Star Wars: Episode VIII – The Last Jedi (2017)
★★★★ / ★★★★
Thrilling, visually resplendent, and high on entertainment value, the eighth “Star Wars” picture is, upon closer inspection, an attempt to push the series toward fresh territory while honoring the spirit of the beloved original trilogy. It stands strong amongst the cream of the crop with enough genuinely surprising twists and interesting character direction to pique the interest of observant and emotionally invested viewers. In the hands of writer-director Rian Johnson, “The Last Jedi” opens up a promising uncharted universe, an outstanding achievement because the series is already is so rich in lore, curiosities, and possibilities.
Its striking visual style is made apparent right from the opening sequence. Naturally, it involves blowing things up and yet we are invited to notice minute details. What I loved about 1977’s “A New Hope” is the look of a lived-in future. No matter where we end up, whether it be on a scorching desert, an asteroid field, man-made floating cities hiding behind clouds or outer space, surfaces almost always have dust, moss, or some kind of outer covering. Items appear old or second-hand but the attitude behind the events surrounding these inanimate objects, in addition to the people who interact with or wield them, their spirit, their energy, is young, vibrant, waiting to reach a crescendo with the slightest touch.
Although the action is most impressive, particularly dogfights that require eye-popping and brow-raising acrobatics, it can be argued that the film’s strongest moments involve longing silences, young and worn characters looking at each other knowingly, engaging in tense exchanges that could alter the tide of war between The First Order and the Resistance, the latter desperate and dwindling in number.
Out of three parallel storylines, most intriguing is Rey (Daisy Ridley), tyro and earnest but strong with the Force, attempting to convince Luke Skywalker (Mark Hamill) to leave his self-imposed isolation and join the fight for the galaxy. The overall tone, compared to the rest of the picture, is spiritual, questioning. Shades of blue, gray, and green dominate the screen. We hear nature rather than whirring of machines and explosions. The pacing is unhurried, unconcerned with creating a typical arc to garner tension, prone to rumination.
Familiar characters are given more personality this time around. For example, in the predecessor, Poe Dameron (Oscar Isaac) is introduced as an ace fighter pilot, clearly a key player in the Resistance. However, we simply accept the character as he is introduced. Here, however, it is shown why Dameron is a leader, his competencies as well as his shortcomings. We are even introduced to his type of humor. Jokes and situational comedies almost always fit the occasion or characters involved. When the writing is specific and takes risks, the allure of the “Star Wars” universe is all the more amplified.
A filmmaker’s goal, or what should be his or her goal, is to put one’s unique stamp on a project, whether it be for mainstream consumption or a niche audience. Here, I got a strong impression that the “Star Wars” installment that Johnson respects most, his beacon, is “A New Hope.” It is in how he picks up themes brought up in that film and makes them his own rather seamlessly without relying on overt images or fan service. Most importantly, the writer-director is willing to take the next step and to give the franchise a chance to evolve. However, putting one’s own stamp on a popular franchise comes with a cost: it is certain to antagonize audiences who are not yet ready to look to the future.