Thematically misguided sequel that works better on its own terms than as part of a larger tale.

Rating: 6/10 (30 April 2018)

"The Last Jedi" is a surprising film, and a disheartening one. Surprising for its willingness to shake the status quo, and disheartening for how it nearly turns Star Wars into a series at war with itself. Surprising for the poignancy it clearly aspires to, and disheartening for casually discarding the goodwill garnered by its predecessor. It doesn't destroy Star Wars, contrary to some reports, and manages to avoid a far worse trajectory towards the end, but nonetheless left me with the dashed hope that we would ever get a non-polarizing installment. "The Last Jedi" essentially sapped my enthusiasm for the sequel trilogy.

Episode VIII doesn't feel very much like a Star Wars movie. The dominant feeling of hopelessness and despair isn't inappropriate, but it is excessive and, frankly, premature. No room is allowed for build-up before we are thrust into a dire situation. Purely in terms of the action, this is unquestionably the franchise's weakest outing; none of the scant fights or battles are exceptionally exciting. Even the much lauded duel between two primary characters and a bunch of First Order lackeys feels more disorganized than thrilling. What's more, the inordinately widespread notion on the true worth of one-on-one confrontations may have also gotten to the director; apparently, the least important aspect of a fight here is the actual fighting. How else to explain the dramatic and unexpected, but anticlimactic, climax?

Rian Johnson was clearly more concerned with giving the series a thematic overhaul than crafting a compelling narrative, and it's this prioritization that nearly defeats the film. "The Last Jedi" is carefully constructed to affirm or voice the numerous complaints fans, authors, and online commentators have thrown about for years; resultingly the film denounces or rejects aspects of the mythos from previous entries rather than expand the horizons of the franchise. Why Lucasfilm assigned the director his own trilogy following the sheer cynicism on display here is beyond me.

Consider Luke's heavy-handed criticism of the Jedi, with his use of words such as "hypocrisy", "hubris", and "romanticized". Admittedly, the subsequent themes on his personal legacy, the impact of legends, and dealing with errors are worthy ones that lead to some strong developments. But, their faults in the films notwithstanding, the Jedi are a cornerstone of the Star Wars narrative, and the film's unabashedly negative stance towards them is a strident misstep. Never mind the irony on display. For a film that practically boasts of getting the series to grow-up, it has no problem making the immature claim that a millennia old religion's worth is defined by the (generalized) failings of one generation. Rian Johnson had the opportunity to better define and examine this fictional group's history and practices, imperfections and merit. Not only would this have been a bolder route, it might have decreased the gulf in the fandom. Instead, he opted for an approach that sustains some inflammatory commentaries while scolding prequel fans for having become invested at all, delivering some collateral damage to the original trilogy as well (try re-watching those movies knowing THIS is where it's all headed). This isn't just poor business-sense, it's an affront.

Another criticism worked into the narrative is that Star Wars has devolved into an elitist fantasy that promotes "royal bloodlines" and "disdain for common folk", which, for reasons beyond the scope of this essay, is a gross exaggeration. But Johnson seems to agree with it, and thus we have Luke talking derisively about "Skywalker blood", the idealistic Rey having an insignificant lineage, and several self-conscious, yet perfunctory, scenes focusing on loyal/heroic Resistance fighters just before dying. Unfortunately, much of this comes across as shallow overcompensation. For example, the notion that the Force "doesn't belong to the Jedi", which should be clear from earlier descriptions and moments, isn't expanded upon in any meaningful way beyond stern lecturing. It's also ironic that, despite the clear aim of highlighting the downsides of "demigods" and heroism of "common folk", the most consistently compelling individuals in the movie are all "demigods"; it's the "common folk" that water down the experience, plagued by drabness and half-baked characterization. And the less said about that groan-inducing epilogue, the better.

Gripes on the thematic level aside, the movie fares decently as an entertainment, something I conceded to on the second viewing. First and foremost, Mark Hamill's performance as an aged Luke is excellent, capturing the right mix of world-weariness, remorse, and, surprisingly, humor. He's actually the funniest person in the movie, and the recollection of a key action serves as one of the dramatic high-points. It's also appreciable that someone found a good niche for Kylo Ren as a direct foil for Rey. Their interplay is consistently engaging, though when left to his own devices it's a different story. True to his word, Rian Johnson included several unexpected turns. While there are no Earth-shattering revelations on par with that of Episode V, the legitimate surprises provide a good jolt when needed.

Adherents of "The Last Jedi" will no doubt sustain Johnson's vision as a necessary course-correction, an antidote to Lucas' approach to mythmaking. But in my experience there's a significant dissonance between the disturbing implications people have extracted from the setting and the actual effects of the movies themselves (a pattern depressingly similar to the nigh-worthless genre deconstructions that have gained traction since the work of Alan Moore). Addressing a few straw-man arguments is a poor reason for casting a gloomy cloud over elements that function finely within the fairy tale parameters of the series. Star Wars will not become greater by mechanically subverting or criticizing its own conventions. Disney seems to have made a habit of this to modernize its latest animations, but have any of these even approached the likes of "Snow White and the Seven Dwarfs"? Whatever missteps Star Wars has seen during its history, it has achieved greatness through its original direction, and I hazard that it will never reach that caliber again.