So, here's the thing. About three hours ago, I walked out of The Last Jedi and realized how much of a great film I'd had just seen. My mind was preoccupied with all the great character work, story beats and other technical details that I was left wondering why I didn't completely click with me like it has with everyone else. This isn't to undermine the praise the film has gotten from pretty much everyone else except foolish fanboys. Far from it, I agree that this is about as close to perfect a Star Wars film has come since Empire. While I acknowledge this is most certainly the better film of these two selections, I say that I'm more fond of The Force Awakens as pure entertainment. Who knows? Maybe I'll be swayed from liking it to loving it upon a second or third viewing.
One of the biggest things I can say in this film's favor is that it's chock-full of surprises. The narrative reaches many points I genuinely didn't see coming and takes the new characters from the previous film in new and interesting directions. Most notable and predominantly focused upon are the parallel arcs of Rey and Kylo Ren. Both characters grapple with the emotional weight and themes the story thrusts upon them in starkly different yet equally compelling ways. Even John Williams' score manages to through in some nice new additions. Williams' status as the greatest film composer in the history of the medium and his occasional reuse of classic themes are by now well-established; however, there are subtle moments throughout his new work that manage to be memorable in their own right and help give this new generation of Star Wars films much more of a distinct identity than Rogue One or Force Awakens could've hoped to accomplish.
The performances here are all about what you'd expect. Daisy Ridley, Adam Driver, John Boyega and Oscar Isaac are back and better than ever (the latter of which is actually given something to do this time around, so here his presence is commanding). Kellie Marie Tran is a welcome new addition to the ever-expanding roster of new players. Laura Dern and Benicio del Toro don't have much in the way of screentime; but, it speaks volumes to as their acting chops to know how much of an impression they end up leaving when all is said and done. Then, there's Carrie Fisher and Mark Hamill. Fisher's passing about a year ago does add the proceedings with an inescapably tragic overtone; but, suffice it to say, her final turn as Leia is one to be treasured. Plus, as he does in most things, Mark Hamill owns here. He imbues Luke Skywalker with a new sense of guilt and paranoia that shows the character's age effectively.
Now, for the bells and whistles in the film. Rian Johnson may have just directed the most technically efficient film in the entire franchise. About every page in the script is brimming with great dialogue and every story beat is busy yet not overstuffed. There are a few fun editing gags every now and then. Plus, the cinematography is absolutely immaculate. Aesthetically speaking, this is Star Wars in its absolute prime. There's a moment near the very end of the picture where the shot composition and music choices are practically a textbook example of how to effectively reference an iconic franchise moment while creating something new in the process. I won't give it away because it's kind of a massive spoiler; but, suffice it to say, it packs a massive punch.
The Last Jedi might not be the best Star Wars film; nevertheless, it may be the most thought-provoking film in the entire saga. It deals with themes of failure, generational legacy and becoming more than what's expected of you (for better or for worse). It's a bold risk of a film that might work one hundred percent of the way; but, its existence is important regardless.
STAR WARS: THE LAST JEDI gets a...
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