over his face, and he communicates so many emotions. Ridley (Murder on the Orient Express) continues her flinty determination while being somebody who isn’t as instantly adept at every new challenge. Her one-on-one sessions with Luke and Kylo are made better from her charisma. She’s a star. Driver (Logan Lucky) is still compelling as a villain struggling with being a villain. I enjoy having a bad guy who is sloppy, tempestuous, and not fully immersed in the dark side. It makes scene-to-scene more interesting and it plays better to the film’s theme of trying to save one’s soul from the power of influence. Driver has less “woe is me” moments than Force Awakens and feels more committed to his character’s ultimate journey. Kelly Marie Tran (XOXO) is the newest edition and makes quite a favorable impression as the crafty, thoughtful Rose. She’s got some key emotional moments and Tran nails them. She’s also an eager fan of the heroes of the Resistance, namely Finn, and when the reality doesn’t quite match her fantasy, she mimics the Star Wars fandom in her dejection. While the movie doesn’t find the most useful places for her inclusion, I was happy to watch Rose make her case as a new and valuable addition to the franchise. The actor I felt worst for is Gleeson (Goodbye, Christopher Robin). His character is simply an officious weasel we’re not really meant to take seriously, and this is further accomplished by Gleeson’s screeching voice. I worried the man was going to give himself an aneurysm.
This is also the last time we’ll see Carrie Fisher in the Star Wars universe, barring the misbegotten CGI version of her that resembled a chalky blow-up doll in Rogue One. Fisher died almost a year ago and that knowledge hangs over every one of her scenes. You wonder if there will be any sense of closure with her character in this universe. Johnson provides a scene between Luke and Leia that is so poignant and shot so tenderly that it feels like the perfect sendoff for Fisher. He even kisses her forehead before slowly departing, feeling the urge to stay, while a burst of light halos her face. If you were going to cry at any point in The Last Jedi it will probably be this moment to remind you of Fisher’s passing. Leia does have a couple other appearances after this moment but it’s really this scene that serves as her effective curtain call from this massive franchise.
Star Wars: The Last Jedi is an exciting transitional chapter, and this movement seems to be chaffing many fans, bringing forth the question of whether the fanbase will allow there to be a different Star Wars. This is a movie that discards storylines and characters with the wave of a hand, that subverts expectations and plays with misdirection. This is Rian Johnson’s response to nostalgia in place of genuine emotional responses. As Kylo Ren says, “Let the past die.” It’s not the movie’s fault that people devoted countess hours to speculating about possible film theories that were deemed relatively inconsequential. Johnson refocuses on the characters that matter most, Rey and Kylo, by pairing them up as twin forces. While The Force Awakens definitely has more of a brash sense of fun, I find Last Jedi to be the better movie. It’s not quite up to par with the original trilogy. Johnson gets a little overburdened by trying to add too many things, including a casino subplot that feels like a unsatisfactory side mission in a video game. The new Star Wars films have lacked the bold unpredictability of the original trilogy. There’s nothing quite as seismic as Darth Vader being revealed as Luke’s father or even Han Solo captured and locked in carbonite. Even the major deaths in the new films feel anticipated, like in Episode VII, or less momentous, like in Episode VIII. There are some fake-outs with major deaths that many will deem cheap gambits, and I won’t disagree. I was entertained throughout The Last Jedi. I enjoyed the new characters. I enjoyed the action sequences. I even enjoyed the porgs. This is a movie that is looking for balance between the light and dark, and Johnson establishes a Star Wars that resets the table in exciting and frustrating ways. With J.J. Abrams now onboard of Episode IX, we’ll see how he brings home the characters that he brought into the universe a long time ago in a galaxy far, far away. I imagine the fans grousing this new direction might be more forgiving of nostalgia.
Nate’s Grade: B
Posted on December 17, 2017, in 2017 Movies and tagged action, adam driver, andy serkis, benicio del toro, daisy ridley, domhnall gleeson, drama, john boyega, kelly marie tran, laura dern, lupita nyong'o, oscar isaac, rian johnson, sci-fi, sequel, star wars. Bookmark the permalink. 1 Comment.