Synopsis
Darkness rises... and light to meet it
Rey develops her newly discovered abilities with the guidance of Luke Skywalker, who is unsettled by the strength of her powers. Meanwhile, the Resistance prepares to do battle with the First Order.
2017 Directed by Rian Johnson
Rey develops her newly discovered abilities with the guidance of Luke Skywalker, who is unsettled by the strength of her powers. Meanwhile, the Resistance prepares to do battle with the First Order.
Mark Hamill Carrie Fisher Adam Driver Daisy Ridley John Boyega Oscar Isaac Andy Serkis Lupita Nyong'o Domhnall Gleeson Anthony Daniels Gwendoline Christie Kelly Marie Tran Laura Dern Benicio del Toro Frank Oz Billie Lourd Joonas Suotamo Amanda Lawrence Jimmy Vee Brian Herring Dave Chapman Justin Theroux Tim Rose Tom Kane Adrian Edmondson Mark Lewis Jones Hermione Corfield Veronica Ngo Noah Segan Show All…
Bryn Lawrence Jamie Christopher Lauren Miller Dominic Fysh Simon Downes Matthew Sharp Ryan Newberry Michela Marini Mark Johnstone Chris Burgess Mark Cockren Jane Ryan Stewart Hamilton Ben Quirk Donald E G Bentley
Kathleen Kennedy Ram Bergman Pippa Anderson Candice D. Campos Leifur B. Dagfinnsson Kiri Hart Andres Jauernick
John Dexter Chris Lowe Todd Cherniawsky Jason Knox-Johnston Dean Clegg Neal Callow Oli van der Vijver Matt Wynne Phil Sims Andrew Bennett Kim Frederiksen
Danielle Legovich Christopher Raimo Marie-Cecile Dahan Ben Morris Tim Keene Kai-Hua Lan Steve Cady Loren Robinson Neal Scanlan Stephen Aplin Mike Beaulieu Matt Shumway Eunice Khoo James Clyne Signe Vinther Leila Nicotera Ted Lister Stacy Bissell Tom Seed Daniel Booty Janet Lewin Michael Mulholland Dan Finnegan
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this is the best star wars movie.
in my particular mind, this is also the first *great* star wars movie. (it helps that i have no special reverence for the original trilogy. it also helps that this movie has so many fucking PORGS).
will get into it once people see the movie.
(as for whether it would have made my top 25… i don't know and i don't care).
Know what? Don’t know what I could have possibly been on that first time, but this film kinda rules. One of the best looking films of the last few years too. Probably my favorite Star Wars film now that I think about it.
Reminds you of what this sort of thing can be with an actual director behind it instead of merely a gang of well-meaning producers. Johnson deploys a few basic narrative and visual tricks that haven't really popped up in a STAR WARS film before, along with his usual precise frames and tight technical craft, and a particular attention to emotional continuity. There's also a welcome preoccupation with collateral damage, both physical and psychic. One thing Johnson's films have never really been, though, is elegant. As in his previous stuff, certain beats here are sometimes actively clumsy, there's some serious tonal whiplash, and pacing stutters. But all of this, positive and negative, adds up to a genuinely idiosyncratic, maybe even auteurist work. Johnson may be the first guy since 1977 to make a STAR WARS movie feel like a personal one. At its very frequent best, it seems downright off-brand.
I used to hate this movie but then you all talked me into loving it. It's my favorite movie now.
saw this again last night.
revised Star Wars rankings:
1.) THE LAST JEDI
2 - 4.) the old ones that defined your childhood or whatever
5.) BB-8 is born
6 - 7.) the less old ones that ruined your childhood or whatever
8.) “oops, i guess we *don’t* have the technology to reanimate dead actors after all”)
9.) Clones
(same rankings I had after I saw TLJ the first time, but now the space between the top 2 spots is bigger)
Cinema is art and art is subjective and everyone is entitled to their own opinion. But also people who don't get that this is the best blockbuster franchise movie in years are out of their minds.
Sorry folks... I love it so much. Instead of the Abrams approach of taking Lucas' images and repurposing them as comforting echoes, Johnson goes back to Lucas' influences: Kurosawa, Lean, old WWII movies, and all sorts of classical cinema from Wings to The Lady of Shanghai, and uses them to explore ideas that instead lovingly confront the history of Star Wars. He takes the myths and locates the wounds; the kids wrestling with the losses, responsibilities, and incomplete structures that a previous generation passed onto them, seeking answers in reflections. ("You're not alone. Neither are you.")
The film itself is rather clumsy, strangely structured, and messily lurches from sequence to sequence but instead of doing so out of flat, corporate-mandated…