REVIEW: Star Wars Episode VIII- The Last Jedi

It's a curious sensation; to suddenly go from "the last Star Wars movie came out in 2005" to "there's a new Star Wars movie every year, please God, let it end". It's a system shock that I don't know if I'll ever get used to. The Force Awakens was an enjoyable, if safe, revival of the classic saga, doing exactly what it had to do to get both old and new fans back into the series' good graces. Rogue One was a fun diversion, mediocre at worst, but its over-reliance on established iconography left many (myself included) somewhat worried about how Disney planned to move forward with the series. And now we come to The Last Jedi; in many ways, the most important of this new generation of Star Wars movies. This is the make or break moment, where we get to see whether or not this new series can survive under its own weight, without a safety net of nostalgia holding it up. I've seen the movie twice already and I feel like I'm finally ready to explore that all-important question; did director Rian Johnson pull it off? Is this a Star Wars film worthy of the name?

Ehhh... kinda.

The Last Jedi is the longest Star Wars movie to date, clocking in at just over two and a half hours. This is a dense, cluttered, complicated film, so I figure that the best way to tackle this beast is to address each of the three subplots that make up the main story. First and foremost, we pick up exactly where we left off with The Force Awakens, as Rey (Daisy Ridley) attempts to convince Jedi Master Luke Skywalker (Mark Hamill) to end his self-imposed exile and aid the struggling Resistance in their battle against the First Order. This was, by far, my favorite part of the entire film. It's got the most dramatic weight, the most interesting character progression, the best performances, and was, in a nutshell, everything I had hoped to see from this film (even if it went to places that I didn't exactly expect it to).

It's in this storyline that we also continue the story of Ben Solo, better known by his adopted pouty-boy title, Kylo Ren (Adam Driver). Kylo continues to be my favorite element of any of these new films; his character is filled with such conflict that, when compared to Rey (who, despite a strong performance from Daisy Ridley, is a fairly passive, static protagonist), he honestly comes out feeling more like the main character of this series. It's almost as though we're not watching the story of how Rey becomes a Jedi, so much as we're watching the story of how Kylo Ren becomes... whatever it is he's destined to become. Much of the reason this character works so well can be directly attributed to Adam Driver, who imbues Kylo with such a genuine intensity (especially during the climax) that it's hard not to become emotionally invested in his journey, despite the detestable things he does in the name of the Dark Side.

We also, of course, witness the return of Luke Skywalker, played once again by one of my favorite people ever, Mark Hamill. While Luke's story may not have gone exactly where some fans expected (even Hamill himself has stated that he "fundamentally disagrees" with nearly every decision Rian Johnson made for the character), he ends up being one of the most interesting elements of the entire film. We find him broken and disillusioned after the fall of his Jedi Academy; while he doesn't receive as much focus as Kylo or Rey, Luke's arc in this story may be the most important part of the entire plot. Mark Hamill, ever the professional, sets aside his creative differences and gives one of the best performances here, helping to deliver perhaps the biggest condemnation of nihilism in film since The Big Lebowski. This entire chunk of the movie ranks among my favorite Star Wars storylines of all time (and contains a scene that I consider one of my favorites in the entire series); had the movie been nothing but this, I would have been perfectly happy. Just Rey, Luke, and Kylo Ren growing and learning and trying to find their respective places in the universe. Unfortunately, we have other characters to focus on as well, and this is where things get messy.

The next storyline, focusing on Poe Dameron (Oscar Isaac) and the rest of the Resistance fleeing from the First Order fleet, is okay. It's not great, it's not bad, it's simply okay. I can't talk too much about this plotline without getting into some pretty hefty spoiler territory, but I'll do my best to explain what does and doesn't work here. After a really strong space battle in the first act, this story just sort of meanders about until the end of the movie; the biggest issue here is the quality of character interaction we're given to work with. We're outright told in the title crawl of The Force Awakens that Poe is the Resistance's "most daring pilot". He's a hotshot flyboy who can do just about anything, so long as he's inside a cockpit. The Last Jedi adds a new dimension to Poe's personality, mainly that he's kind of an overly emotional moron who doesn't work well with authority. There are numerous times over the course of the film where I expected Poe to be (100% justifiably) confined to the brig for his insubordination, though I suppose his frustration is somewhat justified by the leadership he has to deal with.

It's here that we're introduced to Admiral Holdo, played by Laura Dern. All I'll say about this character is that she feels like a wasted opportunity; Laura Dern is a fabulous actress and she's given very little to work with here. This character really could have been something special, had the plot not been working against her. She does serve her purpose, but all in all fails to leave that much of a positive impact. It's a shame that this storyline is bogged down with so many of these fundamental issues, given how strong the concept is; the entire Resistance fleet is just out of range of a series of Star Destroyers and fuel reserves are dwindling (for anyone asking "why not just make the jump to lightspeed", stop reading this Review and go watch the movie if you care so much). It's a novel concept that generates a lot of tension and introduces a strong ticking clock element to the story. This entire plotline could have been something great if the characters weren't totally shallow; everything just falls apart the second the viewer thinks to ask "but wait, why don't they just talk to each other". The internal conflict feels manufactured for the sake of the story (whereas everything on the Rey/Kylo/Luke side of things feels totally natural), and that's this part of the movie's fatal flaw.

This is also where we see the final appearance of General Leia Organa, played by the dearly-departed Carrie Fisher. She really gives her all this time around, and that only makes her untimely passing all the more tragic. I'm not ashamed to admit that I teared up a few times on my first viewing; Star Wars is something that was integral in so many of our childhoods, so a new film is bound to be an emotionally turbulent experience. That said, no part of this film hit me harder than seeing Carrie Fisher's name in the credits for what I knew would be the last time. My only issue is the way in which the film constantly tries to fake the audience out regarding Leia's fate. After The Force Awakens killed off Han Solo (spoilers for the highest-grossing movie of two years ago), all bets were off. Star Wars became Game of Thrones as far as fans were concerned, no one was safe. After the death of Carrie Fisher, there was naturally widespread speculation as to whether or not her character would be killed off in Episode VIII; the film seems (at least from my perspective) to be aware of this, exploiting audience expectations for easy drama. There's multiple moments where the music grows increasingly dire and we're certain we've seen the last of our beloved Princess, only for her to just happen to survive. The film plays with our emotions like a yo-yo, and while these fake-outs had my heart in my throat on opening night, they just felt cheap on repeat viewings. I hardly think that it was the goal of the filmmakers to use Carrie Fisher's real-world passing as a means to generate drama, but it's unfortunate that this is going to be a stigma that the film will have to live with.

And finally, we have our third storyline, focusing on Finn (John Boyega) and newcomer Rose Tico (Kelly Marie Tran) as they attempt a stealth mission that will allow the Resistance fleet to escape from the pursuit of the First Order. Their search for a code-breaker takes them to Canto Bight, an opulent city that is essentially Monaco in space. This entire plotline is, by far, the worst part of this movie (or indeed, any of this new series of Star Wars films) and could be entirely removed without consequence. Everything to do with this side-adventure in Casino Zone feels reminiscent of the prequels in the worst possible way; it's tonally dissonant, it meanders for far too long, and it just ends up feeling like filler that distracts from the actual meat of the story. In our other two plotlines, there are at least stakes; we see characters we've grown attached to dealing with their emotions and beliefs, struggling to hold onto a sliver of hope when faced with impossible odds. Here, we see Finn and Rose get into a bunch of hijinks involving alien racehorses, Benicio Del Toro, and a sample of Aqualera do Brasil.

There's just no point to it, aside to showcase a bunch of special effects. With all due respect to the artists and craftsmen and puppeteers who made this film look as good as it does, this Canto Bight plotline is the exact sort of thing Star Wars should avoid becoming. The film is too long as it is, so it really makes you wonder why something so altogether pointless is still in the film. My guess is that they fell into the same pitfall that George Lucas fell into when he was making The Phantom Menace; in that they constructed each scene to lead into the next, making it extremely difficult and expensive to cut and edit parts of the film that just don't work when all is said and done (looking at some of the deleted scenes, this might explain the film's extremely odd pacing and obvious use of ADR). The issues we see here aren't necessarily exclusive to this plotline, but this is where they're the most egregious. 

Don't get me wrong, there's elements of this film that I love. After watching it twice, I'd still say that the good by and large outweighs the bad; that said, despite it being potentially my favorite of the Disney-made Star Wars films, I still have to admit that this is, at times, a downright weird movie. The pacing feels off, the editing feels off, and the humor feels off, even when the character stuff is (for the most part) fairly compelling. I give Disney an immense amount of credit for committing to something so risky, especially considering how formulaic parts of the MCU have become and how safe The Force Awakens was; it couldn't have been easy for them to entrust arguably their juiciest plum to such a low-key director with such an unconventional vision. That said, brownie points only go so far. There are major parts of this film that just don't work (none of which have to do with it disrupting my headcanon) and these faulty elements hold The Last Jedi back from true greatness.

I'm genuinely surprised at some of the issues I had with this film, but I suppose it can be attributed to Disney's assembly-line strategy of releasing a new Star Wars movie each year. We already have three more projects in the works (not counting Rian Johnson's recently-announced new trilogy) and it really makes you wonder if this is a sustainable business model for producing quality content. Star Wars is a property that prints money; even the prequels, heinous as they were, made a hefty profit (adjusted for inflation, The Phantom Menace is the third most profitable film in the franchise). But as Disney learned in the early 2000's with their swathe of direct-to-video sequels, it's never a good idea to cheapen your brand by pumping out profitable crap. There are parts of The Last Jedi where it feels like the first draft of a script, and it really gives one pause as to whether or not the filmmakers were given enough time to properly refine what they were working with. Considering all of the sloppy problems one finds in The Last Jedi and the already infamous production issues happening behind the scenes of next year's Solo: A Star Wars Story, I think it's clear that this annual release schedule just isn't going to work out in the long run.

Star Wars Episode VIII: The Last Jedi is a film of extreme highs and extreme lows. There are elements at play here that I would honestly rank alongside The Empire Strikes Back; at the same time, there are also elements at play here that I would rank alongside Attack of the Clones. I applaud the film for refusing to pander to fan-theories or headcanons, yet, much like an emo kid in gym class, it doesn't earn an automatic A just for rebelling against the status quo. There are legitimate issues here that have nothing to do with invalidating anyone's Snoke theory. The misplaced comedic relief rarely lands, there's a number of plot contrivances and odd creative decisions, and the entire thing is just too long and too jam-packed full of stuff for its own good. It's because of issues like this that this film has become so divisive amongst moviegoers; while there's always going to be those who angrily scream "not muh Star Wars" into the void, this is definitely a situation where I can understand the mixed reception it's been getting. I personally enjoyed Episode VIII a great deal (even taking all of its problems into account), but I certainly wouldn't fault anyone who doesn't like it (that is, unless they're just upset that Rey isn't revealed to be a female clone of Kyle Katarn). My hope is that Kathleen Kennedy, J.J. Abrams, and everyone else at Disney and Lucasfilm can treat The Last Jedi as a learning experience, retaining what works and refining what doesn't. And, naturally, never, ever mentioning Canto Bight ever again. Unless of course the First Order decide to use it to test out their new super-weapon in Episode IX.

REVIEW: Rogue One- A Star Wars Story

It's a genuinely strange feeling to get two Star Wars films in two consecutive years. Disney has made it clear that they intend to follow the path of their Marvel properties and release each film annually, one year after another. While it's naturally exciting to see more adventures set in the Star Wars universe, it's also potentially worrying. A constant stream of annual releases tends to lead to a series of progressively middling, formulaic films which take few risks and rarely improve upon the groundwork laid by prior entries. Sure, the films may be passable, but is that truly all that we want? A never-ending stream of "not bad" movies, year after year, quantity trumping quality? One nice thing that can be said about the prequels (heinous as they are) is that they were very different films compared to the original trilogy. As much as I adored watching The Force Awakens last year, it was a painfully safe outing. As time has gone by, the hype has worn off and its flaws and imperfections start to shine through all that lovely nostalgia. The only way this modern-day revival of Star Wars doesn't end up like the result of a Monkey's Paw wish is if the filmmakers responsible for each of these films take real risks and deliver innovative, original stories that branch out on their own, independent from what's safe and profitable. Having seen Rogue One: A Star Wars Story (the first in a series of anthology films framed around the background of the main series), I can safely say that they're definitely on the right track.

The film takes place literal days before A New Hope; Luke is still farming moisture on Tatooine, Han is off ducking Imperial freighters, and Darth Vader is totally jazzed about his fancy new Death Star. Built by the reluctant Galen Erso (Mads Mikkelsen), the weapon is nearing completion and could likely spell doom for the galaxy (specifically places occupied by the ragtag Rebel Alliance). Overcome with an Oppenheimer-esque sense of guilt over what he's created, Galen entrusts a renegade Imperial pilot (Riz Ahmed) with delivering a message to the Rebels, informing them of the Empire's planet-killing capabilities. This information finds its way to his long-lost daughter, Jyn (Felicity Jones); under the command of Captain Cassian Andor (Diego Luna), Jyn and a team of Rebel spies must steal the plans to this new battlestation and deliver them to the Rebellion, before the Empire's stranglehold over the galaxy is made absolute.

To anyone who's seen Star Wars before, this plot would seem somewhat inconsequential at first glance. Apologies for spoiling a film that was released in 1977, but the Rebels get the Death Star plans and use them to blow up the Death Star. Shocking, I know. It's true that we never saw how the Rebels ended up with the plans (the title crawl in A New Hope simply says they were stolen by Rebel spies following their first victory over the Empire), but the outcome of this film was literally the first part of the Star Wars story ever experienced by the public. Thankfully, the film understands this and thus places emphasis on the journey, rather than the destination. We're left in suspense not in regards to the plot, but moreso in terms of our characters. There's no question that they accomplish their mission, so the drama focuses on whether or not they'll make it out alive (or at the very least, unscathed). Up to this point in the saga, we've only ever followed the point of view of heroes like Luke Skywalker; Rogue One, to put it bluntly, is a film starring the cannon fodder that makes up the remainder of the Rebel forces.

The film takes full advantage of the fact that, while every other Star Wars film has focused on the heroes of the story, none have focused on the soldiers. This is an entry in the series that feels much more like a war movie than a space opera; the characters are vulnerable, the conflicts are brutal, and the morality is framed through many varying shades of gray. We see through Galen Erso that not everyone who works for the Empire is a villain; at the same time, not every Rebel is a hero. Though they fight the totalitarian regime of the Emperor, there's no shortage of killers, assassins, and extremists allied with the Rebel cause. The movie sets out to show that heroes are born when people stop "just following orders" and do what is right. Appeasement isn't the answer, yet neither is extremism. There's a fine-line separating good and evil, and it can be very easy to step over that line whilst fighting for what feels "just". This is definitely a story that takes full advantage of its spin-off status and expands upon the comparatively black-and-white morality we get in the standard Star Wars adventure.

That said, a heavier tone comes with its own set of problems. The first half of this movie tends to drag a great deal; while watching it for the first time, I found myself flashing back to The Itchy & Scratchy & Poochy Show, asking when our gang of Rebels was going to get to the proverbial fireworks factory. Conversely, the pacing in the beginning is as erratic as the opening of Suicide Squad, jumping from planet to planet for the express purpose of getting the character introductions out of the way so that the plot may begin. As sloppy as it starts out, the film more than finds its stride in the last hour; everything comes together gorgeously into one of the absolute strongest third acts in a series known for pulse-pounding and iconic third acts. 

The characters are all more or less fine, with a few standouts. Felicity Jones is a serviceable protagonist, though she often lacks the raw emotion and conviction one would expect from a main lead. Diego Luna's Captain Cassian presents a very interesting character arc, as he learns just what separates the freedom fighters from the Stormtroopers. Mads Mikkelsen acts his heart out in this role and feels much better implemented here than in Doctor Strange; he's got a defined personality and a clear sense of purpose in the plot. He feels necessary, which is more than I could say for Strange's Kaecilius. My personal favorite additions to the cast include Donnie Yen and Jiang Wen as Chirrut Îmwe and Baze Malbus, protectors of an ancient Jedi temple in the Imperial-occupied city of Jedha. These two had great chemistry and were a joy to watch in any given action sequence (in particular Yen, though this should come as no surprise to anyone familiar with his past work). I also really enjoyed Alan Tudyk as K2-SO, a reprogrammed Imperial security droid who accompanies Cassian on missions for the Alliance. The character feels like a bizarre blend of the best elements of C-3PO, Han Solo, and Chewbacca rolled into one; it's altogether refreshing to see a droid character who has a purpose that generally goes beyond unlocking doors and being cute.

We also have Ben Mendelsohn as our antagonist, Imperial Director Krennic. He does a good job playing the part of the top-brass slimeball who was put in charge of the Death Star project, but he's unfortunately overshadowed by the return of Darth Vader (Daniel Naprous and Spencer Wilding) and Grand Moff Tarkin. Vader is voiced once again by James Earl Jones (who hits the mark, despite the age evident in his voice) and you'd be forgiven for thinking Tarkin was played by the late Peter Cushing, risen from the dead. In reality, he's portrayed by Guy Henry under a heavy layer of CGI prosthesis. It's noticeable, of course, but I still found the effect to be absolutely stunning. I won't spoil anything here, but Tarkin is not the only jaw-droppingly innovative display of the power of digital makeup and unused archival footage. It's this clear sense of care and attention to detail that makes Rogue One the perfect compliment to A New Hope. It manages to enhance the original film and frame it in a new light, all while standing on its own as a wholly engaging tale of its own.

While I found the pacing to be equal parts plodding and erratic for the first half of the runtime, Rogue One: A Star Wars Story manages to rise above its flaws and stand out as its own film, amounting to more than the sum of its parts. The characters aren't necessarily as endearing or memorable as Han, Luke and company, but their story is one that feels entirely necessary and relevant within the universe of the Star Wars saga. Most importantly, this is a film that takes risks; the Star Wars name prints money, so quality isn't necessarily a factor. Despite the overwhelming amounts of evidence at our disposal in regards to the questionable quality of the prequels, those films still made literal billions of dollars at the box office alone. The studio could have easily played it safe, keeping director Gareth Edwards on a tight leash to ensure that he create something inoffensive, serviceable, and profitable. Instead, we have a film that, while flawed in some ways, is immensely successful in others. It's a gorgeously-shot, unique take on an iconic, established universe that paints a wholly optimistic picture for the future of the franchise. Whether you're a long-time fanatic or a newcomer who was introduced to the saga by The Force Awakens last year, Rogue One is a bold, essential entry into this classic saga.

REVIEW: The Star Wars Holiday Special

The Star Wars Holiday Special is the kind of thing that honestly sounds like a joke the first time you hear of it. Why wouldn't there be a Star Wars Holiday Special? It's just a stupid enough idea that it has to be real; sure enough, in November of 1978, the world was introduced to Chewbacca's family by way of an utterly baffling television event that appears to be the product of every ounce of cocaine the decade had to offer.

The special operates around the framework of Chewbacca (Peter Mayhew) attempting to return home to his family on Kashyyyk for Life Day, a non-secular Wookiee holiday that can be marketed to Star Wars fans of all creeds and religions. While his wife, son, and father wait for Chewie to arrive, viewers are "treated" (I can't put enough quotation marks around that word, so I won't even try) to a number of variety show-style segments. There's an alien cooking show (hosted by Harvey Corman), an art-deco space circus, an android instructional video (hosted by Harvey Corman), a performance by The Jefferson Starship, a look inside the Mos Eisley Cantina (starring Bea Arthur, but featuring Harvey Corman), and many more. Each of these segments is about ten minutes longer than it has any right to be; this is saying something, considering most of these segments are about five minutes long. It's just such an awful premise. When one hears the phrase "Star Wars Holiday Special", a number of things come to mind (most of them completely idiotic). One would hope that, if this special positively needed to exist, the creators would take the absurd "He-Man and She-Ra" route. Something involving the cast of Star Wars all uttering the phrase "CHRISTMAS? WHAT'S THAT?", a plot where Darth Vader tries to stop Santa Claus from bringing joy to the galaxy, and maybe Han Solo ends up delivering presents in the Millennium Falcon; something that, while awful, is at least so absurd that it becomes entertaining. What we got instead basically amounts to "Wookiees watch directionless skits on various monitors with Art Carney for over 90 minutes, not including commercials".

It honestly makes you wonder, what kind of diseased mind came up with the segments found in this special? Who sat down with the intention of writing an entertaining comedy sketch for the whole family, only to end up with a sequence in which an elderly wookiee watches virtual reality porn starring Diahann Carroll? Or perhaps this was written by some unfortunate, yet altogether sane soul who was simply forced into a position of having to deliver a finished script, the first twenty or so pages consisting of nearly nothing but remixed animal noises? The mystery isn't why The Star Wars Holiday Special exists; Star Wars was (and still is) a cultural phenomenon. It makes perfect sense that such a profitable property would be milked dry in any way possible, no matter how ridiculous. No, the real question here is why did the people who made this decide to make it... like this?

Now to be completely and totally fair, I will say this; the special is not entirely without worth. Aside from satisfying my morbid curiosity and being generally fascinating in a horrifying, circus sideshow kind of way, there are a few bits here and there that I actually appreciated. First off is a cartoon animated by Canadian studio, Nelvana. While the short itself is nothing to write home about (considering it looks like a budget kids' show version of Heavy Metal), it's worth noting that it was this special which featured the totally canon first appearance of Boba Fett. To be frank, Boba Fett does way more in this shoddily animated short than in Empire or Jedi combined; while he's essentially reduced to the role of a Saturday-morning villain of the day, it's fascinating to think that one of the most popular Star Wars characters of all time got his start in something as ridiculous and infamous as this special.

If I had to name a part of this special that isn't quite as awful as every other part, I'd definitely have to go with the segment taking place in the cantina in Mos Eisley. Bea Arthur appears as the gruff, singing bartender who serenades her drunken patrons after the Empire imposes an immediate curfew on the entire planet. The only reason the bit works at all is directly due to Bea Arthur herself; it seems that she and Harvey Corman are the only people actually trying here. For most of her screentime, she's working off of extras in mute, emotionless alien costumes. It's like a bizarre one-woman show that actually manages to be somewhat engaging and heartwarming, all because Bea Arthur is just giving it her all. I think it's important to let what I've just said sink in for a moment; out of all the segments in The Star Wars Holiday Special, the best moment is the Bea Arthur musical number with all the puppets. If a Bea Arthur musical number is the best thing your special has to offer, it's probably a reasonable idea to scrap everything and start over. Or just scrap everything and never try anything remotely like this ever again.

With all this talk of wookiees and Bea Arthur and Harvey Corman, one would be forgiven for forgetting that the actual stars of Star Wars make appearances here. We have Mark Hamill as Luke Skywalker (obviously recovering from his tragic car accident, as he's positively caked in makeup), Carrie Fisher as Princess Leia (who appears to be riding high on literally every illicit substance under the sun), and Harrison Ford as Han Solo (who really wishes he was anywhere else). Peter Mayhew, Anthony Daniels, and Kenny Baker appear as Chewbacca, C-3PO, and R2-D2 as well, and I feel as though the only reason we can't see their shame is because they are for the most part obscured by their costumes (though there is a legitimate kind of sadness to be found in Mayhew's eyes).

The Star Wars Holiday Special is a genuine curiosity to me. It's objectively terrible in every way, yet I can't not recommend it. It's just too insane, something that must truly be seen to be believed. It's the television equivalent of those Silver Age comic books where Superman fights Mohammad Ali; someone decided that there was money to be made, so common sense was thrown clean out the window. It's just so mind-bendingly stupid, to the point that it's almost kind of amazing. If you consider yourself a real Star Wars fan, you owe it to yourself to mix up a strong glass of eggnog and give this baffling, confusing, absurd thing a watch at least once.

REVIEW: Star Wars- The Force Awakens

Star Wars Episode VII: The Force Awakens is everything a Star Wars movie should be. It continues the saga in a compelling new way that feels fresh and original, yet at the same time familiar. Put simply, this is a Star Wars movie that lives up to the legacy. I could honestly end this review right here; it does exactly what it needed to do and that's that. However, I would be remiss if I didn't take a closer look at exactly why this film works as well as it does. When you're dealing with a franchise as sacred as Star Wars, it can seem impossible to live up to the expectations set by fans. While The Force Awakens isn't perfect, the fact that it managed to live up to the monumental amount of hype it generated while still managing to surprise me is definitely worthy of praise.

Set roughly thirty years after Return of the Jedi, the story focuses on the galactic struggle between the Resistance (led by Carrie Fisher as General Leia Organa) and the menacing, cult-like First Order. In the years since the Rebels' victory over the Empire, Luke Skywalker (Mark Hamill) has vanished. The two factions are locked in a race to find Luke, the last known Jedi in existence; the First Order wishes to destroy him and the Resistance hopes to gain his assistance in their defense of the New Republic. I won't say much more for the sake of spoilers, but the remainder of the plot is heavily reminiscent of A New Hope. While I did enjoy this movie thoroughly (and it does an excellent job of setting the stage for this new trilogy), the number of story beats it lifts from the original Star Wars is easily the greatest detractor here. There are some bold risks taken here and there that pay off quite well, but the fact that the antagonists have built a planet-destroying super weapon that the protagonists need to blow up makes it feel as if things were played a little too safe. There's a harsh desert world, a lively pub filled with colorful alien characters, and an adorable droid carrying vital information; if you're wondering whether I'm describing The Force Awakens or A New Hope, you understand the biggest problem with this film.

Despite the amount of "poetry" there is at play here, the new additions to the story are all welcome and wonderful. John Boyega and Daisy Ridley fill the roles of our primary protagonists, Finn and Rey. Having seen Boyega as the stoic, serious Moses in Attack the Block, his performance as Finn really shows off just how versatile an actor he can be. Whereas Moses was a hardened street tough, Finn manages to be completely relatable, showcasing just how stressful and terrifying a death-defying journey through the Star Wars universe would be. While he has a good heart, he is by no means a hero by his own choice; like Luke Skywalker before him, he is altogether unremarkable when we are introduced to him, forced into action by the circumstances he finds himself in. While I haven't seen Daisy Ridley in anything before this, her turn as Rey has endeared her to me instantly. She gives an excellent performance, managing to be capable and adventurous, yet at the same time sheltered and sentimental. This is yet another example of a strong, female protagonist done right; she can handle herself when she needs to, but she isn't devoid of any and all personality as a result. While I do think that her character was just a little too good at, well, everything, it's at least implied that there's something greater going on with her that will be expanded upon in future chapters of this story. She feels like a real human being, rather than the Whedon-esque "female protagonist who is utterly and emotionlessly infallable except for the one scene where she has a good, mascara-smeared cry" archetype we see so often in modern action/adventure blockbusters.

Oscar Isaac also appears as another new protagonist, ace pilot Poe Dameron. While I genuinely enjoyed this character (in particular his chemistry with Boyega's Finn), we don't see nearly as much of him as I would have liked. The same is true with Captain Phasma, played by Gwendoline Christie. She has a powerful, commanding presence for all five minutes of screentime she has before disappearing from the movie entirely. While I can't complain too much, given how much I enjoyed the characters in this movie, I can only hope that these two play a larger part in future films in the series.

Returning from the original trilogy, we have Carrie Fisher as General Leia, Mark Hamill as Luke Skywalker, Harrison Ford as Han Solo, Peter Mayhew as Chewbacca, and Anthony Daniels as C-3PO. Their performances all feel like the natural evolution of these characters; while Han and Chewie get the most screentime out of the bunch by far, everyone does an excellent job returning to the saga after so many years. Mark Hamill appears for only a brief moment, yet manages to convey so much emotion in the short amount of time we see him. If Chewbacca wasn't your favorite character before this movie, he certainly will be by the end of it; as lovable as Chewie was before, he's more expressive here than ever before, allowing us to actually get a feel for his personality. While Carrie Fisher doesn't have too much screentime, her chemistry with Harrison Ford is still enough to make Star Wars fans all warm and tingly on the inside (especially when accompanied by the brilliant score from John Williams, who once again knocks it out of the park). It's an experience in and of itself to see these classic characters again after so much time has passed, but it's worth noting that their appearances don't feel cheap. This isn't an attempt to further the film's commercial appeal by banking on nostalgia or brand recognition, but rather a genuine continuation of the story these characters are a part of. 

Having gone on and on about the good guys, it would be a crime if I didn't touch on our antagonist, Kylo Ren, played by Adam Driver. There's a heavy amount of mystique to this character that I won't dare spoil here; however, I will say that Kylo Ren is, aside from Darth Vader himself, the strongest antagonist the series has ever seen. Where previous Sith Lords have kept their emotions inside, Kylo Ren wears his anger and fear on his sleeve. He's totally unstable and rife with conflict, managing to appear both intimidating and pathetic, despicable and pitiful. Vader was an effective villain, but he carried himself with a certain level of confidence. We understood that he was evil, but we couldn't help but find him endearing despite his actions. With Kylo Ren, we have a villain whom we can totally hate and rally against; he displays a level of depth and complexity in his first appearance that Vader didn't show until the end of his arc. In a film of great villains (Domhnall Gleeson's General Hux and Andy Serkis' mo-capped Supreme Leader Snoke amongst them), Kylo Ren stands out as the strongest by far, and possibly my favorite aspect of this entire film.

Even if the rest of the movie was terrible, it would still be an absolute wonder to look at. After the clean, sterile look of the prequels, it's clear that J.J. Abrams wanted to make The Force Awakens a return to form for the series in regards to its visuals. Aside from Guillermo Del Toro's Hellboy films and the more recent Muppets movies, I'm not sure I can name a film in the past ten years that displayed such a number of well-designed puppets and creatures. The film revels in its use of practical effects and physical sets; once again, the Star Wars universe feels like a place that has been lived in by countless real, living things. Characters get dirty and battered after action sequences, there's appropriate amounts of dust and grime on the Millenium Falcon, and any fight scenes involving lightsabers are more reserved and deliberate than the heavily choreographed light shows we got in episodes I-III. The new droid, BB-8, is the highlight of these special effects; totally adorable and bursting with personality, BB-8 is proof that special effects can still impress and amaze modern audiences, despite the wonders that can be achieved through the use of computers. The use of light and color is also tremendously strong; there's a number of images from this film that are burned into my memory, thanks to the excellent shot composition and camerawork. Not only does it feel like Star Wars, it looks like Star Wars; most importantly, it is Star Wars.

Despite all my gushing, I feel the need to once again say that Star Wars: The Force Awakens is not perfect. The pacing during the second act becomes a tad disjointed, there's a fair amount of plot conveniences, and some of the dialog felt a little bit on the nose. While it certainly feels like a return to form for the franchise, it definitely plays it safe in regards to the overall plot. Even though I appreciate the return of these classic characters, there are a few winks to the audience that, while cute, tend to take you out of the experience just a bit. However, with all that said, I still found this to be an excellent Star Wars movie. At it's core, that's exactly what it needed to be. It had a job to do, and, despite its flaws, it does it well with both style and substance. Star Wars Episode VII: The Force Awakens manages to pay tribute to the films that came before while standing on its own as a fun, compelling first chapter in a brand new part of the Star Wars saga. And thus begins the tortuous wait for Episode VIII.

REVIEW: Fanboys

In mere hours, a new chapter in the iconic Star Wars saga will be released in North American theaters for the first time in over a decade. I can think of few film franchises that have affected me in the way that Star Wars has; I've spent countless dollars on toys and collectibles and sank endless hours into Star Wars Battlefront 2. I own my own custom lightsaber, a copy of The Jedi Path, and fan-restored copies of the unaltered, theatrical cuts of the original trilogy (which I believe is the only true way to watch those movies). By all intents and purposes, I am a fanboy. With that in mind and The Force Awakens looming on the horizon, I thought it appropriate to check out the 2009 roadtrip comedy, Fanboys.

Taking place in 1998, the film follows a group of childhood friends, all with a strong passion for Star Wars. Eric (Sam Huntington), the only member of the group who has made anything of himself since high school, is reunited with former best friends Windows (Jay Baruchel), Hutch (Dan Fogler), and Linus (Chris Marquette) at a Halloween party, only to learn that Linus is dying of cancer. He's been given four months to live, while The Phantom Menace comes out in six. Refusing to let their friend die without experiencing the beginning of a new era of Star Wars films, the four set out on a cross-country roadtrip to break into George Lucas' Skywalker Ranch and steal a rough cut of Episode I.

It's a great premise, especially when one considers how The Phantom Menace was received by fans upon release. All the pieces are in place for a fun, goofy adventure packed to the brim with Star Wars references and in-jokes. Unfortunately, the film only comes together in such a manner about half of the time. While everyone involved clearly had loads of fun making this, the characters are utterly flat manchild stereotypes. While the attention to detail is appreciated (the protagonists spend their time playing Mario Kart 64 and listening exclusively to cassette tapes of Rush), it still stands that jokes about sexually frustrated twenty-something dorks who live in their parents' garage simply aren't funny or original. One of the few characters with a complete arc here is Zoe, played by Kristen Bell. While she gives a good, enthusiastic performance as the lone female working in Windows' comic shop, her potential is sadly squandered when she is eventually relegated to the role of the hot geek girl love interest (an unnecessary change that comes completely out of the blue). There's a number of subplots (the worst of which is Eric's father asking him to take over his car dealership empire) that are completely dropped and more or less forgotten, only serving to create some false sense of tension or conflict. It's when this movie tries to be an actual movie, rather than a goofy cavalcade of Star Wars jokes, that it falls short. Aspects like the subplots and character arcs (or lack thereof) are wholly unremarkable and drag the rest of the film down with it.

That said, the parts of this that I enjoyed, I really did enjoy. While the first half of the movie is rough and unfocused, it really comes into its own during the final act, when the group actually infiltrates Skywalker Ranch. For every few groan-inducing name drops (for instance, "what in Greedo's name", which doesn't even make sense), there's actually some really clever references and cameos sprinkled throughout (my favorite of which was an excellent series of visual gags in the style of THX-1138). While the characters and performances are nothing extraordinary, it's clear that this was a project made by people who felt passionate about the subject matter. Everyone appears to be having loads of fun, and that sense of fun manages to translate onto the viewer when the film is at its strongest. It's crude and unrefined, but there is good in it. I've felt it.

While it's far from excellent, I can't truly bring myself to call Fanboys a bad movie; even though it honestly kinda is. The plot is practically nonexistent beyond the base premise, the characters are as flat and stereotypical as they come, and half of the jokes amount to little more than enthusiastic name-drops or references to how geeks never seem to get laid. With all that said, it has a good heart; there's a handful of chuckle-worthy cameos and some admittedly really clever references here and there. If you're not a Star Wars fan, there's absolutely no reason for you to ever go near this film. But if you grew up with Star Wars as I did, there's definitely some enjoyment to be had here. It's nothing particularly special, but I don't feel as though I've completely wasted my time, which is far more than I can usually say for other films like this.