Return To The Unknown
Escapism. This is something which avid cinema-goers and film-lovers strive to look for in features that bestow a sense of palpable grandeur. For sure, there are only a select few film franchises that grant us this opportunity; a freedom that makes us forget about our struggles in life and illuminates a premise that makes us fixate towards the world we’re perceiving and become engrossed by the characters that are intricate yet attainable all at once. Peter Jackson’s fantastical Lord of the Rings trilogy of films certainly fulfils this, as does the features that make-up what Star Wars initially was and still is represented to be. While there are evident shortcomings in many of the films that comprise the said acclaimed sci-fi filmic series, especially seen in George Lucas’ prequels of Episodes I, II and III, Star Wars remains to be a cinematic franchise that seamlessly appeals to all demographics and isn’t just your typical genre-specific space-opera. They’re perceived as a set of films that, in a way, uphold a rather fairy-tale quality to them and with each new entries that are released to the masses, always present something new and enticing to quarrel long-after the film has ended. This is certainly the case with Rian Johnson’s take of the series with the latest cinematic submission of Star Wars Episode VIII: The Last Jedi, a film that continues to digress through this ever-familiar world by making bold story choices for the accessible characters to follow, but leaves curious questions and mysteries left in the open and, instead, spotlights the moral and thematic complexities that Star Wars hardly ever ventures to.
Following on from the events that took place in The Force Awakens, The Last Jedi once again centres its story around the likes of Rey, Finn and Poe Dameron as they each have their own journey’s to fulfil in defeating the ever-menacing First Order. While Rey finds and develops her newly discovered abilities with the guidance of the legendary Luke Skywalker, who is unsettled by the strength of her powers and is spooked by his past endeavours, General Leia Organa and the rest of the Resistance fighters, including the likes of Finn and Poe, battle against Kylo Ren and General Hux’s First Order for the supremacy of the galaxy…
Unlike the preceding entry which clearly mirrored a familiar structure, illuminating scenes and recognisable scenarios from A New Hope that didn’t give the start of this new trilogy as fresh of an outlook as it should have had, it’s discernible when looking at Rian Johnson’s take on the Star Wars saga through his latest feature of The Last Jedi that the said director wanted to provide a continuation of the ever-known franchise by implementing contextual aspects that were unforeseen for those who have become accustomed to the fray of past films. Certainly, while it can’t go unnoticed just how certain scenarios within The Last Jedi identically mimic familiar scenes played out in previous Star Wars films, which in turn hinders Johnson’s vision for said feature, you do have to acknowledge the direction that the story tries to go since the majority of things that are displayed are somewhat new and go in a different course that many audience members won’t be anticipating. Without spoiling too much of the story details, considering the film hasn’t been out in cinemas too long and the fact that it would be a disservice on my behalf to blab out specific story details for those who want to watch the film at the theatre’s, one of the more notable examples where Johnson applies this rather anonymous contextualisation that rather deepens the lore of the world of Star Wars, is the way in which the Force is shown to be and how intrinsically ominous it can be to elude contrasting themes of loneliness and connection. Indeed, this fantastical power is used in ways one might expect, whereby a certain character uses it to grab a light-sabre in mid-air or to push an object/character away from themselves. However, if there’s one aspect to the story that latched onto me after viewing the film, it would be the subtly in which the Force is displayed and how opaque it remains to be, even if die-hard fans know full-well what it is and what’s fully capable of. From the ways in which certain familiar ideas are presented in way that is distinct from people’s expectations, comes the disappointment from those who were anticipating questions, of which were proposed in The Force Awakens, to be answered which, arguably, who have given greater incentive to watch the finale of this new trilogy in 2019. As much as it’s understandable that there were many things within The Last Jedi that didn’t answer many audiences curiosities and left certain narrative aspects up-in-the-air for further theorising, in a way, it’s a good thing that this aforesaid film didn’t akin towards what many of the admirer’s wanted to see. If The Last Jedi presented itself to be a film that auscultated to the many aspects that fans and average cinema-goers alike were expecting to perceive, would Johnson’s film been better? it’s hard to see why in many ways. For myself, whenever a new Star Wars feature was being released, sure there’s trepidation whenever a specific story-angle isn’t flourished in the way that I imagined, but they’re a set of films that have boldly presented something new that fleshed-out the world that many people, including myself, love. Gareth Edwards’ Rogue One: A Star Wars Story is an apt instance of this since, although we knew the events of the film would lead towards the start of A New Hope in some manner, it presented itself to be one of the more darker films to grace the acclaimed-franchise, which was welcoming to acknowledge. Much of the same can be said about Johnson’s vision for The Last Jedi, since it goes in a direction that leaves certain story-conditions left for further interpretation. By playing into the audience’s hands of expressing and focusing on the questions that many people had after watching the preceding film, there’s no denying that the conclusion of this new trilogy would have resulted into a pit of oblivious expectancy; which would have been very disconcerting to fathom. It’s welcoming to see Johnson’s interpretation of Star Wars since it introduces ideas that no other film within the franchise explores before. That being said, if there are legitimate and critical points to consider in viewing The Last Jedi, it would be the way in which the fractured narrative structure suffers from severe pacing issues and allows the main conflict of the two hours and thirty minutes to not move cohesively as it should do. Truly, where the film fumbles into a muddle is when the film deviates between the different perspectives; especially when we’re fixated on Finn and Rose’s point of view when visiting a space casino for reasons that I won’t reveal. It’s a portion of the film that ultimately doesn’t add any weight to the main struggle and, in many regards, felt reminiscent of the many pointless scenes that resides in The Phantom Menace. What’s also puzzling to take note of The Last Jedi, is the way in which pivotal exposition aspects aren’t always backed-up in a clear and concise way which definitely hinders the believability of this continuation we’re seeing and shows just how the overall writing of the feature doesn’t always add-up. If we’re not seeing any particular story development between Rey or Finn, we’re instead greeted with scenes that feel awkwardly studio-esque; sequences that purposefully push the films merchandising credibility. Much of the same can be said of the humour that’s threaded within the context since there are quips and gags that doesn’t coordinate with the films dire plot. Sure, the addition of the Porg’s are an accessible means to like said feature. On the other hand, the ways in which there forced-fed to the lens of the frame feels amateurish; almost to the point of begrudging.
By far, the best aspect to expect from The Last Jedi is the appearance and characterisation of a now-sombre Luke Skywalker. In similar vein to how Johnson portrays the way the Force is seen as, we’re greeted with an old hero that’s completely devoid from what he’s previously been shown as and demonstrates another side to the character that many people, including myself, didn’t know they wanted to see. As Hamill stated before the release of the film, he mentioned how he was kind of surprised by the direction Rian Johnson took with the story and with the development of Luke and it’s evident to see why that’s the case. Aside the silly expression of reproval from ‘fans’ who scorn the portrayal of Luke Skywalker for not living up-to the those said devotee’s expectations, the path in which the characters goes onward through the film is an interesting one and establishes the already mentioned themes of loneliness and connection. Much of the same can be said of the development of Rey and how she not only wants to learn more about what’s happening to her, with the fact that she has some relation to the Force in some way, but also deepens her self-morality and determining what truly is right from wrong when meeting with Luke and what happened to him. Alongside Daisy Ridley’s reprising portrayal as Rey, a performance that is ultimately conceivable both in the delivery of the lines of dialogue that she has to say and in the well-choreographed sequences that she partakes in, one of the more imperative aspects to take note of in relation to Rey’s development is her maturation and how she’s progressing into a character that isn’t necessarily reminiscent of another personality. As stated in my review of The Force Awakens, one of the more imperative constructs to notice of Rey was the way in which she had likenesses to the familiar faces of Luke, Leia and Han Solo and how even though she’s well-versed in knowing the ins-and-outs of space craft and flying like Solo, possesses a mysticism similar to Luke and has a moral sense of righteousness like what Leia has. With her journey so fixated on finding out what these Force abilities means for her and the journey ahead, it’s embracing to perceive just how much she becomes her own person in this film and how the scenes in which she connects with the Force, are ever inquisitive. This is also relevant to Kylo Ren’s arc throughout the film and how there’s an evident turmoil within him that’s slowly breaking the character. Certainly, the scenes in which see Luke and Rey interacting with one another and discussing the ways of the Force provide a different into this fantastical space-age world that doesn’t oblige to distinguish what this certain story elements represents and what not. With this being Carrie Fisher’s last appearance on film, it would be hard not to talk about her performance as General Leia Organa since, like Hamill’s enactment as Luke (which, by the way, is his best depiction of the character, excluding his appearances in the original trilogy), is a performance befitting of the actress’s persona. Truly, it was pleasing to her character one last time that wasn’t tampered with due to the unfortunate circumstance and is a sending-off that many will appreciate. If there’s one hitch to the characterisation that Johnson tries to apply in The Last Jedi, it’s the inclusion of the newbies in Rose, portrayed by Kelly Marie Tran, Admiral Holdo, acted by Laura Dern and Benicio Del Toro as DJ as they all don’t take the mantle that the actors from the original trilogy have left behind. Indeed, that responsibility does rely upon the likes of Rey, Finn and Poe who were threaded into the franchise in the preceding feature. However, there wasn’t any stage upon seeing the new characters this time around where I felt as though I could connect with each of them and what their purpose was in relation to the story.
If there’s one profound aspect, alongside the characterisation, that encompasses what Star Wars represents as a cinematic get-away and as a staple in film history, it’s the ardent use of CG and practical effects and how this amalgamation of contrasting techniques creates something that looks both authentic yet fantastical at the same time (of course, I’m excluding the likes of The Phantom Menace and Attack of the Clones when I say this). This certainly applies to Johnson’s perception of Star Wars with this latest feature of The Last Jedi as there are moments and sequences within this continuation that rival some of the more iconic moments that comprise said franchise. From the varying ways in which lightsaber clashes are framed, whereby extreme close-ups and wide-angles formulate the space and rather emulate choreographed scenes recognised in a plethora of anime, to the manner in which sudden moments of unpredictability stimulate the gaze with profound visuals that pop-off the silver-screen, it’s clear that Johnson has an astute sense of providing visual grandeur that’s synonymous with the series attached magnitude and certainly sets a precedent for J.J. Abrams to match, considering he’s concluding this new trilogy with Episode IX.
It can’t go unnoticed that, when looking at the many films that would be released this year, Rian Johnson’s Star Wars Episode VIII: The Last Jedi was a feature that I was both excited and apprehensive about. While it couldn’t be helped that I was hoping for the best for said feature, considering that the franchise of Star Wars has always offered me a place where I can escape to if needs be and is a series that I dearly adore ever since I laid my eyes on the VHS copy me and my family still have of A New Hope, in many ways, I was also expecting Johnson’s interpretation to not live up-to the preceding films proposed questions of old and new characters. In discussing the many aspects that constitutes The Last Jedi, there’s no going-around the fact that this eighth episode is assorted with good and awkwardly bad constructs. As much as the film suffers from the lack-of cohesion that would one expect to see in a Star Wars film and how the implementation of new characters and quick-quips makes the experience, at times, to be virulent, there are many formal aspects, which Johnson himself introduces, that makes The Last Jedi feel fresh from past films and purposefully delves into facets that steer-away from what die-hard adorers wanted to see. As many of you will know by the time this review is released, it’s come as no surprise to see that this recent instalment of the Star Wars series has indeed polarised audiences and critics alike; with film theorists praising Johnson’s vision while fans purely hated the way in which the film went about it’s business. To say you HATE something, truly means that you completely despise everything about that one thing, whatever it may be. While it’s understandable as to why many audience members hated the aforementioned feature, there is a quality to what Johnson brings forth that sweetens the Star Wars story. In the end, everyone is free to walk away from The Last Jedi – or any work of artistic value – hating it, loving it, or not caring about it one way or the other. What must be remembered, is that a film-maker, like Rian Johnson, is free to make the full-length feature that he wants to make, and the he isn’t obligated to give you, or me, or anyone else, the film we think we want or that we’ve imagined in our heads over the years. The best thing for a fan to keep in mind, is to let a film like The Last Jedi profoundly effect you over time and do your best to connect with it – kind of like the Force. But, if you can’t, then that’s completely fine. Just don’t turn into Kylo Ren…
On that note, it’s time for me to end this week’s film review. As always everyone, thank you for reading my latest and last film review of the year in Star Wars Episode VIII: The Last Jedi and I hope you’ve enjoyed the read! 😉 If anyone has an opinion on either my review or on the film itself, you’re more than welcome to comment down below. Although this was my final film review of the year, my final Blog Post of 2017 will be up next week as I’ll be going through my personal top ten films that I’ve seen throughout January to December. Thank you once again for not only reading my final Film Review of the year, but also reading through the countless review that I’ve done over the past year. It really means a lot and I really appreciate those who voted for me in this years U.K Blog Awards! I’ll see you all next week and I hope you all have a lovely Christmas! Adieu! 😁👋🎅🎄🎉
★ ★ ★ ☆ ☆ – Alex Rabbitte