Star Wars Film Festival: The Last Jedi (2017)


In preparation for the release of The Rise of Skywalker, I am rewatching all of the previous Star Wars films in episode order.

Here’s my review of The Last Jedi, originally published December 22, 2017.

TitleStar Wars: The Last Jedi
Release Date: December 15, 2017
Director: Rian Johnson
Production Company: Lucasfilm Ltd./Walt Disney Studios
Motion Pictures
Summary/Review:

The Last Jedi is a movie that that defies all expectations a Star Wars film, or action-adventure films in general, deliberately undermining genre tropes again and again. Whatever movie you expected to see after watching The Force Awakens, or what you imagined about what would happen to the Rebellion after defeating the Empire when you watched the original trilogy when you were younger, or what you may have read in the extended universe books, or even what you saw in the trailer for The Last Jedi, this is not the movie you were expecting.

This movie feels like a spiritual sequel to Rogue One, as again and again we see people sacrifice themselves to save the Resistance, yet those sacrifices end up being ineffective and it is an open question whether the Resistance can survive the loss of so many lives. We see the Resistance begin with a large fleet and finish with just a handful of people aboard the Millennium Falcon. The First Order suffers heavy casualties too – losing Supreme Leader Snoke, Captain Phasma, and at least two enormous ships – but they seem unaffected, relentlessly continuing pursuit under the monomaniacal leadership of Kylo Ren.

The movie is steeped in failure.  Rey fails to convince Luke to join the Resistance.  Rey fails to convert Kylo Ren and Kylo Ren fails to convert Rey.  Vice Admiral Holdo, after being vindicated for her plan to rescue the fleet against the Poe’s mutiny, sees that plan fail too due to DJ’s treachery.  One of the major subplots of The Last Jedi, where Finn and Rose go to the casino at Canto Blight to get a codebreaker (and end up with DJ) turns out to be a MacGuffin ending in complete failure.  Albeit, the whole sequence is valuable because I live Finn and Rose and their blossoming friendship, and the scenes at Canto Blight introduce a part of the Star Wars galaxy we’ve never seen before, the disgusting inequality at the root of all these wars.  As Yoda says, “The greatest teacher, failure is.”

While much of the ongoing saga of Star Wars is steeped in the greatness of the Jedi, and the Skywalker family in particular, as wielders of the force, this film challenges the notion of the great hero entirely. Kylo Ren bluntly informs Rey that she doesn’t come from anyone special, her parents were ordinary people, and I believe he’s telling the truth.  The most egregious flaw of The Phantom Menace, that certain people have midichlorians that make them more sensitive to the Force, is condemned as a heresy against the Force which flows throw all living beings.  Once again, Rogue One is the model here.  Success does not come from waiting for a great hero but by ordinary people working together. Even when Luke Skywalker finally makes his stand against Kylo Ren and the First Order forces, it is not the heroic moment we’re expecting. But it’s the heroic moment we need, as does the Resistance.  Rose Tico says it best “This is how we’ll win. Not fighting what we hate … saving what we love.”

If there’s one major flaw to this movie is that it runs too long.  Not that there’s anything I could suggest that could be cut out. It almost feels as if this story could be made into an entire tv series, expanding on the great characters and deep themes.

I’ll have to see The Last Jedi again – preferable when I’m not with children who need to visit the bathroom frequently – but I think this a movie that will reward repeat viewings.  I like a movie that makes me think, and The Last Jedi is an action-adventure space opera that deeply considers the realities of the human condition in an imaginary galaxy far, far away.  That, for me, is filmmaking that puts The Last Jedi among the best of Star Wars movies and the best of films.

Some stray things I loved/admired from The Last Jedi:

  • Chewbacca becoming the perfect father figure for Rey
  • Admiral Ackbar died tragically as result of … a trap
  • Rose Tico is no one’s depiction of an action hero, but she’s awesome in every way
  • R2-D2 guilt-tripping Luke with the old hologram of Leia
  • Sassy dead Yoda living up his afterlife by teasing Luke for his dramatics
  • Laura Dern as Admiral Hold is fascinating in a relatively brief appearance. In of the great ways that The Last Jedi undermines our expectations, we identify with the “hero” Poe in his mutiny against what we’re lead to believe is Holdo as Captain Queeg, only to realize with Poe that she was right all along
  • Another great misdirection is Supreme Commander Snoke, built up to be the next big bad, but ending up to be a deformed creature lounging in a Hugh Hefner robe who gets cut down in his arrogance.
  • Seeing Gwendolyn Christie’s blue eye through the crack of Captain Phasma’s helmet just once before she plummeted to her death
  • The allusion to Hardware Wars. Just beautiful
  • There’s a lot of humor in this film that is not distracting but builds on the movies themes and characterization (unlike the cheap gags in the prequel trilogy)
  • Bite me, porg haters.  They’re hardly in the movie at all, and dammit they’re cute!
  • So many stunning visuals – Paige Tico in the bomber, Skellig Michael, Snoke’s chamber, the salt planet Crait
  • Daisy Ridley, John Boyega, and Oscar Isaac all impressed in The Force Awakens and really knock it out of the park in The Last Jedi. One disappointment is that there’s very little time with Rey and Finn or Finn and Poe on screen together.  I hope the three of them get to team up for the next film
  • Luke and Leia’s reunion.  Perfect played and filmed.  It breaks my heart that neither Luke nor Leia will be in the next film (albeit Mark Hamill may return as a force ghost).
  • I don’t envy the filmmakers having to find someway to explain Leia’s absence in the next film. There doesn’t seem to be any good options that will be respectful to Carrie Fisher and Leia’s character.

Rating: ****1/2

 

Classic Movie Review: Strangers on a Train (1951)


Title: Strangers on a Train
Release Date: June 30, 1951
Director: Alfred Hitchcock
Production Company: Transatlantic Pictures
Summary/Review:

Two men meet on a train leaving Washington, DC. One is a tennis star with aspirations for going into politics, Guy Haines (Farley Granger).  The other is Bruno Anthony (Robert Walker), a layabout son of a wealthy family. Bruno initiates conversation and soon reveals that he knows a lot about Guy, not just his tennis accomplishments, but his personal life as well, and perhaps this meeting is not happenstance.

Bruno knows that Guy wants to marry the daughter of a US Senator, Anne Morton (Ruth Roman), but first has to divorce his unfaithful wife Miriam (Laura Elliott).  Bruno floats the idea of murdering Miriam in exchange for Guy killing Bruno’s father, a “murder swap” where neither man would have motive for the crime.  Guy tries to brush off the proposal as a joke, but Bruno takes it as agreement.

After killing Miriam at an amusement park, Bruno consistently harasses Guy to carry out his part of the deal.  The tension builds over whether or not Guy will be pressured to go along with the plan as the police begin to make a case against him as Miriam’s murderer.  Or, what will Bruno do if Guy continues to resist.  I have to say the movie played out in ways I didn’t expect, although it veered into melodrama at times.

This being a Hitchcock film there are some great technical moments.  Miriam’s murder is depicted reflected in her broken glasses on the ground, a startlingly beautiful shot for such an horrifying event. The denouement of the film plays out at the same amusement park aboard a merry-go-round that’s spinning out of control, which is filmed spectacularly (although I think it’s wrong that no one in the movie never acknowledges that the police shot and killed the ride operator).  Patricia Hitchcock (the director’s daughter) has a great role as Barbara Morton, Anne’s younger sister who takes a lurid interest in the details of the murder.

Rating: ***