The Last Jedi: Saving What You Love

SPOILER WARNING: DO NOT PROCEED FURTHER OR READ ANY OF THIS REVIEW UNTIL AFTER YOU'VE SEEN THE LAST JEDI!
























FINAL WARNING - SPOILERS COMIN' AT YA!




















Since J.J. Abrams and Kathleen Kennedy delivered The Force Awakens, it's safe to say the franchise has never been more popular – or more obsessively analyzed.

This current trilogy is doing something truly unique – ushering in a new era of films that introduce a fresh cast of characters, dovetailing them with the original cast from the vintage trilogy. For me, they’ve succeeded on all fronts. But as giddy as The Force Awakens made me, it was that first film’s ending that really knocked me out – the slow reveal of an older, haggard Luke Skywalker, staring with suspicion at the young woman offering him his long lost lightsaber – and saying nothing. End credits. That was a risky way to end a film, but I was hooked. And for two years I’ve waited eagerly to find out what happens next.

The idea of a new film that prominently featured Luke was intoxicating to think about, a character we haven’t heard speak in 34 years.

Then factor-in for this second outing, an entirely new writer-director – Rian Johnson (Looper) – which left many wondering how different in tone this new outing might be?

Well stop worrying – you can breathe now. Because Johnson has delivered a simply phenomenal second-chapter of this new story, that’s at the very least the equal of The Force Awakens – quite probably surpassing it. If you liked Abrams’ movie, you really ought to love this one, because Johnson’s script deftly builds on everything we experienced in Force Awakens, and takes us to a whole new level. It’s a galaxy-spanning epic that dazzles and challenges, paying respect to what’s come before, while actually daring to expand the mythos of the Force in new ways.

The film begins with a white-knuckle space chase – the malevolent First Order is hot on the tail of Princess Leia (Carrie Fisher), Poe Dameron (Oscar Isaac), Finn (John Boyega) and the tattered remnants of the Resistance. Leia and our heroes are outgunned by a massive warship, closing fast, their only hope a desperate bombing run that’s cut together for maximum suspense. It’s clear from the outset that the rebels are suffering major losses and are in dire need of hope.

You don’t have to wait long to get a better look at Supreme Leader Snoke (Andy Serkis), who does not disappoint. The Emperor Palpatine of the trilogy, Snoke is ghastly to behold, with a head that’s somehow half-twisted and seemingly severely damaged. He’s strong with the Dark Side of the Force, and he’s none too happy with the failures of his young apprentice, Kylo Ren (Adam Driver), even dissing Ren’s signature helmet. He is not a happy boss and he wants Luke Skywalker, recognizing his symbolic importance to the Resistance. A striking group of crimson-armored samurai with massive blades stand guard around the Supreme Leader’s throne. Also, the animosity between Ren and General Hux (Domhnall Gleason) has only grown worse.

Back on his island of self-imposed exile, Luke (Mark Hamill) takes the cherished lightsaber Rey (Daisy Ridley) offers…and tosses it away over his shoulder. In that one moment, Rian Johnson lets us know that things are not going to always follow safe and predictable expectations – an inspired choice. Haunted by guilt, Luke blames himself for Kylo Ren’s ascendance and the loss of his other pupils at their fledgling Jedi temple. He’s turned his back on the Jedi, and maybe even on the Force. Rey’s pinned all of their hopes on not only finding this legendary Jedi, but on getting him to come back with her and help the Resistance. Hamill has simply never been better. He tackles a wide range of emotions here, and he beautifully conveys the weight of the years and losses he’s carried since Endor. It’s a remarkable performance. Can it be that Luke has forever turned his back on the Jedi? Hamill does a tremendous job, and his scenes with Daisy Ridley’s Rey are superb, with Luke inhabiting a Pai Mei reluctance to Rey’s Beatrix Kiddo.

Meanwhile, for the Resistance, time is running out. Finn and newcomer Rose (Kelly Marie Tran) – a plucky flight mechanic – have developed a plan to deactivate the First Order’s tracking systems, which involves an undercover detour to the surreal casino planet Canto Bight – a journey that may seem a bit diversionary, but which very deliberately highlights the oppressive class-divide the First Order is built upon. Finn and Rose are in search of a legendary code-beaker who can help them overcome those tracking systems. It’s a little weird to see Benicio Del Toro in a Star Wars movie, but he’s cut from the same shifty, rascally cloth as Han Solo and Lando Calrissian.

Near the end of The Empire Strikes Back, there’s a moment when Luke and Leia (and later, Luke and Vader) are able to sense one another and call out to each other from different locations. Johnson takes this notion and dramatically expands upon it, allowing brief contact and dialogue between Rey and Kylo Ren. Granted, this is something we haven’t really seen before, but I think it works. If you look at what Rey and Kylo do in both this film, and Force Awakens, this new generation of Jedi seem much more powerful than Luke during his heyday. “I’ve seen this raw strength only once before,” he exclaims. Rey’s able to move massive boulders, something Luke himself struggled to do on a much smaller scale during his training. This new use of the Force lets Ridley and Johnson do some terrific character work with Rey, as she’s pulled by two influences – Kylo and Luke – on an island that itself is highly attuned to both sides of the Force.

There are several truly astonishing set pieces in The Last Jedi. Ultimately, Rey does find herself back with both Kylo Ren and Supreme Leader Snoke. Things do not go as one might expect – and those red guards of Snoke’s end up showing us they’re far from just ornamental, in what’s got to be one of the wildest combat sequences of any Star Wars movie to-date. It’s dazzling close-quarter combat.

We’ve got to talk about that ending – an ending I absolutely loved. In a scene that evokes the last stand at Minas Tirith, the First Order is about to lay siege to the final refuge of the Resistance. Things are at their darkest. When out of the shadows appears Luke Skywalker. Like Henry V, he moves among the grim soldiers and old friends until at last he finds her – Leia. And they connect. Given everything that’s happened – the death of Han Solo; a child lost to the dark side  – it’s an incredibly poignant moment. But it’s just the beginning. As the massive Walker armada lumbers towards them, a lone figure stands against them – again, it’s Luke. Rey’s pinned her hopes on his returning to join them – and here he is. Beginning with a solitary face-off against impossible odds, things quickly change to a master and apprentice lightsaber duel between Luke and Kylo Ren. It’s an amazing sequence. The planet’s surface is stark white salt over vivid red crystal – (red is a choice replete throughout Jedi) – sabers flashing, they dance across the battlefield like something out of Sergio Leone. Ren grows increasingly frustrated and filled with rage. Luke is always just out of reach. Their blades never actually make contact – because Luke isn’t actually there! He’s still on his Jedi planet of Ahch-To, astral-projecting himself across space – to say goodbye to his sister, and to stand against the First Order in an act of mythic defiance – a gesture that can only fuel the Jedi legend, and an act that also serves as a distraction, giving the remnants of the Resistance time to escape. Back on Ahch-To, we see Luke disappear, becoming one with the force, his cloak blowing off into the wind.

I’m sorry, but that’s an ending! I felt incredibly lucky with my Last Jedi viewing experience – first, I managed to avoid all spoilers, which these days ain’t easy. Second, I did not realize how many fans are taking issue with this movie! Currently, Jedi’s sporting 93% on Rotten Tomatoes – pretty damn solid (same score as The Force Awakens, btw). But look at the comments on IMDB. Serious, contentious backlash – which I absolutely do not understand. Many of these complaints seem to take issue with the film veering away from tightly held fan expectations, a lot of which seem to hearken back to the “expanded universe” stories and collective fan fiction they grew up with, and who seem to really have it out for Disney as some kind of Big Bad. But given the massive disconnect between strong critical reviews, an “A” Cinemascore rating and truly massive box office, these backlash reactions feel a little too bot-fueled for comfort. The audience I saw Jedi with absolutely loved it. I've seen it twice now, and I’m pretty confident this tide of “fan betrayal” is going to evaporate very quickly. Because I’ve been a lifelong, passionate Star Wars fan since the first film came out, and I felt Jedi exceeded my wildest expectations.

Johnson, and cinematographer Steve Yedlin shot on film, and they bring an awesome widescreen palette to bear here. Their use of color and depth of field is striking, and the location environments of Luke’s planet are just amazing to behold. Ahch-To is full of amazing creatures – from Porgs, to briefly-glimpsed sea beasts. It feels like a mysterious, real place. Just wait ‘til you see what Luke’s been drinking all these years. The editing from Bob Ducsay is top-drawer. That opening space battle and the combat sequence in Snoke’s throne room are beyond superb. And again, that sequence with Luke – impeccably and subtly cut for maximum effect. Beautiful work.

This cast is fantastic. It’s pretty heart-wrenching to watch Carrie Fisher’s performance here, especially with the transcendent near-resurrection sequence that has a pathos to it now that no one could have imagined when filming. “No one’s ever really gone,” as one character remarks. Particular notice must be paid to Adam Driver. If you had any issues with his casting previously, they should be annihilated by his work here. Ren is a challenging, conflicted character, and Driver does superb work, as do Ridley, Boyega and Isaac, all finding new nuance and complexity in their roles. I was particularly taken with Andy Serkis as Snoke. He continues to project incredible power in his motion-capture performance work. I’m very fond of these new characters. We don’t learn anything about how Snoke came to be, or who he is, and the mystery of Rey’s parents is yet another element that’s not what fans may have expected. There’s no “lineage of familiarity” that some may have hoped for, and I think that’s actually a better choice. She’s possesses no magical pedigree, it seems. She has to make what she can of her circumstances in spite of her past, not thanks to it.

Thematically, The Last Jedi’s credo is that you won’t win by fighting the things you hate – you win by saving what you love. Maybe some of the films’ naysayers should consider that. Because believe me, there’s a lot I loved in The Last Jedi. It’s a fantastic middle chapter to what’s becoming one of the great pop sagas of our age, and Rian Johnson deserves credit for taking real risks along with a willingness to bring humor, pathos, and even heartbreak to this dazzling, epic second act. Very highly recommended.

Coco: Death Takes a Holiday

This one is super overdue, as I actually saw Coco back over Thanksgiving - but it's stayed with me, and it's no stretch - or surprise - to say that Coco is easily one of the best animated films of the year.

Hot off this summer's Cars 3, Pixar Animation Studios has served up a richly imagined fantasy of a young boy caught between family and destiny, with Mexico's Día de los Muertos serving as the connection between past and present, between the living and the dead. 12-year old Miguel Rivera (Anthony Gonzalez) burns with the desire to be a musician - just like his idol, the late-great Ernesto de la Cruz. The only problem is that music is forbidden in Miguel's family, thanks to his great-great-grandmother having been abandoned by her freewheeling musician husband - and the family has toiled away as dedicated shoemakers ever since. But what if fabled Ernesto de la Cruz was Miguel's great-great-grandfather?! 

Miguel has a secret hideaway where he watches old de la Cruz videos, practicing his heart out on the coolest homemade guitar you've ever seen. His heart set on competing in a Día de los Muertos music contest, he sneaks into the legendary singer's crypt and borrows his storied guitar - which has the power to transport him to the Land of the Dead itself, where as a living boy (accompanied by his enthusiastic canine sidekick), he meets the skeletal forms of his departed relatives, who he enlists to help him find the mythical de al Cruz himself (Benjamin Bratt). 














Co-directed by Lee Unkrich (Toy Story 3, Finding Nemo) and former Pixar storyboard artist Adrian Molina, Coco is visually transcendent - an eye-popping explosion of fluorescent audacity that at times may evoke a more buoyant Tim Burton. Coco explodes with color and music, both of which completely delight and transport. 

When Miguel finally meets the dashing de la Cruz in the flesh (so to speak), he's like Rudolph Valentino or Pedro Infante by way of Chinatown or a John Huston film - he may be a few degrees askew from the icon Miguel's always imagined. 

Coco does many things beautifully, but perhaps most importantly, it depicts Hispanic culture with incredible respect, and brings to the front of the stage protagonists who are too often relegated to the sidelines. Pixar manages to avoid stereotypes and cliches with remarkable success, maintaining a rich depiction of family and heritage throughout every aspect of the film's story and its characters. 

It also prominently features older characters, most importantly Miguel's great-grandmother, Mama Coco, with an incredibly weathered face that would be so easy to just look past. It's refreshing to see older characters revered, and treated as valued repositories of history and wisdom. 

To get a sense of our household's representation of the Pixar fan base, we loved Cars 3 more than most, while Inside Out left us a little cold - but we all loved Coco. For a colorful fantasy, it doesn't shy away from the loss death leaves behind, and its emotional wallop may sneak up on younger viewers. But it's hard to imagine a more uplifting film the whole family can see together that so poignantly reminds you of the treasure you all are to each other, while making you laugh and dazzling your senses. Above all, Coco's afterlife is overflowing with heart, and as one of the film's ballads suggests, if you still have a chance to catch it in theaters, seize your moment.