TheLast Jedi adalah film yang bagus meski memiliki beberapa kekurangan yang bagi saya cukup fatal. Dan ya, bahkan The Last Jedi kembali mendaur ulang "The Empire Strikes Back" meski eksekusinya "sedikit" berbeda (saya bilang sedikit yah), bahkan elemen "A New Hope" kembali saya temukan pada film ini. StarWars: The Last Jedi (2017) iLK21 LayarKaca21PG-13 Genre: Action, Adventure, Fantasy, Science FictionYear: 2017 Duration: 152 Min. 3155 votes, average 7.2 out of 10. 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 Dalamfilm Lucasfilm Star Wars: The Last Jedi, kisah keluarga Skywalker diteruskan ketika para pahlawan The Force Awakens bergabung dengan para legenda galaksi dalam sebuah petualangan mencengangkan untuk menguak kunci misteri lintas zaman mengenai the Force serta terkuaknya secara mengejutkan berbagai rahasia masa lalu. Thislack of leadership and direction created a great deal of confusion, which shows on screen as The Last Jedi is just as muddled, with no one to take hold of the reins. Return of J.J. Abrams SinopsisStar Wars the Last Jedi: Dugaan Skenario. Menyoal synopsis ini, sayangnya jika kita melihat plot dari Star War the Force Awakens maka akan terdapat sebuah kesimpulan seperti ini: "Petualangan lebih jauh dari seorang Luke Skywalker (Mark Hamill), Leia (Carrie Fisher) dan Rey (Daisy Ridley)" Tentu saja kesimpulan itu masih terlalu umum. Reydevelops 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. Genre: Action, Adventure, Science Fiction. Release: 2017-12-13. TfYX. Andira Putri 13 Desember 2017 1010 WIB - Sejumlah film Hollywood siap rilis menjelang Tahun Baru 2018. Salah satunya Star Wars The Last Jedi. Film kedelapan Star Wars ini mulai tayang di Indonesia pada Rabu 13/12. The Last Jedi menghadirkan kisah yang langsung berhubungan dengan akhir film Star Wars sebelumnya, The Force Awakens. Rey Daisy Ridley pergi meninggalkan kelompok Resistance dan mengunjungi planet terpencil. Rey ingin bertemu dengan Luke Skywalker Mark Hamill, sosok yang dipercaya sebagai Jedi terakhir namun telah lama menghilang. Pertemuan Rey dan Luke Skywalker tidak meninggalkan kesan baik. Luke Skywalker bersikap acuh sekaligus dingin. Meski begitu, sikap Luke Skywalker tidak membuat Rey patah semangat. Rey terus berusaha meminta bantuannya. Apalagi Rey juga penasaran tentang kekuatan besar yang menghubungkannya dengan Kylo Ren Adam Driver, penjahat yang menjadi salah satu pimpinan First Order. Kekuasaan First Order memang muncul kembali dan menebar ancaman. Mereka berambisi untuk menyerang Resistance yang dipimpin oleh Jenderal Leia Carrie Fisher. Kebangkitan First Order membuat Rey harus segera membujuk Luke Skywalker untuk ikut berjuang dengan Resistance. Di sisi lain, sejumlah anggota Resistance seperti Poe Dameron Oscar Isaac, Finn John Boyega, dan Rose Kelly Marie Tran mencari cara ampuh untuk melawan First Order. Mampukah mereka mengalahkan kekuatan jahat? The Last Jedi memberikan perspektif berbeda dalam kisah Star Wars. Sutradara sekaligus penulis cerita Rian Johnson menggambarkan jika kekuatan baik dan jahat kini tidak bersifat mutlak dalam diri seseorang. Posisinya bisa saja karena alasan tertentu. Pergulatan antara kebaikan dan kejahatan memberikan dasar cerita menarik untuk The Last Jedi. Pilihan hidup setiap karakter memiliki dampak terhadap cerita dan terkadang berujung pada twist tak terduga. Konflik baik dan jahat juga memberikan detail kuat terhadap penokohan karakternya. Ini didukung oleh akting baik para pemain terutama Mark Hamill, Adam Driver, dan Daisy Ridler. Kisah The Last Jedi semakin seru dengan parade adegan aksi. Rian Johnson memberikan klimaks yang sanggup membuat penonton geregetan. Ini ditambah kehadiran visualisasi indah dengan warna-warna tajam. Sayang, kebimbangan soal pilihan baik dan jahat berpengaruh terhadap ritme cerita. Sejumlah bagian The Last Jedi terlalu panjang dan tidak berkesudahan. Padahal durasi film kedelapan Star Wars ini sebenarnya bisa diringkas hingga tidak mencapai jam. dira/ari The Last Jedi is action-packed, thrilling, surprisingly funny, has several unpredictable twists and contains character moments that, in time, will overshadow all that action and adventure. It’s also a cathartic experience for original Star Wars fans like myself. I can’t wait to see it several more times. And I have not said that about a Star Wars movie in a long time… a long time. But, it’s difficult to review The Last Jedi as simply a film because it means so much more to so many. Because as fans we are all veterans of one war. Star Wars. And like the horrors of actual war in the real world, our feelings about it are complicated. Which is why it doesn’t surprise me that each release of a new Star Wars movie leaves audiences and critics so divided. Star Wars Episode VIII The Last Jedi is no different. Factions form into “loved it” or “hated it” or “I can’t believe you loved it, you must be an idiot/SJW/not a true fan/on Disney’s payroll”, etc… When it comes to arguing about Star Wars, fans or, more accurately, “people on the internet” really let the hate flow through them. And this fandom civil war that has broken out over The Last Jedi is particularly brutal. Or perhaps the negative voices are just a bit louder. But opinions in this arena are often irrelevant as the barometer by which modern success at the movies is measured is Republic credits. But let’s cast aside box office for a moment, your reaction to Star Wars is your own and probably very personal. I’m no different. “The release of a Star Wars film is an event. And for hardcore fans, they are akin to new chapters of the Bible being delivered from on high…” It’s also important to recognize that because Star Wars is one of those increasingly rare movie franchises that must have some appeal to everyone, there is a lot of fandom baggage that gets dragged into each new movie. One can hardly evaluate The Last Jedi like any other film. The release of a Star Wars film is an event. And for hardcore fans, they are akin to new chapters of the Bible being delivered from on high. Which gives them greater significance because what happens in this imaginary universe is canon and forever affects characters that have been beloved for decades. Episode VIII is particularly important as it heralds the return of Luke Skywalker. Make fun of him all you want for his initial whininess on Tatooine, Luke’s journey offered the most identifiable and human reaction to the vast strangeness of this new universe. Luke has changed as much as the audience, and in Last Jedi he is a grumpy Jedi, perhaps better known as “Old Man Luke.” In order to really talk about The Last Jedi, discussion of key story points and spoilers is necessary, so here’s your one warning. The story covers familiar territory–the Rebels, I mean, Resistance is on the run from the Empire, I mean, First Order. A new apprentice strong in the Force seeks out a master for her Jedi training and guidance and the secret of her lineage. Space battles, political intrigue, characters in peril, pure evil, lightsaber fights, choosing the path of light or dark, plus something cute thrown in as a distraction. Oh, and hilarity ensues, perhaps more than some would like. But I really enjoyed the humor because it is an important part of the mix of elements that make a Star Wars film work. The Light The things that succeeded, worked incredibly well. Equally, the things that did not hit the mark, failed badly but did not ruin the film overall. The opening battle scene is a whirlwind of starship mayhem — we’ve never seen an X-Wing in a battle quite like that. And it was refreshing to care about a side character with little screen time who makes the ultimate sacrifice. This was not just a collection of cool starship shots jumbled together to form an action sequence, the goal for the battle is made clear with the Resistance attack on a fearsome Dreadnaught ship. While all of this is happening, the human element is never forgotten — there are people aboard those ships and consequences for our characters in the Resistance on the run. Rey’s arrival and subsequent training on Ahch-To has just the right amount of dire seriousness and situational humor. There are even moments here where Last Jedi feels like an art film, in particular, Rey’s encounter in the cave. Old man Luke is like a reinvention of the character as we knew him in the original trilogy. Mark Hamill has outdone himself in his best acting as Luke Skywalker. Luke may be a legend in the Star Wars universe, but his human side really comes out during these scenes. We see the pain and regret in that face as he realizes his family may have, yet again, thrown the galaxy in turmoil. Kylo Ren and Rey’s odd and still unexplained relationship is the most interesting part of Last Jedi. Initially that bond forms over a kind of Jedi Snapchat as the two connect over some Force-driven galactic version of the internet of the mind. At one point, the composition even makes it appear they are chatting over a computer. Women might identify Kylo as some creeper who reaches out over Facebook. Kylo is seen shirtless in one exchange and Rey even asks him to put something on. Those scenes do really feel like some predatory male going after a woman on social media. And even after Kylo and Rey join forces to battle Snoke’s red-armored minons who I’m sure have a name, but whatever Kylo then tries to “neg” Rey by revealing that her parents were “nobodies.” He’s actually negging her! I’m pretty sure that Johnson is commenting on creepy and manipulative men who take advantage of women online, or I could be reading too much into it. I’ll let the internet argue over that one. And then there is Snoke, who somehow drew so much speculation as the new big baddie in the sequel trilogy. After such a big build up, Snoke is cut down like nothing. I honestly believe that Snoke’s origins aren’t all that interesting and his character is just a distraction from the more important issues. But, just for fun, I am going to theorize that the Snoke that was killed in Last Jedi was a clone. That’s right, Clone Snoke! At least that’s the theory I plan to spread on the internet so that it can be debated for the next two years. And if you are reading this JJ, feel free to use that idea. Also, post with the hashtag CloneSnoke. “When you remember what you love most about Star Wars, it’s probably not the action, the most memorable parts are character moments…” When you remember what you love most about Star Wars, it’s probably not the action, the most memorable parts are character moments. And there are so many to discuss, from Leia saving herself with the Force, the Snoke betrayal just as Snoke talking about how he can never be betrayed, the Kylo-Rey teaming up, old man Luke’s daily routine, the Chuck Norris-looking Luke taking on the First Order alone and on and on. Additionally, the dialog seems intended to comment on the film as we are seeing it, as if writer/director Rian Johnson wants to clue the audience in one what he’s really trying to say. Lines such as “Let the past die,” or “This is not going to go the way you think.” But what worked best of all was the tone. This felt like a Star Wars movie in every way and brought me back to my childhood. Tone is really the most important contribution of the director and Rian Johnson nails it in every sense. And especially with regard to the humor. Even the controversial Porgs provide just enough funny and cute moments. Johnson went so far as to acknowledge the inevitable hate for anything cute by including a scene of a freshly cooked “Cornish Porg” about to be eaten by Chewbacca as the eyes of gaggle of Porgs look on heartbroken, it’s brilliantly hilarious. The Dark Okay, not exactly dark, but here’s what didn’t quite work for me, first and foremost, the running time. This film did not need to be 152 minutes and should have been closer to the 120 minute standard established by the earlier films. I hope one day we’ll see a fan cut that is actually closer to two hours. The scenes on Canto Bight seemed like an unnecessary divert for Rose a new character I actually really like and Finn. This “casino planet” was like a scene right out of a low-budget Sy-Fy channel movie shot in Vancouver. It felt too familiar and earthbound to be a scene in an other-worldly scene in a Star Wars movie. The Rose/Finn alien horse race through the casino that ruined the galactic one-percenters good time and did some property damage was just ridiculous and should have been cut. Rose and Finn flopping around on the alien horse just looked like a bad theme park ride. I fully expect this chase sequence to be on Star Tours or at Disney’s Star Wars Land. Finn’s storyline overall is the weakest, though his journey actually takes an interesting turn in the final battle on Crait. Finn finally learns that becoming a hero requires acts of self-sacrifice. And surprisingly, he finally learned to pilot a ship because if I recall in The Force Awakens which took place maybe a few days before Last Jedi, Finn needed a pilot to flee the First Order and escape his life as a Stormtrooper. So that was fast. Benicio Del Toro’s character DJ has the most uninspired “Star Wars” name in the Star Wars galaxy. DJ. And Benicio’s acting choice to add a stammer was just cringe-inducing. I would not miss that character if he were cut entirely. The Resistance rag-tag fleet being chased by the First Order felt a little Battlestar Galactic-ish, which would have been fine had this not been a thread through the entire film. The conflicts on those Resistance ships felt a little forced and seemed to be made to fill up screen time. I also was annoyed at the use of the terms “big a*s” and “Godspeed.” Language is important in a Star Wars film and shouldn’t sound too earthy. It really doesn’t matter if we know what a nerf herder is, because we understand what it means in context. Isn’t “God” in the Star Wars Universe the Force? Or, as Threepio put it, the Maker. “Half the fun of seeing a new Star Wars movie is arguing and debating every single minute detail…” After pointing out all these weaknesses, it might appear that I like The Last Jedi much less. Far from it. Half the fun of seeing a new Star Wars movie is arguing and debating every single minute detail. For me, this kind of nitpicking is actually enjoyable. In our fractured culture, making something intended to appeal to everyone seems difficult enough these days, and I realize that things that didn’t work for me, might have worked for you. The best part is that it gives each of us a little something to nitpick! The Porgs are kind of a mixed bag because as they are used in the film, they kind of work. And we actually see one skewered over a hot fire to the horror of Porg onlookers. Johnson understands that a cute element is necessary in Star Wars, but it works best when the screen time for those cute things is kept at a minimum. The Porgs appear just enough not to be an irritant, like, say, Jar Jar. That floppy-eared and clumsy Gungan had so much screen time in The Phantom Menace that Jar Jar ruined the story by becoming too much of a focus. The Hope This is a more inclusive Star Wars because that’s what our world is. So diversity with Star Wars characters should be expected or better, not even noticed at all, because we live in a diverse culture with all types of people. But frankly, it took long enough because Star Trek has been doing that since 1966. We’ve come a long way since an all white male fighter squadron and characters named “Porkins,” who was probably given that name because of his portly figure. Which is kind of lazy and dumb, but I will still love Porkins. Audiences may not have been expecting a Star Wars movie that also comments on animal cruelty, war profiteering, eating meat, and predatory behavior by men toward women online. George Lucas has been quoted many times that the original Star Wars trilogy was his commentary on the Viet Nam War. The prequel trilogy is about how a democracy can decay and slowly become a dictatorship. So the Star Wars films have had messages all along, you just might not have noticed them. I do find it surprising that The Last Jedi comments directly on selling weapons to both sides of the war. “We’ve come a long way since an all white male fighter squadron and characters named Porkins’…” In spite of the fact that I enjoyed it so much, there’s a lot that what I wish was different. Chatting with friends after an opening night screening, we all thought aloud about things that could improve The Last Jedi. Benicio Del Toro’s character should have been Lando Calrissian. It’s pretty easy to imagine Lando hanging around a casino planet and running hacker scams to make a few bucks. And there’s no mention at all of Lando in this sequel trilogy, so either he’s dead or he’s just not considered a close friend anymore. It should have been Leia that made the ultimate sacrifice on the remaining star cruiser that saved the Resistance by going into hyperspace. It was an admirable end to Laura Dern’s Admiral Holdo character, but it seemed more like something Leia would have done. It was also suggested that Last Jedi could have ended on a cliffhanger with Luke standing to face the First Order alone and then… credits. Sure, we would’ve been upset, but the anticipation for the next film would have been off the charts. It’s also worth noting that this Star Wars film broke the storytelling format set by George Lucas more than any other movie. The Last Jedi has the fewest “wipes” from one scene to the next than any other Star Wars movie. Flashbacks are used to tell the story of Ben Solo’s motivation for his turn to the Dark Side. Flashbacks as a storytelling device have never been used in a Star Wars film unless you count “Force visions.” Even the line, “I’ve got a bad feeling about this,” is nowhere to be found though Rian Johnson says that BB-8 is the one who says it at the beginning, which is kind of a cop out. There is a strange visual joke that references the very first Star Wars parody film, Hardware Wars. It’s nice to see such creative thinking applied to Star Wars, because when you rigidly stick to a format, you get what you expect. Or you retread old territory as was done with The Force Awakens. It’s time for fandom in-fighting to end. “You’re saying the hero who blew up the Death Star would choose to run away to a swamp instead of fight the Empire? And when he finally shows up, he just cries and loses a hand? Irvin Kershner has ruined Star Wars!” – Rotten Tomato user ratings, 1980 I’m sure many remember the above quote when Empire first came out. Okay, truth be told, that’s a fake quote, but it accurately reflected the sentiment among my friends and others when we discussed the first Star Wars sequel at length. Seriously, I remember when The Empire Strikes Back first came out. The audience gasped, booed and was angry that the film ended on a cliffhanger. And back then, Star Wars movies were a long three year wait. There was no internet to complain about it, just perhaps the letters column in magazines like Starlog. Conventions were just starting to crop up but they mostly just sold comics. And there was no fan community to seek out support or to debate how you felt. Episode V initially received mixed reviews, good and bad. It was only years later, after the original trilogy was complete that a revisionist history hailed Empire as the best of the three holy scriptures, I mean, movies. Audiences were mad when Empire debuted because it was so different than Star Wars and completely not what they were expecting… which seems to be very similar to what people are saying about The Last Jedi. To be clear, I’m saying Last Jedi is comparable to Empire only in that both received mixed reaction upon their original release. “…the most I’ve applauded, the loudest I’ve laughed and the hardest I’ve cheered for a Star Wars film since 1983.” I will end by saying this is the most I’ve applauded, the loudest I’ve laughed and the hardest I’ve cheered for a Star Wars film since 1983. I might’ve cried a few times too. Bravo. What Rian Johnson and company have delivered is a film that took risks, it was unexpected and special. After two viewings of The Last Jedi, I’m struck with how profoundly I was affected. I’m high. I’m high and I haven’t been this high since I was 12. High on Star Wars. I honestly haven’t loved, truly loved a Star Wars movie this much since I was a kid. And because the film ended with Luke Skywalker fading away as the sun set, something about this feels final. There’s a sense of closure. Which makes The Last Jedi an incredibly cathartic experience. For me, Star Wars is over. I’m finished and it’s done. Sure, I’ll see each new movie as it comes out, but I am oddly satisfied because this felt like the conclusion of the Star Wars I grew up with and I’m happy about that. At peace actually. It’s time for my fandom to end. Star Wars has finally grown up and maybe we all can too. It’s time for that little boy with the broomstick at the end to pick up a lightsaber. I’m pretty sure he could take on the whole Empire. Star Wars The Last Jedi 2017 Directed by Rian Johnson. Written by Rian Johnson. Starring Daisey Ridley, John Boyega, Adam Driver, Carrie Fisher, Oscar Isaac, Laura Dern, Kelly Marie Tran and Domhnall Gleeson 9 out of 10 Home » Star Wars The Last Jedi Review December 18, 2017 Comments count0 Abrams had an unenviable task two years ago when he set out to make what became The Force Awakens reboot Star Wars without changing anything. And to his credit, he did just that by making a shockingly giddy reinvention of that galaxy far, far away that also played like the greatest hits of what came before. But for all his success, the rewards found in The Last Jedi prove even greater. At last we have, for the first time in ages, a Star Wars movie that’s all too happy to go where we don’t expect. To be sure, Rian Johnson’s evocative and often exhilarating sequel continues the post-Disney mandate to remix elements that bask in the familiar. Hence why the First Order is even more imperial this time, striking back against Resistance forces who look increasingly like rebels; Jedi and evil sorcerers alike sit in chairs while skeptically sizing up would-be apprentices; and we even get an epic battle on a planet that may as well be called Salt Hoth given how powdery white those crystals look when the AT-M6 walkers stomp across the landscape like mechanized buffalo grazing during the dregs of winter. Yet within all this repetition, Johnson uses his solitary writing and directing duties to massage and then manipulate our nostalgia. His film subverts and seduces, twists and turns, and frankly challenges us just when the audience dares to get too comfortable. It also gives a needed shot of adrenaline to the numerical Star Wars films that, by the end, leaves you uncertain what is up and what is down, or what is light and what is dark. Still, most will be delighted to jump to lightspeed to find out. That alone makes this vision far less ominous than the marketing suggests. Without giving too much away, The Last Jedi is largely a 152-minute chase across the stars. After a spectacular opening battle, the rebellious and tattered Resistance, led by an unsinkable General Leia Carrie Fisher, spends much of the film fleeing through the cosmos with the First Order nipping at their heels. Despite suffering a grievous blow at the end of the last movie, Andy Serkis’ Supreme Leader Snoke has regrouped his armies and is unfazed as he reinstates fascist rule throughout the galaxy. Intriguingly, however, no matter how high the stakes are raised in this intergalactic grudge match, the most compelling events are occurring on a little island that looks an awful lot like Ireland. In actuality though, it’s Ahch-To, and it is there that this movie picks up right where The Force Awakens left off. Rey Daisy Ridley has come to recruit Luke Skywalker Mark Hamill back into the good fight. Unfortunately, she finds him… less than receptive. Worse still, not only does Luke refuse to get back onto the Millennium Falcon, but this last of the Jedi also demurs from training Rey in his ancient religion. Instead he views his guest as first a nuisance and then later as something akin to his last pupil, Kylo Ren Adam Driver. She’s dangeorus. As it turns out, there are many similarities between Rey and Ren that extends beyond their names, and the more it haunts Luke, the more resistant he becomes. Thus Rey is tempted to seek answers from the other party of this failed master and padawan relationship, just as the First Order begins closing the gap between itself and the wounded Resistance Fleet. Remarkably in spite of its length, The Last Jedi is mostly able to keep things moving at an even keel and with a tonal dexterity that is unusual for the franchise. While the movie borrows more than a few elements from the beloved middle chapter of the original Star Wars Trilogy, The Empire Strikes Back plus some of Return of the Jedi too, Rian Johnson has infused the material with his own decidedly playful sensibility. With more than a hint of self-deprecation, the movie flips on a dime from the reverential and earnest awe that Abrams placed in his worshipful predecessor to gags with the sharpest sense of humor this side of Jabba’s Palace. Seriously, the little Porg aliens who infest Ahch-To threaten to steal the whole film. This is not to say that The Last Jedi ever risks erring into the realm of comedy, or even the pseudo-comedies of Lucasfilm’s sister Disney division, Marvel Studios. There is simply a noticeable dedication to freshen up what is considered appropriate Star Wars, all while maintaining the genuinely gee-whiz delight that has long been entrenched in this saga. The effect intentionally buttresses the familial melodrama that comes in the film’s second half, which crescendos nicely into a grandiose opera by the finale. But to get there, it can at times feel overstuffed, even at two and a half hours. Cut and cropped at a dizzying pace, the top-heavy editing of The Last Jedi suggests Johnson had to still squeeze his already fast-paced yarn into its luxurious running time. This is all the more peculiar since much of the narrative that doesn’t involve Rey, Kylo, or Luke can sometimes appear irrelevant during the middle. For instance, Finn John Boyega and newcomer Rose Kelly Marie Tran attempt an espionage mission that takes them to what is the Star Wars equivalent of the French Riviera. It’s a casino city named Canto Bight, and their adventures here push the Rick’s Café sensibilities from the original Star Wars’ cantina sequence to their limit. Nevertheless, this entire subplot amounts to a whole lot of padding while the real tough and revelatory decisions are made on Ahch-To. In an even more supporting role is Oscar Isaac as Poe Dameron. While Poe still plays third banana to Rey and Finn, his increasingly complicated relationship with Leia and Vice Admiral Amilyn Holdo Laura Dern is one of the stronger elements of the picture, and provides the Star Wars universe with another wonderfully realized female leader. It also allows Isaac to ever more defiantly slouch into the Han Solo role of the next generation, a neat feat for an actor who was supposed to have only cameoed in The Force Awakens. Still, the movie belongs to its revered history. Hamill plays Luke as gnarly and grim, and almost wholly unlike the farmboy or heroic Jedi we remember from 35 years ago. Leia is conversely even more like the late-great Carrie Fisher this time around She’s dry, sardonic, and lovably deadpan. Developing the wit of Hollywood royalty to accompany her onscreen princess title, Leia’s grace and Luke’s mercurial misery are what ties the film together. This movie is very much about them accepting the past and bequeathing their future to young people who are more than just the franchise’s fresh crop this time around—they’ve become true heirs. Join our mailing listGet the best of Den of Geek delivered right to your inbox! The heavy lifting Johnson does—balanced with more than a little fan service—causes The Last Jedi to be Star Wars’ true legacy film. With the torch already passed before the opening crawl, the protagonists now wield this heritage as swiftly as a lightsaber, and when it comes down to the pairing of Ridley and Driver, the movie crackles with real force. Much of the film is about Hamill letting go of the past, but with Ridley and Driver bringing considerable heat and shadings of equivocacy to their roles, they each promise a future for Star Wars more layered than good versus evil, or Jedi versus Sith. Driver also confirms Kylo to be one of the decade’s best baddies. It is in their scenes together the film finds its true spark, and it’s one that lights up the movie’s numerous and impressive action sequences. With a painterly eye and the showmanship of an old school Western epic, Johnson draws each battle and lightsaber sequence with the kind of visual poetry and patience almost forgotten at the blockbuster level—and populates it with characters who are not just lovable, but now are also very, very troubled. By the end, an ambiguity has seeped into the Star Wars universe, and with it, a new overcast gray hangs above all the players. Yet the contrast just makes them and the hue of their blades pop all the brighter. Every new Star Wars movie since Disney bought Lucasfilm has been heralded as the first worthy successor to the Original Trilogy, but with The Last Jedi it’s finally true. Privacy Settings Writer/director Rian Johnson’s “Star Wars The Last Jedi” is a sprawling, incident- and character-packed extravaganza that picks up at the end of “Star Wars Episode VII - The Force Awakens” and guides the series into unfamiliar territory. It’s everything a fan could want from a “Star Wars” film and then some. Even the sorts of viewers who spend the entire running time of movies anticipating every plot twist and crowing “called it!” when they get one right are likely to come up short here. But the surprises usually don’t violate the admittedly loose internal logic of the universe George Lucas invented, and when they seem to, it’s because the movie has expanded the mythology in a small but significant way, or imported a sliver of something from another variant of Lucas’ creation Genddy Tartakovsky’s magnificent TV series “Clone Wars” seems to have influenced the last act. The first part of “The Last Jedi” cross-cuts between the remnants of our heroes’ ragtag fleet led by the late Carrie Fisher’s Leia running away from the First Order, aka the next-generation version of the Empire; and Rey Daisy Ridley on the aquatic planet Ahch-To gesundheit! trying to convince the self-exiled Jedi master Luke Skywalker Mark Hamill, whose sandblasted face becomes truly iconic in close-ups to overcome his grief at failing a group of young Jedi trainees and rejoin the Resistance. The New Order's Supreme Leader Snoke Andy Serkis plus CGI has grand plans for both Rey and his Darth Vader-obsessed apprentice Kylo Ren Adam Driver. The leathery old coot may not be a great bad guy—he’s too much of a standard-issue deep-voiced sadist, in a Marvel mode—but he is quite the chess player, and so is Johnson. I’m being vague here on purpose. Suffice to say that, despite being comprised of variations on things we’ve been experiencing directly in “Star Wars” films and indirectly in “Star Wars”-inspired entertainment since 1977, “The Last Jedi” still manages to maneuver in unexpected ways, starting with the decision to build a whole film around a retreat where the goal is not to win but to avoid being wiped out. Along that narrative backbone “The Last Jedi” strings what amount to several tight, often hastily devised mini-missions, each of which either moves the heroes or villains closer to their goals or blows up in their faces. The story resolves in lengthy, consecutive climaxes which, refreshingly, don’t play like a cynical attempt to pad things out. Old business is resolved, new business introduced. And from scene to scene, Johnson gives veteran characters Chewbacca and R2-D2 especially and those who debuted in “The Force Awakens” enough screen time to showcase them at their best while also introducing compelling new faces including a heroic maintenance worker, Kelly Marie Tran’s Rose Tico; a serene and tough vice admiral in the Resistance, played by Laura Dern; a sort of “safecracker” character played by Benicio Del Toro. “Jedi” does a better job than most sequels of giving the audience both what it wants and what it didn’t know it wanted. The movie leans hard into sentiment, most of it planted in the previous installment, some related to the unexpected passing of one of its leads Fisher—thank goodness they gave her a lot of screen time here, and thrilling things to do. But whenever it allows a character to cry or invites us to the catharsis feels earned. It happens rather often—this being a film preoccupied with grieving for the past and transcending it, populated by hounded and broken people who are afraid hope will be snuffed out. Rey’s anguish at not knowing who her parents are and Kylo Ren’s trauma at killing his own father to advance toward his "destiny" literally as well as figuratively mirror each other. Lifting a bit of business glimpsed briefly in “The Empire Strikes Back” and "Return of the Jedi," Johnson lets these all-powerful characters telepathically “speak” to each other across space as easily as you or I might Skype with a friend. This gimmick offers so much potential for drama and wry humor that you might wonder why nobody did it earlier. Sometimes "The Last Jedi" violates our expectations in a cheeky way that stops short of telling super-fans to get over themselves. There’s a touch of “Spaceballs” and “Robot Chicken” to some of the jokes. Snoke orders Kylo to “take off that ridiculous helmet,” Luke chastises an old friend for showing a nostalgic video by muttering “That was a cheap move,” and an early gag finds one of the heroes calling the bridge of a star destroyer and pretending to be stuck on hold. This aspect adds a much-needed dash of self-deprecating humor “The Force Awakens” was often a stitch as well, especially when Han Solo, Chewbacca, BB-8 and John Boyega’s James Garner-like hero/coward Finn were onscreen, but without going so meta that "The Last Jedi" turns into a smart-alecky thesis paper on itself. 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. Johnson has made some very good theatrical features, but the storytelling here owes the most to his work on TV’s “Breaking Bad,” a playfully convoluted crime drama that approached each new installment with the street illusionist’s panache the source of delight was always in the hand you weren’t looking at. There are points where the film appears to have miscalculated or made an outright lame choice this becomes worrisome in the middle, when Dern’s Admiral Holdo and Oscar Isaac’s hotshot pilot Poe Dameron are at loggerheads, but then you realize that it was a setup for another payoff that lands harder because you briefly doubted that “The Last Jedi” does, in fact, know what it’s doing. This determination to split the difference between surprise and inevitability is encoded in “The Last Jedi” down to the level of scenes and shots. How many Star Destroyers, TIE fighters, Imperial walkers, lightsabers, escape pods, and discussions of the nature of The Force have we seen by now? Oodles. But Johnson manages to find a way to present the technology, mythology and imagery in a way that makes it feel new, or at least new-ish, starting with a shot of Star Destroyers materializing from hyperspace in the sky over a planet as seen from ground level and continuing through images of Rebel ships being raked apart by Imperial cannon fire like cans on a shooting range and, hilariously, a blurry video conference in which the goggle-eyed warrior-philosopher Maz Kanata voiced by Lupita Nyong'o delivers important information while engaging in a shootout with unseen foes. She calls it a “union matter.” There’s greater attention paid here to color and composition than in any entry since “The Empire Strikes Back.” Particularly dazzling are Snoke’s throne room, with its Dario Argento-red walls and red-armored guards, and the final battle, set on a salt planet whose flat white surfaces get ripped up to reveal shades of crimson. Seen from a distance, the battlefield itself seems to be bleeding. The architecture of the action sequences is something to behold. A self-enclosed setpiece in the opening space battle is more emotionally powerful than any action sequence in any blockbuster this year, save the "No Man's Land" sequence of "Wonder Woman," and it's centered on a character we just met. There are spots where the film can’t figure out how to get the characters to where it needs them to be and just sort of shrugs and says, “And then this happened, now let’s get on with it.” But there are fewer such moments than you might have gone in prepared to forgive—and really, if that sort of thing were a cinematic crime, Howard Hawks would have gotten the chair. Most importantly, the damned thing moves, both in a plot sense and in the sense of a skilled choreographer-dancer who has visualized every millisecond of his routine and practiced it to the point where grace seems to come as easily as breathing. Or skywalking. Matt Zoller Seitz Matt Zoller Seitz is the Editor at Large of TV critic for New York Magazine and and a finalist for the Pulitzer Prize in criticism. Now playing Film Credits Star Wars The Last Jedi 2017 Rated PG-13 for sequences of sci-fi action and violence. 152 minutes Latest blog posts about 4 hours ago about 7 hours ago about 8 hours ago 1 day ago Comments LIVRE 152 minutos DireçãoTítulo originalStar Wars The Last Jedi Gênero Ano2017País de origemEUACríticaLeitoresOnde AssistirSinopseApós encontrar o mítico e recluso Luke Skywalker em uma ilha isolada, a jovem Rey busca entender o balanço da Força a partir dos ensinamentos do mestre Jedi. Paralelamente, o Primeiro Império de Kylo Ren se reorganiza para enfrentar a Aliança mundo de Star Wars, nessa mitologia criada por George Lucas, as coisas sempre foram bastante dicotômicas, vide a centralidade da luta entre a luz e o lado negro da Força. Portanto, é, antes de tudo, passível de celebração a abordagem do cineasta Rian Johnson, também autor do roteiro de Star Wars Os Últimos Jedi, justamente porque a partir deste capítulo os arranjos tendem a não ser mais como antes, pois é instaurada uma bem-vinda área cinzenta. Tal guinada alinha uma das franquias mais importantes do cinema aos novos tempos, dando sequência ao trabalho bem feito por J. J. Abrams e companhia em Star Wars O Despertar da Força 2015, ampliando a sensação de sincronia com as demandas do agora. Aliás, outro indício disso é a pluralidade étnica presente entre os pilotos da Resistência que se lançam num ataque praticamente suicida para evitar a aniquilação pela nefasta Primeira Ordem, isso no começo do filme. É uma cena de ação que carrega dramaticidade, um desespero cenário é desolador. A galáxia está praticamente tomada pela horda de Snoke Andy Serkis. Os rebeldes comandados pela General Leia Organa Carrie Fisher estão irremediavelmente encurralados, a mercê do poderio encabeçado no campo de batalha pelo General Hux Domhnall Gleeson e pela figura cada vez mais imponente e poderosa de Kylo Ren Adam Driver. Star Wars Os Últimos Jedi, se desenvolve, na maior parte do tempo, em diversas frentes. Fazendo alusão a um expediente clássico da franquia, há uma missão de invasão, de sucesso improvável. O realizador, porém, consegue ressaltar a bravura de quem arrisca a própria vida em função do ideal. Finn John Boyega ganha uma parceria carismática e tão corajosa quanto ele. Rose Kelly Marie Tran tem seus motivos para ir à luta e encontra no ex-stormtrooper um companheiro valoroso, com quem sua personalidade casa bem. Embora represente o elo frágil da narrativa, o encargo deles é imprescindível para o êxito de planeta sagrado dos Jedi, Rey Daisy Ridley tenta extrair do lendário Luke Skywalker Mark Hamill os ensinamentos acerca da Força, querendo aprender os passos para se tornar uma guerreira apta a tentar obliterar o lado sombrio representado pelo colérico filho do falecido Han Solo. Aliás, Rian Johnson investe numa ligação curiosa entre o líder da ordem de Ren e a novata em busca de orientação. É inteligente a maneira como o filme, em numerosos momentos, nos leva a acreditar na proximidade da verdade acerca da origem de Rey, num jogo cujo verdadeiro propósito é, exatamente, estabelecer uma ponte entre a luz e a escuridão, criando um espaço intermediário, ideal para a instituição de uma densidade psicológica e emocional pouco vista na Saga Star Wars. Luke também faz parte dessa ciranda, deixando expostas as suas fraquezas, depondo a si próprio do pedestal que a História da galáxia reservou a ele. Star Wars Os Últimos Jedi atinge um fino equilíbrio entre ação e drama, algo raro em meio à tragédia anunciada, com a Resistência acossada, Rian Johnson abre espaço para brechas cômicas, bem assentadas no todo. Além disso, a reverência ao legado de Star Wars está presente em vários instantes, como no reaparecimento emblemático de alguém importante – atentem para a forma assumida por esse personagem tão querido – e alusões menores a episódios marcantes de filmes anteriores. Perguntas formuladas desde Star Wars Episódio IV – Uma Nova Esperança 1977 são finalmente respondidas, reviravoltas impressionantes criam a possibilidade de novos e empolgantes cenários, além da haver despedidas de gente cara aos fãs da cinessérie. Star Wars Os Últimos Jedi é, em certa medida, um filme de atores, haja vista a coesão do elenco. Mas, Daisy Ridley e Adam Driver sobressaem, provando que podem, muito bem, assumir a dianteira da Saga Star Wars, sem prejuízos, pelo contrário, apontando ao novo, mas reverenciando as duas abas seguintes alteram o conteúdo PostsJornalista, crítico de cinema e membro da ABRACCINE Associação Brasileira de Críticos de Cinema,. Ministra cursos na Escola de Cinema Darcy Ribeiro/RJ e no Sesc/RJ. Participou como autor dos livros "100 Melhores Filmes Brasileiros" 2016, "Documentários Brasileiros – 100 filmes Essenciais" 2017 e "Animação Brasileira – 100 Filmes Essenciais" 2018. Editor do Papo de crítica

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