Different than any of its siblings in the canon, Episode VIII: The Last Jedi takes some real chances but seems hesitant to do so and never really manages to soar.
USA
3.5*
Director:
Rian Johnson
Screenwriter:
Rian Johnson
Director of Photography:
Steve Yedlin
Running time: 150 minutes
This is one in a series of reviews including:
– The Phantom Menace (Episode I)
– Attack of the Clones (Episode II)
– Revenge of the Sith (Episode III)
– Star Wars / A New Hope (Episode IV)
– The Empire Strikes Back (Episode V)
– The Return of the Jedi (Episode VI)
– The Force Awakens (Episode VII)
“The FIRST ORDER reigns. Having decimated the peaceful Republic, Supreme Leader Snoke now deploys his merciless legions to seize military control of the galaxy.
Only General Leia Organa’s band of RESISTANCE fighters stand against the rising tyranny, certain that Jedi Master Luke Skywalker will return and restore a spark of hope to the fight.
But the Resistance has been exposed. As the First Order speeds toward the Rebel base, the brave heroes mount a desperate escape….“
The Last Jedi is unlike any of its predecessors in the Star Wars canon. Not only does it deploy a different visual grammar (except for the limited use of the perfunctory, obligatory wipes that this fictional world’s creator, George Lucas, borrowed from Akira Kurosawa), but it takes the storytelling in a new direction altogether. This refreshing take on a universe that has been with us for four decades infuses it with a new kind of energy but also sets the instalment up as the odd one out.
Writer-director Rian Johnson’s previous film, Looper, proved time-travel films could both entertain us and take seriously the existential consequences of their time-hopping characters’ actions. In Episode VIII, he flips the script to bring the Star Wars franchise up to speed with present-day trends while retaining enough of its old charm to make us feel right at home.
After The Force Awakens, which was widely viewed as a safe reboot of the original Star Wars film, speculation was rife that this second film in the third trilogy would be similar to the second film in the original trilogy, The Empire Strikes Back. That was a mouth-watering proposition. The 1980 film is historically the most ambitious of all the films in the series precisely because it takes unexpected risks that pay off in spades. But while The Last Jedi tips its hat in the direction of Episode V, in particular with the reappearance of the AT-ATs, it struggles much more than its counterpart to overcome its position as the end of the beginning and the beginning of the end of a trilogy.
It is always a struggle to fit all the characters’ storylines into a particular instalment while keeping to a normal running time and allowing things to breathe. The Empire Strikes Back alternated between the storylines of two significant groups – Luke, Yoda and R2-D2 and Leia, Han, Chewbacca and C-3PO – and added sporadic glimpses of Darth Vader and the Emperor. By contrast, The Last Jedi divides its narrative into at least three different parts spread out across the universe.
An early skirmish between the First Order and the Resistance produces a pyrrhic victory for the rebels: The former suffers material damage, but many of the Resistance fighters are killed in the process, and because Poe defies Leia’s orders to stand down in the heat of battle, he is demoted for insubordination. Leia and the rebels escape but are somehow tracked through hyperspace by their technologically superior enemy. With fuel supplies running low, Poe sends Finn and Rose Tico (Kelly Marie Tran, a maintenance worker whose sister died in the opening fight, to the Monte Carlo of the universe, the ultra-rich city of Canto Bight. Their mission is to find a codebreaker who could get them onto the First Order’s main dreadnought, the Supremacy, and help them deactivate its hyperspace tracker. This part of the story, which features many important characters all too briefly, is the worst developed and executed of the entire film.
Continuing from the previous episode’s cliffhanger on a rocky island on the remote planet of Ahch-To, a major part of the plot involves Rey and Luke, the two characters in the film who are the most adept at using the Force. Luke, having lived the life of a hermit since Ben Solo (now Kylo Ren) turned to the dark side, has shut himself off from the Force and refuses to engage with Rey, who pleads for guidance in the ways of the Jedi. Over time, he realises it would be better for her to know than not to know, but what he sees in her frightens him… and us.
There is a mind bridge that is also a narrative bridge linking Ahch-To with the Supremacy. For the first time since Episode V, Star Wars uses faux raccords (literally, “fake cuts”) to have two characters – in this case, Rey and Kylo Ren – interact with each other even though are not physically in the same space. This link, or Force connection, which allows them to grow uncomfortably close, is ultimately revealed to be Snoke’s doing to lure Rey into a trap, but it also exposes Kylo’s vulnerable side, when he tells Rey how he came to feel betrayed by Luke. In the theatrical version, these faux raccords took the form of very short dissolves, but they are near-impossible to spot on the home entertainment versions.
With Leia incapacitated, the remaining Resistance cruiser, the Raddus, has only 18 hours of fuel left. It is commandeered by the purple-haired Vice Admiral Holdo, whose leadership Poe and many of his allies onboard call into question because she is so calm amid imminent disaster. But they (and we, the viewers) have limited information, which leads to people like Poe, well-intentioned though he may be, drawing faulty conclusions and going out over their skis.
The film’s most impressive moment of visual flair occurs on Canto Bight, when the rowdy interior of the casino is presented in a way that, with a striking, seemingly impossible, forward tracking shot, pays homage to the most famous William Wellman’s Wings. But many other moments stand out for their awe-inspiring capacity. Some are nostalgic, like Luke meeting R2-D2 again and being shown Leia’s emergency hologram message from Episode IV, now as relevant as then, or Kylo Ren’s decision to kill Snoke, which is followed by a masterfully crafted lightsaber fight. What the hologram also does is create a parallel between Luke and Obi-Wan Kenobi, who, when we meet him in Episode IV, had been hiding out for years before being called on to help the Resistance once again and teach a young fighter about the Force.
Although Finn still seems too easily flabbergasted by revelations, John Boyega is generally better than he was in Episode VII. Yoda’s appearance could easily have become sentimental, but the old rascal is as insightful and as naughty as ever. But Domhnall Gleeson’s toadyish portrayal of First Order General Hux is just beyond awful, and it’s a real pity the character will continue to stick around for another episode.
The worst of the screenplay’s inventions, however, is the Porgs. Unlike the Ewoks of Return of the Jedi or even the Gungans of The Phantom Menace (groups that actually provided assistance to the main characters), the penguin-like Porgs on Ahch-To may be the most pointless creations across the first eight Star Wars episodes. In fact, they appear to serve no other purpose than as an otherworldly cuteness – one that has no bearing on the film but will be easily marketable as toys to younger viewers outside the movie theatre.
And who is the titular “last Jedi”? Luke firmly states (while seemingly looking straight at us) that it will not be him. Leia is still alive, but, as shown by the parallel cut to the Force being used to lift a pile of stones, it is Rey who assumes the mantle and is expected to continue the tradition of the Jedi Order, which at long last is also called a religion. We even glimpse the sacred Jedi texts in her possession on board the Millennium Falcon – presumably with Yoda’s consent.
The most important question that this particular instalment poses is also the one whose answer remains the most elusive: Can we really trust that Rey will remain as steadfast in her desire to remain on the side of the good as she believes? Or is she as likely to be tempted by the power of the dark side as Kylo Ren’s grandfather, Anakin Skywalker, was?
More than any of its predecessors, Episode VIII is interested in shading its characters. A persistent ambiguity about the central characters fills us with hope and fear – a perfect manifestation of the “balance” so often cited as fundamental to life with the Force. Kylo Ren is far from evil, while Rey’s seeming inexperience, perhaps even naïveté, leads us to believe she may be snatched up by the dark side. We also learn that Luke’s very understandable fears led to the destruction of a Jedi training camp (a parallel to Anakin’s killing of the Jedi younglings in Revenge of the Sith) and the rise of a Kylo Ren enamoured of Darth Vader.
Further compounding our uncertainty is Supreme Leader Snoke’s revelation that Rey and Ren, whose names differ by a single letter, did not really see into each other’s past and future when they touched but only saw what Snoke made them see. Thus, Rey’s confidence that Ren could be turned is based on planted evidence, and in turn, Ren’s vision of Rey’s parents is a similarly manufactured piece of fiction. In a scene on Ahch-To, Rey is confronted with an image that seems to suggest she was born not from any two individuals but from herself – a transcendental peculiarity not unlike Anakin’s midichlorian-orchestrated conception.
Our own alliances are in flux because of the uncertainty regarding Rey and Ren’s intentions and their abilities to withstand the temptations of the darkness and the light. The film concludes on a compassionate note that emphasises the bright future of the Resistance but is really just bizarre to watch in the context of all the other instalments because it chooses a peripheral character to convey its message. In the end, we all know that balance means both good and bad will prevail in some form, and Episode IX is likely to have a few nasty surprises up its sleeve.