Rian Johnson
Gli ultimi Jedi

Star Wars is now in the hands of the Disney giant. And one might say "Disney rules," and that's probably the case.

It would be appropriate to judge Star Wars from 1977 as a unique cinematic piece of science fiction because the genre only exists as entertainment after inspecting and probing the evolution of the latter.

Consider that a movie like Planet of the Apes differs from Star Wars sci-fi just as it does from that of 2001: A Space Odyssey.

And this helps us understand, even back then, that Lucas's genius had baked a sweet delicacy that would later appeal to a cross-sectional audience; and subsequently, it would become purely entertaining sci-fi cinema.

Now, even though Disney reigns, it is necessary to consider that Star Wars is cinema for entertainment, not created for a niche audience, but primarily accessible to fans and then to everyone else. And this is because Star Wars makes you love it for what it is, because the sci-fi within it is enriched by all those things that make us love it even more. Star Wars doesn't need to be explained; you either hate it or love it.

And our Rian Johnson, director and co-writer of The Last Jedi, passionately loves this saga and has managed to put one foot in two shoes, satisfying the new generation audience and the historical fans.

Yes, if you browse the web, this Episode VIII has been appreciated and criticized equally, and the solution is unique: The Last Jedi is a good movie.

This review could include what are called the "flaws" of the film because, indeed, there are flaws and quite significant ones. But if you think about it, criticizing something means exactly that the work itself evokes sensations.

Finally, we are given answers, and first, we find Luke Skywalker's (Mark Hamill) reaction to a shocked face, when upon receiving his father's saber, he throws it into the abyss behind him. I would have imagined a cooler scene like him taking it with the power of the Force and saying to Rey (Daisy Ridley) <<I'll teach you the ways of the Force>> but it's not like that, it doesn't happen. Instead, something much more rational and less fantastic occurs. Luke refuses to listen to Rey because he's tired, he's older, he wants to rest... but mostly he does so because he feels like a failure. Hence, here we analyze the cornerstones of Johnson's film, the first being failure. Failure is something we see presented in various facets in the film. From the action scenes just after the intro where we even see a rebel sacrificing herself, to when it is shown in Luke's failure in training his nephew Ben Solo (Adam Driver).

From here, the second cornerstone of the film takes off: the balance of the Force. It is taught to us visually with an extraordinary scene on the island of Ahch-to where Luke sarcastically makes Rey understand how important the concept of the Force is, and for the first time, we truly manage to comprehend the great spiritualism, spiritualism that ties into the philosophical act of “everything flows” current of Panta rhei; hence “the force flows strongly in you.” It flows as it holds the entire universe together, and as Skywalker says at the end, claiming that if the Jedi die, the light side of the Force dies, it is like being guilty of arrogance. We finally understand that there are no good and bad people, we finally understand the true concept of balance.

The balance of the Force becomes evident when Luke, in vain, decides to spare his apprentice's life. He draws the saber intending to kill him, but then reconsiders and denigrates the dark side. Luke remains a Jedi because rather than eliminating his nephew who he perceived to be powerful, he spares him. From here, we have failure, but from here, we have yet another very important demonstration. Do you remember the legend of Darth Plagueis? Who is killed in his sleep by his apprentice? This is fundamental because it makes us appreciate the concept of light and darkness even more. Later, Luke explains his failure to Rey, and also that of his father in the past. It will only be Rey who helps Luke understand that it wasn't him who disappointed Ben, but quite the opposite. Just as Anakin disappointed Obi-Wan and not the opposite.

The great musical score of the saga's historical composer, John Williams, is not lacking, offering once again a strong and dreamy soundtrack through which he tackles the enchanting themes of the original trilogy, mixing them with a new melody that we can often hear in scenes between Rose (Kelly Marie Tran) and Finn (John Boyega).

Connections to the saga's past are not lacking. This is Episode VIII and we often see it connected with V: The Empire Strikes Back. Saying there are common elements is correct, but not sufficient, because yes, there are, but in Episode VIII we can rediscover features of the saga that were left forgotten, resonating with the concept of spiritualism and also family. I am talking about the telepathic connection of the Force. Another cornerstone that made this film's story new and fascinating. Do you remember in Episode V when Luke and Darth Vader communicate through the Force? Exactly, director Rian Johnson takes that concept and makes it a hinge of this Star Wars. And personally, I liked it a lot because it makes you feel inside Star Wars to the tip of your hair, it makes you appreciate the new with the memory of the old and makes you love it more.

Moving on to the flaws of this film. The first, in my opinion, is the duration. Two and a half hours is a lot, too much. The viewer already loses attention after an hour, the fan holds on, but watching it more than twice could already bore. The film is substantial and full of events, but there are also some almost useless scenes: for example, the casino scene in Canto Bight seems decaying and lavish.

The second flaw of the film is the unexpected death of Snoke. Very powerful, impetuous, he uses the Force in an energetic way; from the beginning of the film, he presents himself as a villain full of zeal, industrious in his goals, using his powers to reprimand General Hux, and we also see him using Force lightning. In short, a villain who seemed fascinating and could have given a positive twist to the plot, is eliminated out of necessity by a screenplay that makes us perceive that the director was in a pinch. The very fact of announcing the evil intentions of his apprentice Kylo towards Rey, only to find himself perishing at the latter's hand, seemed bland and flavorless. Not having any background thread of his own but at the same time seeing him stable in his role, and then his unexpected death, left us puzzled.

The third flaw, in my way, is the Disney imprint. Somehow the Disney Stargate linked to the franchise and marketing must manifest itself, the same death and appearance of Captain Phasma (Gwendoline Christie) with her silver armor, represents a marketing icon for kids, just like Kylo Ren's forced mask, which will then prove practically useless. The play on strength of this new (re)discovered world is precisely the mixing of elements that distinguished it in the past, with the addition of a plot and characters - with surprising tones - that at times lack originality. In fact, the plot of each episode is tailored for each film, and the most scrupulous fan understands the inescapability of an overall vision of the work, which perfectly aligns with a recycling of ideas already seen and silently reconditioned for a Hollywood pillar aimed at pure marketing. This is confirmed by the finale, which sees children playing with a Luke Skywalker toy; in the end, one of them goes out, and while watching a cruiser take a jump into hyperspace, raises the broom as if it were a light saber. An act to encourage kids to get excited about the franchise of gadgets and accessories, etc. etc... But I must say that I choose to love this new Star Wars and therefore my verdict is decidedly positive. Score 8/10.