“Star Wars: Return Of The Jedi” Review!

We are officially in the last leg of the long journey to Star Wars: The Rise Of Skywalker, which means that the mighty Skywalker Saga, a story spanning forty years across films, books, comics, cartoons and video games is finally coming to a close – which in turn means that it’s time to reflect on that nine-part saga and take a good long look at the films that predate and inform Rise Of Skywalker‘s epic conclusion.

To do that, we’re going to have to discuss spoilers for each of the eight films in the Saga, so…SPOILERS AHEAD.

(Before we begin, be aware that I’m going through the list by order of release date: I understand that George Lucas wanted movies 4, 5 and 6 to be movies 1, 2 and 3 and to be treated as such – but they’re not good enough to warrant that distinction. Sorry, George).

Star Wars: Return Of The Jedi

medium.com

The final chapter in the original Star Wars trilogy sags under the burden placed upon its shoulders by the two previous installments in the Skywalker Saga. Why? Because it follows the same basic principle of The Force Awakens, but without the benefit of coming out some twenty years after the original film – rather than looking like a dreamy, nostalgic callback to former glory, Return Of The Jedi instead feels mostly like a frantic cash-grab, capitalizing on all of A New Hope‘s flashes of ingenuity but ignoring that they cease to be ingenious when repeated time and time again. It doesn’t help the film’s image when you discover that George Lucas rewrote the entire movie to maximize toy sales, something that we’ll discuss in detail.

But first, because I don’t like to be negative about a franchise I love – does Return Of The Jedi have any redeeming qualities?

lucasfilm.com

Well, yes. Most films do. Even The Phantom Menace has some good moments (can’t think of any off the top of my head, but I’ll have to think of some for my review of that film). But unfortunately, most of Return Of The Jedi‘s great moments are overshadowed by the larger flaws they contrast. For instance, having Luke Skywalker (Mark Hamill), Darth Vader (voiced by James Earl Jones), and The Emperor (Ian McDiarmid) get in a three-way battle to the death is a great idea, and lends itself nicely to some very cool scenes of action, lightsaber wizardry and Force-lightning madness. However, the fact that this battle takes place on a cheaper, less intimidating knockoff of the Death Star, whose crucial design flaw is basically identical to that on the first Death Star, rendering the object pointless and boring…well, that’s not quite as much fun. If you’re going to reuse old ideas, at least make them bigger and more epic – maybe don’t downgrade from “a weapon the size of a moon that can blow up other planets” to “a partially-constructed weapon the size of a large asteroid that can blow up spaceships one at a time”. Honestly, if you’re going to build a new Death Star, at least have the courtesy to give it to Alec Guinness (who reprised his role as Obi-Wan Kenobi) after you’re done using it, so he can promptly annihilate the entire Star Wars fandom – how he got roped in to doing a third Star Wars film, I have no idea, but it’s evident from his bored, mechanical line-readings that he was doing his level best to make the film unwatchable (apparently, early script drafts had him joining the action as a Force-ghost and helping to defeat The Emperor, but Guinness didn’t like using special effects. You can’t have it both ways, Alec; you’re either an expository ghost or a CGI wizard – there is no middle ground).

Return Of The Jedi is truly disappointing because of how many awesome what-if scenarios were originally going to make their way into the film: scenarios that would have to wait until decades later to be realized onscreen, because George Lucas was afraid that taking risks would minimize the sales of toys, action figures and other Star Wars merchandise. Most shockingly, the trilogy was at one point intended to end with Luke Skywalker removing his father’s mask – and claiming it for himself, having been so corrupted in his fight with The Emperor that he became a Sith Lord, channeling the Dark Side of the Force to turn on the Rebellion, leading to Han Solo’s heroic death during a raid on the Imperial base. Even after Lucas scrapped that idea (it was too sad for a kid’s movie, he claimed), there were still plans for the film to end on a bittersweet note, with Leia in charge of a last, desperate band of Rebels and war-torn heroes, while Luke would abandon the cause and go into hiding. While many of these concepts later found their way into The Force Awakens, they don’t fit particularly well in that film, coming off a trilogy that actually ended triumphantly, with the Empire destroyed, the Jedi supposedly restored to power, and the galaxy at peace. J.J. Abrams’ sequel trilogy is largely founded on an alternative version of Return Of The Jedi that never saw the light of day, a version that allowed for a sequel.

Even Lucas’ film, however, feels like it has multiple parts that belong to a completely different movie. For instance, the thirty-minute long detour on Tatooine to rescue Han Solo (Harrison Ford) might just be an excuse to revisit what is arguably the franchise’s most iconic locale, but it definitely seems to be setting up Solo’s story to actually…go somewhere. But beyond helping to shut down the energy-shields surrounding the Death Star, Solo is largely unimportant to the story. He’s still great, because he’s Han Solo – but why was it so important that we spend half an hour saving him from the clutches of Jabba the Hutt, without any real payoff? Why, unless he was originally intended to do something essential, something heroic – something that would have resulted in his death, and thus fewer toys sold?

This is, unfortunately, the very same trap that J.J. Abrams and his team could fall into with The Rise Of Skywalker. Not with regard to toy sales, I don’t think, but they must similarly feel like ending their trilogy on anything other than a victorious high note would be disappointing after so much buildup. But I sincerely hope they have an incredible plan for the franchise’s climax, and it will be satisfyingly poignant, triumphant and original: if The Lord Of The Rings could end with a decent portion of the main cast setting sail into the West, than so can Star Wars!

There are a couple of characters for whom Return Of The Jedi is not a total mess: Princess Leia (Carrie Fisher), who is finally revealed as Luke Skywalker’s twin sister, and has some strong emotional moments handling the ramifications of that revelation – not to mention more action scenes than she’s ever had before or since, from single-handedly strangling Jabba the Hutt to a crazy speeder-bike chase through the forests of Endor, picking off stormtroopers; C-3PO (Anthony Daniels), who has one hilarious scene in which, mistaken for a deity by the Ewoks of Endor, he ends up nearly condemning Luke, Han and Chewbacca (Peter Mayhew) to become the main course at a sacrificial banquet in his honor, because he’s too polite to refuse; and the oft-quoted Admiral Akbar (Timothy Rose), the Mon Calamari alien who becomes the first high-ranking non-human member of the Rebellion, gets one infamous line of dialogue, and then is seen afterwards partying with the Ewoks. Good for him.

disneyplus.com

In Return Of The Jedi, George Lucas’ hand once again reaches in from the future to clumsily tinker with the special effects – and here, he has one particularly egregious use of CGI as well as one addition that I have to grudgingly admit is a nice way to keep continuity between all his trilogies. The former is the notorious addition of an entire alien musical number in Jabba’s palace, one which is apparently supposed to make the giant slug’s cavernous lair seem more like a family-friendly dance hall than a den of vice. The latter is the replacement of original Anakin Skywalker actor Sebastian Shaw’s Force-ghost with the likeness of Hayden Christensen, who portrayed Anakin in the prequel trilogy: while that change has always been controversial, I feel it’s actually a nice touch – as are the scenes of celebration in several prequel trilogy planets such as Naboo and Coruscant, lending the victory scene a larger, more epic scale. There’s also a couple of weird little alterations, from giving the Sarlacc a head to digitally shaving off Darth Vader’s eyebrows.

The connection between Darth Vader and Luke Skywalker is the original trilogy’s most powerful element, and the true heart of this story.  Luke is faced with many struggles and temptations, and is eventually brought face-to-face with The Emperor (who probably makes a lot more sense if you know who and what he is, thanks to the prequels). Luke’s battle to resist the darkness within him is fiercely compelling. Darth Vader’s redemption might seem to come out of the blue, but it does make sense when viewed in the context of future movies – as Vader watched his son writhe in agony beneath The Emperor’s whips of hellfire, it was impossible for him not to see in his child’s face the tortured eyes of Padmé Amidala, Luke’s mother and the love of Vader’s life – the person for whom he had turned to the Dark Side in a desperate attempt to save her life, only to realize that by doing so, he had actually brought about her anguished, ruinous death. Hearing his son’s pleas and realizing in a blinding flash that The Emperor was solely responsible for all the grievances, betrayals and nightmares visited upon him and his family, Anakin rebelled in that moment, ridding the Skywalkers of The Emperor, who had been their demonic guardian for three generations, giving up his own life to save his and Padmé’s children. It’s powerful stuff. Granted, audiences back in 1983 didn’t know any of that backstory: however, even without the assist of the prequels, you can easily understand and appreciate the poetry of The Emperor being destroyed by his apprentice, just as all Sith are and always have been.

radiotimes.com

But of course, The Emperor is apparently returning in The Rise Of Skywalker…so does that make Vader’s sacrifice meaningless? Or is it a sign that as long as the Skywalker family exists in the galaxy, The Emperor’s malevolent spirit will haunt them? Probably best not to think about that yet.

In conclusion, Return Of The Jedi is not the best way to cap off a great trilogy, and not a good blueprint for The Rise Of Skywalker to follow – while there may be a handful of redeeming qualities in this movie, most of it is corrupted by the Dark Side of the Force.

Movie Rating: 5.9/10

“Star Wars: A New Hope” Review!

We are officially in the last leg of the long journey to Star Wars: The Rise Of Skywalker, which means that the mighty Skywalker Saga, a story spanning forty years across films, books, comics, cartoons and video games is finally coming to a close – which in turn means that it’s time to reflect on that nine-part saga and take a good long look at the films that predate and inform Rise Of Skywalker‘s epic conclusion.

To do that, we’re going to have to discuss spoilers for each of the eight films in the Saga, so…SPOILERS AHEAD.

(Before we begin, be aware that I’m going through the list by order of release date: I understand that George Lucas wanted movies 4, 5 and 6 to be movies 1, 2 and 3 and to be treated as such – but they’re not good enough to warrant that distinction. Sorry, George).

Star Wars: A New Hope

syfy.com

The movie that started it all: not just the opening chapter in the story of the Skywalker family and their tumultuous game of tug-of-war between opposing sides of the Force, but also the movie that birthed Hollywood’s current blockbuster trend (apart from the prequels, which were crushed under the hairy heels of hobbits, every Star Wars movie in the Skywalker Saga has been the highest-grossing movie in the year of its release). Star Wars is one of the defining checkpoints in cinematic history, and it will always have that distinction – few other films have shaped the entertainment industry, and pop culture in general, in the way that Star Wars did. Even in the days before the internet and social media, the film permeated every aspect of society, spawning merchandise, mantras, mannerisms, and that notorious Christmas special that George Lucas wants you to forget about. It makes Rise Of Skywalker all the more frightening – for the first time in forty-two years, the Star Wars franchise will have no clear direction, no overarching story, no Skywalker to follow into the future.

But as that future is still more than a week away, let us savor this moment of blissful ignorance and return to the craggy deserts of Tatooine, a remote planet nestled in a forgotten corner of the Outer Rim, somewhere long, long ago in a galaxy far, far away – an inconspicuous space rock that, for whatever reason birthed the Star Wars franchise’s most iconic hero and villain. The harsh sand is illuminated by the planet’s dual suns (duality is Star Wars‘ most constant theme: make a note of that), and crawling with Jawas, Tusken Raiders, and the handful of moisture farmers who call the desert home. It’s probably the most iconic locale in all of science-fiction. But after all this time, surely both Tatooine’s rugged charm and Luke Skywalker’s simplistic journey to heroism have been antiquated by the deluge of even larger, more epic sci-fi stories that erupted in the film’s wake?

Nope. That is to say: yes, some parts of A New Hope maybe aren’t quite as spectacular and compelling as they were in 1977 – but all in all, the film is still extremely entertaining, ridiculously fun, and brilliantly unique. There are things I love about the movie – there are also things that I strongly dislike. And, in a couple of situations, there are things which would work, but don’t anymore because of the events of other Star Wars movies. Let’s run through the list.

What is still great about A New Hope? So much. But above anything else – the film’s story. I called it simplistic, and it is: but it’s archetypal, so it has to be. Luke Skywalker (Mark Hamill) was never a very complex character in the original film – he was the standard white male protagonist whose inferior knockoffs have since infested every inch of genre fiction. Morally pure but headstrong, loyal but self-doubting, readily equipped with magic sword and grappling hook but pacifistic nevertheless (okay, the grappling hook is actually one of Luke’s more unique accessories: shamefully, it was only ever used once). Most of the ensemble cast are also fairly ordinary: the rogue with a heart of gold, the princess, the mentor figure unwillingly called out of retirement, the bumbling comic relief characters. And the film never does anything particularly unexpected or extraordinary with any of them – they go about their quest, and achieve it with a minimum amount of casualties (except for the mentor, of course: the mentor always dies). But there’s nothing wrong with a classic Hero’s Journey, and A New Hope arguably tells it better than almost any other example out there. And you have to first build a myth if you’re going to start deconstructing it.

usatoday.com

A New Hope also does a good job of disguising the fact that its characters are archetypes: for example, while Princess Leia (Carrie Fisher) is technically a “damsel in distress”, she never actually stresses or cracks under pressure. She resists the interrogations and torture methods employed upon her by the greatest Sith Lord in the universe, and even dares to lie to Grand Moff Tarkin (the fabulous Peter Cushing) in order to buy time for her friends: and once freed from prison, she grabs herself a blaster gun and takes part in the action. As soon as she returns to her Rebel hideout, she takes the reins and orchestrates the daredevil raid on the Death Star. And of course, she was the person entrusted with the Death Star plans in the first place.

And even if monomyths and archetypes are too cliché for some, they’re made new and invigorating by the story’s bold, high-concept sci-fi – a genre which has largely been synonymous with Star Wars ever since the first film’s release. George Lucas could easily have adapted the sleek, shiny, futuristic look of Star Trek into his own universe: but instead, he chose to go for a more realistic “used future”, one full of grit, grime, and rebel scum. This same basic principle – that a fantasy universe should and could feel lived-in, with a little help from a willing crew of craftspeople, costume designers and prop-makers –  would later be adopted by Peter Jackson when making The Lord Of The Rings, which is why I felt it was necessary to add to my list.

starwars.com

Building off of that: spaceships and aliens. From the film’s opening shot (which has been mirrored and referred back to many times since), Star Wars has always been, at least partially, about building bigger and bigger spaceships and then finding ways to blow them up – after all, there wouldn’t be any star war to speak of if the Empire didn’t have a gazillion TIE-fighters and star destroyers, or if the Rebellion wasn’t armed with their battered fleet of X-Wings (and one Millennium Falcon). A New Hope has some great scenes in space, and some incredible spaceships – not to mention the mighty Death Star, a weapon of mass destruction that would be a lot more intimidating if it wasn’t basically the only idea the Empire ever had. Every ship in Star Wars, whether built to weather the sands of Tatooine or the cold void of space, has its own little quirks and characteristics: even if it’s often impossible to remember every spaceship’s name (the Falcon, Tantive IV, um…), they’re all still easily distinguishable.

The aliens, while undoubtedly being some of Star Wars‘ most iconic characters, are rather few and far between in A New Hope. With each new movie in the franchise, the Rebellion has become more and more diverse, but the original film’s trusty team of fighter pilots consisted entirely of white men. Chewbacca the Wookie (Peter Mayhew) is the only alien present in the film’s epic finale (and it feels mean to call him an alien: Chewie is part of the family). This is something that feels even weirder when you consider that the crew of pilots and soldiers in Rogue One (which is set only about a week before the events of A New Hope) is much more diverse, with women, people of color, and aliens all piloting spaceships and taking part in the Rebellion. But there are enough aliens packed into the Mos Eisley spaceport on Tatooine to fill roughly thirty who’s-who books: Figrin D’an and his groovy band, the Modal Nodes; Greedo, the rubbery green rat who may or may not have shot first (more on that in a moment); Jawas, furtive junk-traders and robbers eternally swaddled in dark robes; the barbaric Tusken Raiders, who are indirectly responsible for Darth Vader; and of course, the mighty Jabba the Hutt, who was digitally added into the film during one of George Lucas’ many attempts to retouch the original trilogy with fancier special effects.

And now we have to get into the bad stuff: specifically, the awkward mishmash of VFX and practical effects that Lucas’ tampering is responsible for – in the late 90’s and early 2000’s, not content with allowing the original films to age gracefully, Lucas, who was at that point busy suffocating his prequel trilogy in horrendous CGI nonsense, decided to go back and insert some of his new favorite ingredient into the older films: the result is…unfortunate, to say the least. Not only because the CGI is bad, inconsistent, and messily applied, but also because it robs A New Hope of a lot of its charm. Is it kind of silly that spaceships and entire planets explode into sparkling smoke in the original film? Yes, of course: for example, it’s a bit of a downgrade to go from watching 2016’s Rogue One (which, again, is set only a few days before A New Hope), which does a great job of displaying the Death Star’s horrific powers – to the original Death Star, which just zaps planets out of existence in two seconds with a pyrotechnics flash, before itself being zapped. But that wasn’t even the only sort of thing that George Lucas was interested in changing: apparently dissatisfied with the story he had crafted, he also edited scenes differently to present different narratives – which is how we ended up with the “Han shot first” debacle.

theverge.com

The “Han shot first” debacle is the Star Wars fandom’s equivalent of “do Balrogs have wings?”, or “how did Steve return the Soul Stone?”. Back in 1977, it wasn’t even a question: when Han Solo (Harrison Ford) was accosted by the green space alien mercenary Greedo (Paul Blake) in the Mos Eisley cantina, he undeniably shot first, before Greedo had a chance to move. And for most people, that was perfectly fine: it was totally in character for the rogue, and it was a cool, tense scene. But for George Lucas, it painted Han Solo as a merciless killer, so he tinkered with it to add in a few frames where Greedo shoots first, missing Han (which doesn’t even make sense, considering he was sitting about two feet away from him), and giving Han justification for firing back. In 2004, Lucas changed it again, having both Han and Greedo fire at the same time, with Han somehow dodging Greedo’s shot. And now, the controversy has been stirred up again by the Disney+ version of the film, which gives Greedo an added line of dialogue, in which he threatens Han with the menacing word “maclunkey” before shooting. The debacle has sparked outrage on both sides of the argument: Lucas claims that it was always meant to be that way (despite original scripts proving otherwise); Paul Blake is outraged that his character shot first, saying it makes Greedo look pathetic for missing at such short range; and Harrison Ford doesn’t know or care who shot first. The question of which version is “right” is bound to linger for many more years to come. For more info on the subject, you can check out Wikipedia’s entire article on “Han shot first”.

Lucas’ meddling has done a great deal of damage to the franchise: the attempt to blend the styles of the first two trilogies into one cohesive whole isn’t necessarily a bad idea, but it doesn’t work; Lucas’ insistence that 1977 audiences accidentally fell in love with only “half a completed film” feels like a slap in the face to the franchise’s earliest fans; and his eventual decision to step away from Star Wars entirely seems, in hindsight, like sore losing, as if he can’t quite understand that his films don’t need to be 100% perfect in order to be good. They’re beloved classics already: they should remain classic.

starwars.com

So does A New Hope still hold up after all this time? I think that, if you can look past the film’s very few flaws (most of which are the fault of George Lucas’ perfectionism), then you’ll find that the very first Star Wars movie is still one of the franchise’s very best. It’s not as visionary as The Empire Strikes Back or The Last Jedi, nor even as complex as The Revenge Of The Sith, but it’s still just as much (if not more) fun than all three of those entries.

Movie Rating: 8.5/10

Obi-Wan Kenobi Headed To Disney Plus!

denofgeek.com

The great Jedi master, Obi-Wan Kenobi, one of the most legendary and respected figures in Star Wars lore, is apparently being dished out to the Mouse House’s fledgling streaming service, Disney+, in a new show set to (presumably) cover Kenobi’s exploits in the decade between the Star Wars prequels and the original trilogy.

But don’t give up hope just yet: Disney is making a valiant effort to have this show look and feel like movie-quality material – so much so, that they’ve gotten Ewan McGregor, who played Kenobi in the prequels, to reprise the iconic role. There’s no hint yet of how large McGregor’s paycheck for the series is, but I’m guessing it’s got to be pretty big to tempt the actor to the small screen – then again, he seems to have a pretty comfortable relationship with Disney already, having previously portrayed a grown-up version of Christopher Robin in the 2018 film of the same name.

As of right now, the show has no official title, so we’ll call it “Kenobi” because I like the sound of that. More details will probably be announced at Disney’s D23 event later this month, but until then we have a few things to think over.

Firstly, the fact that Kenobi is only a Disney+ streaming show is already upsetting fans (by the way, I’ve begun to spell the name of Disney’s streaming service with a + sign instead of writing the word Plus, since apparently that’s how we do things in Hollywood nowadays). That’s a pretty rational complaint: it’s still unclear how large the budgets for these shows will be, and whether they’ll actually maintain the same level of quality as the movies they’re based on – let’s not beat around the bush; people are worried that it’s going to look like a CW show. I’m sorry, CW, you get a lot of flack for stuff you have absolutely no control over (except the ridiculous costumes; those are entirely your fault), but this is how the public thinks. Some are also frustrated that someone of such prestige in the franchise would be demoted in such a way, instead of getting his own film trilogy: in my opinion, the Star Wars prequels were already a perfectly good Obi-Wan Kenobi trilogy, since he was arguably more of an interesting protagonist than Anakin Skywalker. But yeah, this news probably means that all those rumors of a Kenobi movie are just that – rumors. Even if they did come from Deadline.

As for the show’s setting, we have no indication as of yet: but we have to assume it will take place in the decade or two between The Revenge Of The Sith and A New Hope, while Kenobi is off…wandering the barren wastelands of Tattooine? I don’t know about you, but a whole series of Obi-Wan just hanging out with Jawas sounds like fun to me: unfortunately though, the showrunners probably will deny us the content we deserve, and instead give us some half-baked story about Obi-Wan before he arrived on the desert planet, stoking the fires of rebellion, fighting rogue Sith lords and running into CGI reconstructions of characters from the original trilogy. Nowhere near as entertaining, I know.

Do I sound slightly cynical and annoyed in this post? It might be because I’m still trying to sort out how I feel about this news: am I happy, or am I one of those angry fans ranting about how Obi-Wan Kenobi, the greatest Jedi in history, was demoted to a Disney+ series? Or is it just because I’m annoyed that I have to use a dumb + sign from now on?

You know…it might be that.

“Indiana Jones 5” Begins Filming Next Year!

deadline.com

All the way back in 2008, it seemed like Harrison Ford was finally going to pass on the mantle (or, rather, fedora) of Indiana Jones to Shia LaBeouf, who played Indy’s long-lost son, “Mutt” Williams, in Indiana Jones And The Kingdom Of The Crystal Skull. Eleven years later, the fifth and presumably final installment in the franchise has yet to be released, and continues to get pushed further and further back, while Ford himself continues to get older and older, and…well, nobody even knows what Shia LaBeouf is up to these days, but most sources agree that he’s not planning on returning for the fifth film (which is fine, because he was one of the worst things about Crystal Skull), leaving the door open for a newer, fresher actor (or actress?) to enter the franchise at this late stage, and possibly even continue after Ford has exited. Then again, Ford himself is understandably upset with the idea that anyone could replace him: “When I’m gone, he’s gone”, the actor proclaimed in a recent interview, before telling Chris Pratt that, as long as he has any say in the matter, the franchise will die with him.

The possibility of the franchise ever having a satisfying “death”, however, is seemingly almost unlikely at this point, though. Indiana Jones 5 was originally set to release…a week ago. Obviously, that didn’t pan out, and the film is currently suspected to be aiming for a 2021 release date. News has just broken today that Harrison Ford will start filming in London, in April of 2020, giving the movie just enough time to become a summer blockbuster the year after. But the film’s success largely depends on how good a movie it is, and right now we simply don’t know what’s going on behind the scenes: Steven Spielberg will direct, but he’s been vague about whether or not George Lucas will be helping him in bringing almost forty years of tomb-raiding and whip-cracking to an end. Meanwhile, writers on the project have come and gone, with Jon Kasdan’s original script (which apparently brought the story back to its roots of Nazi-defying adventures in a late thirties environment) being scrapped in favor of a new, completely mysterious one by Dan Fogelman.

Personally, I’d love to see Indy go back to fighting Nazis, as much as I loved Cate Blanchett’s portrayal of a Soviet psychic in Crystal Skull (though she never actually got to show off said psychic powers, so that was a bit of a letdown). But the franchise definitely needs to change its tune – the aliens and atom bombs from the last installment felt very out of place in a series that’s supposed to be rather old-fashioned (though, we could probably do without some of the original films’ old-fashioned racism and sexism). But with Harrison Ford nearing eighty, it perhaps makes sense to have him in a slightly more modernistic setting – probably the late sixties or early seventies: in which case, we could still have him fight Nazis, but they would have to be rogue former scientists or generals living in hiding. There could be a pretty interesting story there, actually, if it was done well.

Since I just recently binge-watched all four movies and still loved them (Last Crusade is the best of the franchise; prove me wrong), I’m very excited to see what Spielberg and Ford have to offer for Indy’s final adventure. And if the fedora absolutely has to be passed on, I hope it’s to someone worthy of that honor (i.e, not Shia LaBeouf).