“It’s big, it’s bold, fairly nonsensical in places, but crucially pretty faithful to the requirements of the franchise.”
From informative wording rising up shakily over a star-speckled screen (you’d have thought they might have sorted all such text-related jitters by now considering today’s super slick digital technology), to the triumphant opening fanfare of John Williams’ seminal theme, it can only mean one thing, folks. That’s right, it’s time for another thinly-veiled religiously over-toned lesson in good and evil by way of everybody’s favourite intergalactic science fiction box-ticking franchise.
Star Wars: The Last Jedi (SW:TLJ from hereon in), is upon us, and receiving a considerable amount of thumbs-up activity it would appear.
But is this Rian Johnson-directed two-and-a-half-hour epic fully deserving of all such lavish praise being bestowed upon it?
First and foremost, it’s important to establish one simple truth: directing any Star Wars film is akin to wearing a strait jacket, such are the restrictions under which any director must surely operate. There is a certain level of expectancy amongst your typical Star Wars-viewing public, a formula away from which one can not veer significantly, and a check list containing any number of core requirements that must be met before any level of personal influence and input can be injected into or stamped upon proceedings.
In fairness to Rian Johnson, his Star Wars directorial debut probably ticks enough boxes and sufficiently grooms enough executive egos to keep those that matter sufficiently happy.
There are return outings for the franchise’s two newest stars, Rey (Daisy Ridley) and Finn (John Boyega), along with Kylo Ren (Adam Driver), who, in spite of his undoubtedly wonderful abilities as an actor, remains the worst piece of villainous casting in living memory. Just what were the Star Wars powers-that-be thinking?
We are also treated to a reclusive, grizzlier and somewhat wiser Luke Skywalker (Mark Hamill), and an inexplicably large amount of computer generated Carrie Fisher (Princess Leia) imagery, including an amusing incident in which, following an attack on her ship – in scenes reminiscent of the opening credit sequence of the 1960’s science fiction classic, Lost In Space – she tumbles arse-over-tit out of a spaceship into the great black beyond before being fished back in once again like some sort of cosmic carp.
Whilst it’s a nice homage to the late Carrie Fisher’s memory, quite what such an excessive amount of this CGi wizardry actually adds to the film as a whole, is debatable to say the least.
There are very limited and fairly forgettable roles for Laura Dern and Benicio Del Toro, and a predictable smattering of bizarre mechanical and other worldly entities and critters – both new and old, including an unexpected cameo from Yoda himself – to keep everyone happy.
Certainly no expense has been spared in fully furnishing this latest instalment with a wide variety and excellent quality of characters, yet once again I arrive at the conclusion that there is still yet to be a Star Wars movie that succeeds in creating and developing characters of any sufficient depth or substance, and certainly none that one can fully engage or empathise with – perhaps with the exception of Harrison Ford’s Han Solo character. Talking of which, Oscar Isaac’s portrayal of pilot Poe Dameron evokes welcome memories of Solo, and it’s no surprise therefore that Poe is easily the most convincing character in SW:TLJ.
As for the plot, it’s a fairly simple affair. Aren’t they all? Essentially it’s a tale of rebels on the run. “Tom & Jerry in Space” is one particularly harsh summary that I’ve heard, which, give or take a side story or two, is actually probably a fair assessment.
It’s big, it’s bold, fairly nonsensical in places, but crucially pretty faithful to the requirements of the franchise, and if the blue light sabre-wielding fella sat behind me – hyper-ventilating with joy like an over excited spaniel on glimpsing its favourite squeaky toy – is the measuring stick here, then it’s fair to say that SW:TLJ is nothing short of a triumph. Then again, listening to the opinions of those attending a screening on Star Wars opening night probably doesn’t guarantee the most impartial of reviews.
Balance this against my own predictable apathy towards all things Star Wars and subsequent conservative assessment of them, and the true measure of Rian Johnson’s big budget blockbuster almost certainly lies somewhere in-between.