“Star Wars: The Rise Of Skywalker” Non-Spoiler Review!

If I was both confident enough and proud enough to say that The Last Jedi is my favorite Star Wars movie, then I definitely have no qualms about admitting that The Rise Of Skywalker, while similarly reviled by a sizable portion of the fandom (already!), is an entertaining, thrilling, emotional and bittersweet conclusion to one of the greatest stories in cinematic history. Rise Of Skywalker as a whole is not quite on the level of Jedi for me, at least not yet, but there are several moments and scenes in the movie that have quickly taken their place on my list of all-time franchise favorites. And don’t worry, I won’t spoil any of them here.

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The movie starts out very slow, and for the first ten or even twenty minutes, I grew increasingly worried that the Skywalker Saga might conclude in a very unappealing way. Director J.J. Abrams received a lot of flak from the Star Wars fandom for largely pulling the plot of The Force Awakens from A New Hope, without even bothering to alter many of the little details. I can assure you that Rise Of Skywalker does not follow that same copy-and-paste method, or if it does, then it pulls from so many of the Star Wars films that it’s much harder to guess, at points, where the story is headed. For instance, while there are certainly elements of Return Of The Jedi (as many of us had suspected), there are also hints of several other films in the canon, including, most shockingly, Revenge Of The Sith. If you are a fan of Sith, or the Sith in general, I think you’ll find a lot to love about this movie, as it sometimes veers into territory previously explored only by tie-in comics, novels and video games. But don’t worry, fellow wielders of the Light Side of the Force! There’s plenty of Jedi magic and mind-tricks to go around in this finale to their long, often troubled history, including some new techniques and tactics that are both epic and unpredictable. And as for the film itself, it starts getting good once the two powers, as represented by the characters of Kylo Ren (Adam Driver) and Rey (Daisy Ridley), begin to clash.

These two have always had the most tumultuous and exciting journey in the sequel trilogy, and Skywalker is no different: once again, the focus is mostly on them and the powerful, fiercely difficult relationship between them. It’s often unclear just how much Abrams is using of Rian Johnson’s The Last Jedi, but the tense, will-they-won’t-they dynamic between Light Side user Rey and Supreme Leader Kylo is definitely something that has been carried over from Jedi into this new film, despite Abrams being against it initially.

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In my recent reviews of all the eight previous Star Wars movies, we’ve discussed the theme of duality – the idea that the universe is ruled by the balance of all things: life and death, Jedi and Sith, good and evil. And at almost every crucial moment in this movie, duality makes an appearance, whether subtly or, to my surprise, in the dialogue itself. Rey and Ren, with their opposing ideologies but mysterious attraction, are the theme’s most obvious physical representation, but be on the lookout for it many other places: without giving it away, I’ll just say that it’s very apparent in the film’s third act and final scenes.

Now, how good is the payoff to this forty-two year long journey that we, as fans, have witnessed? Abrams obviously isn’t going to be able to tie up every loose end or finish out every character’s story, but he does his best with what he has. In many ways, the film itself has had to do that as well: the tragic passing of Carrie Fisher in 2016 prevented her character, the beloved Princess Leia, from having a particularly prominent role in the movie; something that is especially sad after watching the entire Skywalker saga, and seeing all the accumulated hints and clues that point to her being the Chosen One. But Abrams masterfully uses everything at his disposal, employing all the old footage of Leia that he can, and giving her not one, but three important moments in the movie. There are appropriate sendoffs to a number of fan-favorites, from the exuberant Lando Calrissian (Billy Dee Williams) to petulant C-3PO (Anthony Daniels) – the latter, especially, having a large and hilariously funny role in this movie.

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The humor is provided by many of the characters, but especially the supporting cast of Finn (John Boyega), Poe Dameron (Oscar Isaac), and the droids. It’s sometimes apparent that Abrams is straining to have that same “holy trinity” dynamic that was seen between Luke Skywalker (Mark Hamill), Princess Leia and Han Solo, but this particular trinity actually works best when they’re apart: onscreen together, their relationship is a bit of a messy, especially when you take into consideration the film’s rapidly changing romantic dynamics, which we will talk about in the spoiler review. Suffice it to say, characters like Poe and Finn are fleshed-out enough that they can sustain subplots, and Rey is too busy hanging out with Kylo Ren to actually spend much time with her co-stars: the trio does argue a lot, but their best moments are undoubtedly when they’re joking around in their sarcastic, super-witty fashion.

As for the locations they visit and the new characters they meet, some of them are interesting and entertaining, others less so. Jannah (Naomi Ackie) and Zorii Bliss (Keri Russell), two new female characters who were hyped up in the film’s marketing, are largely unimportant to the story, but still have more screentime than Rose Tico (Kelly Marie Tran), whose large role in The Last Jedi perhaps gave off the impression that she would continue to be a lead character: but her role, which had been bombarded by angry fans, has been cut down to a mere handful of appearances. Honestly, if you didn’t remember her from the last movie, you would probably just think she was another one of the nameless extras who populate the film’s many crowd shots. The coolest and funniest new characters have to be diminutive mechanic Babu Frik (voiced by Shirley Henderson), who pops in with a number of unexpected but delightful jokes, and Richard E. Grant as the sinister, leering General Pryde.

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But the antagonist you’ve all been waiting for is, of course, the one and only Emperor Palpatine, portrayed once again by the fabulous Ian McDiarmid. Obviously, there are a lot of spoilers involved in this character’s return and sudden rise to power, but it’s not too much of a shocker to know that yes, he’s evil and just as terrifying as ever. He may lack the element of surprise now, but his inevitability is frightening all on its own. He’s still the master manipulator that he always was, and his talents are put to good use in this film, which finally shows him once again using the unlimited power that he wielded in Revenge Of The Sith.

Star Wars: The Rise Of Skywalker is not a perfect movie, not by any means. It will be met with backlash, fan outrage, and more of the division and debate that has defined the Star Wars brand in recent years. But it’s time to move past all that. This is the end of the Skywalker Saga: forty-two years ago, Luke Skywalker started an incredible journey across galaxies, through the deep, uncharted expanses of space, to new planets and star systems: and we followed him. We followed his father Anakin from purity to darkness, and stood by his side as he fell through the ranks of the Jedi and tumbled into the embrace of the Sith. And now, with The Rise Of Skywalker, we’ve followed his apprentice on her quest to finish what the Skywalkers started, and bring balance and order to the universe, with all the guidance of a thousand generations of Jedi. Will you follow her to the end, as you followed Luke and Anakin? Will you finish out this story?

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The choice is yours, and I’m not going to try and push you one way or the other. All I can say is this: if you do make the choice to see the film in theaters, be prepared to cry, and allow yourself to cry. There are moments when you’ll tear up because something is sad or emotional; there are moments where you’ll cry out of relief or pain; and there are many, many moments in this film where you’ll just start crying because…we’ve done it.

The final word in the story of Skywalker has been spoken.

Movie Rating: 9.8/10

91st Academy Awards

Last night, we were treated to one of the most memorable ceremonies in recent years. Rebounding from a string of controversies and setbacks, the show did indeed go on – and turned out to be surprisingly good. Without a host, the show flowed much more smoothly and we were spared a good deal of annoying jokes. The spotlight was instead turned on the movies themselves: all eight Best Picture nominees seemed relatively tied, but in the end it was Green Book that surprisingly edged past the competition – not without controversy of its own. There were some shocking snubs – both Lady Gaga and Glenn Close were defeated by Olivia Colman of The Favourite (Colman had, in my opinion, one of the best and most genuine acceptance speeches of the night). There were well-deserved wins: Spike Lee, writer of BlacKkKlansman, was honored with the Oscar for Best Adapted Screenplay; Alfonso Cuaron took home the Oscars for Best Director, Best Foreign Language Film, and Best Cinematography, all for his semi-autobiographical film Roma; Spider-Man: Into the Spiderverse was honored with the Best Animated Feature award; Rami Malek’s phenomenal performance as Freddie Mercury in Bohemian Rhapsody earned him the award for Best Actor.

The presenters did a fantastic job keeping the show moving along, but each still got ample time to shine: whether that was Jason Momoa in a pink velvet suit, Brie Larson and Samuel L. Jackson representing the upcoming Marvel movie Captain Marvel, or a whimsically attired Melissa McCarthy. There were some missteps – Awkwafina and John Mulaney’s presentation of Best Animated Short and Best Live Action Short was particularly cringe-worthy, and there was a bit of difficult with the Makeup and Hairstyling team from Vice, who didn’t seem at all prepared for their victory (which, considering they were only up against two other nominees, neither of whom had any chance of winning, is a little peculiar). And the performances were not all the best: I’m not particularly fond of either Lady Gaga or Bradley Cooper, so having to watch them cuddle up together while singing “Shallow” was rather boring – similarly, the Mary Poppins Returns soundtrack is not even remotely comparable to that of the original, so “The Place Where Lost Things Go” could not be helped by the impressive vocals of Bette Midler. And as for “When A Cowboy Trades His Spurs For Wings”, well…the less said about that, the better.

In the end, it was Julia Roberts who presented the final award, for Best Picture, and it was the cast and crew of Green Book who took the stage to accept that award, much to the surprise of critics who had predicted a clean sweep for Roma. Personally, I was expecting The Favourite to win, and was shocked by the result: Green Book has been clouded in controversy these past few months. Spike Lee even got up and tried to leave the theater after the movie was announced Best Picture, and his anger is in some ways understandable: the Academy does seem to still be stuck in a thirty-year old worldview, especially when it comes to race relations and diversity. It’s a shame, because up to that point we had seen an astonishing number of people of color take the stage to accept various awards, including Ruth E. Carter, the first African-American woman to win the Best Costume Design Oscar; and Regina King, who was Best Supporting Actress for her work in If Beale Street Could Talk. Presenters had included civil rights activist John Lewis, sports legend Serena Williams, and comedian Trevor Noah. After so much progress was achieved last night, to suddenly find ourselves talking about this setback is pretty disheartening. And I say this with all possible respect for Green Book, which is a very good movie, and whose stars, Viggo Mortensen and Mahershala Ali, are both terrific actors (Ali even won the Oscar for Best Supporting Oscar last night, also for Green Book). It seems inevitable now that every time Best Picture is called, the entertainment industry collectively rolls its eyes: that’s no surprise. What is somewhat surprising is how willfully blind the Academy must have been, deciding that this was the right choice. Over A Star Is Born, yeah, of course. But over films like BlacKkKlansman, or Roma? No, Green Book probably didn’t earn that win. I would much rather have had Black Panther take the award, to be honest. The progressive superhero movie won just three Oscars, and could have made much more of a positive impact than Green Book.