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

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

StarWars The Last Jedi - Di kalangan pencinta film, Star Wars adalah salah satu film bersekuel yang rasanya wajib ditonton. Sembilan sekuel yang dirilisnya memakan waktu 42 tahun. Episode pamungkasnya hadir di tahun 2019 lalu. Sebelum episode pamungkas, ada Star Wars The Last Jedi yang dirilis di dua tahun sebelumnya, yakni di tahun 2017 lalu.

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.

MovieInfo. Luke Skywalker's peaceful and solitary existence gets upended when he encounters Rey, a young woman who shows strong signs of the Force. Her desire to learn the ways of the Jedi forces

resensi film star wars the last jedi