In Australia, all of the Star Wars movies can be streamed on the service now. One of the most dramatic moments of The Last Jedi comes right at the end, where it really seems like Finn is about to die to save the resistance.
star wars the last jedi trailer reaction – The Last Jedi Destroys A Legend To Rebuild It
What The Last Jedi” advises is a radical break from resistance as we know it: abandoning old tactics and loyalties and handing the keys — or at least more of them — over to the grassroots: the mechanics, the child laborers, the Ewoks, and the rebel foot-soldiers. The resistance of the Star Wars” films has never been particularly visionary, operating as a kind of top-down, underground rebellion looking to reconstitute the New Republic of the prequels. Its biggest heroes have been messiah figures, princesses, and the so-called great men.
The line not only reads as a direct dig at the treatment of Luke in “The Last Jedi,” but it also seems to undo one of the biggest fan complaints of the Rian Johnson-directed film. At the start of “TLJ,” Luke takes his lightsaber from Rey and carelessly tosses it over his shoulder before walking away from her.
Especially when it comes to Luke Skywalker, Jedi Master and Professional Grump. J.J. Abrams and Kathleen Kennedy of the film “Star Wars: The Force Awakens” participate in a panel at the kick-off event of Disney’s Star Wars Celebration in 2015.
Wherever Luke found this new technique (probably from those old Jedi texts?), it clearly takes a lot of energy and power to perform. Luke’s plan to save the Resistance will ultimately cost him his life, as the projection seems to feed on his life force.
And so the truth that Abrams plotted all along is revealed: Rey’s father was the son of the evil Emperor Palpatine. No, Rian Johnson, not anyone can be a powerful Jedi or Sith. Only these two really specific people related to the two most famous families in the galaxy can be the heroes of this story.
But the film isn’t fully committed to even this morality. Instead, it’s filled with a restless discontent, a modern loneliness in which our greatest fear is aimlessness. Looking into the vastness of eternity and seeing nothing but an endless reflexion of ourselves is a disturbing image. The Last Jedi spends an entire film demolishing organized religion, Luke Skywalker, the notion of legends, the nobility of the Resistance ( the rebels somehow buy weapons from the same arms dealers as the First Order), and family history. And then it asks us to cheer for Luke Skywalker as the Jedi order continues with Rey and her adoptive family because well, because there has to be an Episode IX and Disney has lunch boxes to sell.
And then they fight, and then Kylo Ren decides he’d like to be a murderous Supreme Leader. This concludes the part of the movie where his philosophy carries moral weight. Cool AT-AT scene, bro, is about the most you can expect from the Disney era, though the Luke-Kylo showdown is the real letdown. Luke beams his image across the galaxy as a distraction, and it’s possible to read this as a twisted angle on heroism: Luke Skywalker walking out with a laser sword and facing down the whole First Order” is an illusion everyone believes.
The biggest disservice in “The Rise of Skywalker” is given to Kelly Marie Tran’s character Rose who was introduced in “TLJ.” Instead of seeing more of her, screen time is given to Abrams’ buddies Dominic Monaghan (who starred on “Lost”) and Greg Grunberg (“Felicity”). Most frustrating is that Monaghan joined the franchise in the ninth film for such a minor role. He winds up having more screen time and lines than Rose who easily could’ve taken on his part.
Boilerplate answers from cast and crew during press interviews for The Rise of Skywalker maintain another narrative: That The Last Jedi didn’t derail Abrams’ masterplan, but the choices weren’t ones that he’d make. The repeated adage that Episode IX is an ensemble piece-emphasizing the relationship between Rey, Finn, and Poe-feels like a backhanded dig at Jedi, which kept the trio apart. It was hard for all of us, because we were separated,” Boyega told Hypebeast of filming The Last Jedi.
Given the sensitivity surrounding The Last Jedi, it’s understandable how some fans and critics might misread it. Yet, Terrio’s logic holds up regarding Luke’s mentorship of Rey during, arguably, her lowest point. He appears to her as a guiding spirit, so that she may finally end the cycle. As for The Rise of Skywalker‘s cheesy X-wing-lifting callback, that’s another discussion altogether.
The gorgeous sequence, featuring some epic slo-mo, quickly became a meme — seriously, every song you put under those scenes worked wonderfully — but it was also among the film’s most thrilling moments. Even better, it sets the stage for the climactic face-off that’s probably going to happen between the two of them in The Rise of Skywalker.
As reported in We Got This Covered , there are unverifiable reports” (reported in The Express and via Mike Zeroh initially ) that a series of storyboards have been leaked, reportedly showing the climax of J.J. Abrams trilogy-ender. The storyboards allegedly show Kylo Ren cradling Rey, in a scene echoing Luke’s final scene with Vader in Return of the Jedi. Red is reportedly crying as he cradles Rey and puts his hand on her forehead while destruction rages all around.
Mr. Johnson has picked up the baton — notably the myth of a female Jedi — that was handed to Mr. Abrams when he signed on to revive the series with The Force Awakens.” Mr. Johnson doesn’t have to make the important introductions; for the most part, the principals were in place, as was an overarching mythology that during some arid periods has seemed more sustained by fan faith than anything else. Even so, he has to convince you that these searching, burgeoning heroes and villains fit together emotionally, not simply on a Lucasfilm whiteboard, and that they have the requisite lightness and heaviness, the ineffable spirit and grandeur to reinvigorate a pop-cultural juggernaut. That he’s made a good movie in doing so isn’t icing; it’s the whole cake.
And if you think about that exchange for just a little longer, you’ll realize something key: What works about The Last Jedi for some of us is also what doesn’t work about it for others. And that’s intimately tied to what this film and what this trilogy as a whole are.
An old hope. A new realism. An old anxiety. A new feeling that the Force might be used to channel erotic telepathy, and long-distance evil seduction. The excitingly and gigantically proportioned eighth film in the great Star Wars saga offers all of these, as well as colossal confrontations, towering indecisions and teetering temptations, spectacular immolations, huge military engagements, and very small disappointments.
The movie works equally well as an earnest adventure full of passionate heroes and villains and a meditation on sequels and franchise properties. Like The Force Awakens,” only more so, this one is preoccupied with questions of legacy, legitimacy and succession, and includes multiple debates over whether one should replicate or reject the stories and symbols of the past. Among its many valuable lessons is that objects have no worth save for the feelings we invest in them, and that no individual is greater than a noble idea.
The key players of the Disney trilogy have spent the press cycle for Rise of the Skywalker negging Johnson’s efforts. Ridley has revealed she cried when she learned that Abrams was returning to the fold to course correct. Boyega has complained endlessly about Johnson’s decision to separate the characters and let them have their own individual journeys.
The Machete Order, introduced famously by Rod Hilton in 2011, posits an order with no Episode I at all, keeping the focus on Luke’s story. The idea is not to rumble the big twist in The Empire Strikes Back by starting with the prequels. Instead, you start at A New Hope, progress to Empire, then watch two of the three prequels as a kind of flashback to Anakin’s story, before the final confrontation in Return of the Jedi.
Toward the end of the movie, Dooku battles Obi-Wan and Anakin, cutting off Skywalker’s arm. Yoda steps in and saves the duo and Dooku leaves with the Death Star plans for his Sith master Darth Sidious, who is hooded and hidden. The movie ends with Anakin marrying his love Padme in secret. This illicit affair will come into play in the next film.
While the Skywalker saga may have come to an end with Star Wars: The Rise of Skywalker , the dramatic story behind the making of Episode 9 has only just begun to unfurl. The new Death Star is destroyed and there is a large party to celebrate the new freedom in the galaxy. At the end, Luke sees Yoda, Obi-Wan and even Anakin, who are now all part of the Force.
All of this is simply a long way to say that Star Wars was never quite sure where it was going until it got there. You can see the seams in every film, even though it all gels together by the end. This is especially true of the sequel trilogy. Say what you will about George Lucas and the prequels, but it was his world and everyone else was just living in it. Without a single unifying creative force in charge of the sequels, Lucasfilm made it more difficult to parse themes and character motivations. But I’m surprised to say that after watching The Rise of Skywalker, my first rewatch of The Last Jedi put to bed a lot of the issues I formerly had with this film.
It’s a rebuke of elite politics and the rule of experts, whether they wield spreadsheets or light sabers, and it’s a welcome retcon of the prequels’ eugenicist argument that access to the force is genetic destiny. Rey — perhaps the most powerful force-user in generations, speculated to be the long-lost spawn of either Luke or Obi-Wan Kenobi — is the child of nothing” junk traders who, as foe Kylo Ren tells her, probably sold her off for drinking money.” Rose apologizes for being a lowly worker to Finn and stands in awe of him before — just moments later — exposing him as a coward.
Looking for movie tickets? Enter your location to see which movie theaters are playing Star Wars: The Last Jedi (2017) near you. The Last Jedi both hits every mark a Star Wars fan could ask, and surprises them in ways they wouldn’t know to ask. Move over The Empire Strikes Back, a new middle-trilogy standard may have been set.
It’s going to be filmed on 65mm format – a first for the series. The Force Awakens was shot on 35mm, and so was The Last Jedi. 65mm film will mean Abrams will be able to work with large frames at higher quality – making the experience similar to IMAX.
This time our older heroes are allowed complexity too. Luke is a man of many sides, a hermit in the middle of nowhere who chose to go to a place where fish caretakers wait upon the Jedi like a luxury hotel. He’s self-righteous, yet has made mistakes with galaxy-level consequences. The simple hero he was all those decades ago was always a myth, one he even bought into — to his everlasting regret. Leia is still a self-rescuing princess, but now she’s showing layers of Jedi ability we’ve never seen, and putting down mutinies from her sickbed.
In writer-director Rian Johnson’s hands, no feature of the Star Wars-verse is too sacred to upend. Things break. Beloved characters perish. The good guys lose. Dazzling twists and turns defy expectations in service of gratifying pathos and nuance. It’s irreverently funny to a degree no Star Wars film has been, and even sexier, too. It is undeniably, quintessentially, lovingly Star Wars, and yet it dares to push the franchise beyond its well-worn obsessions to new, more challenging ground.
Insider searched through the many theories we could find about the mystery girl — some are pretty feasible and some of them are truly out there. Hopefully, Abrams will give us some clarity in “Episode IX.” For now, keep reading to see theories fans have to explain Rey’s heritage.
That’s why Abrams ties them to these big symbols — Kylo to his mask; Rey to the saber that tells her she’s different from the world around her; and Poe to his ship. These symbols grow to define them. It’s not just that Kylo wears a mask; it’s that he is a mask. That everything important about him is contained within that black, grilled object. He’s as complicated as it, and it’s as complicated as him. Which makes him easy to understand. But also makes him slight.
How come such a stark difference between the two scripts? While Rey is tempted by the Dark Side through The Force Awakes and The Last Jedi, there was almost no chance of Disney allowing its leading hero to turn completely bad. Ben was different; a pendulum swinging between good and evil, with the answer not being entirely clear.
There is nothing like this kind of beauty in The Last Jedi. The closest we come is the moment when Kylo Ren betrays Snoke to a surge of the Force leitmotif, a sort of fake-out Darth Vader redemption story. In similar fashion, Luke’s epic return to the fight isn’t a salvific, eucatastrophic turning of the tide. He accomplishes only his redemption, and a tragic, Boromir-like redemption at that, making up for a movie where he’s been more like Denethor, ranting about the failure of tradition and the inevitability of death.