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

The Skywalker Saga has concluded in fire, blood and Force lightning. After forty-two years of incredible journeys across the stars, from Naboo to Mustafar to Tatooine and Endor, from clone wars and intergalactic trade disputes to hopeless rebellions, empires, and the like, we have finally reached the story’s final, and defining, chapter. And that means it’s time to discuss all the major reveals, revelations and shocking surprises in a movie that is largely made up of such moments, in my spoiler review of Star Wars: The Rise Of Skywalker.

And, um, SPOILERS AHEAD, obviously.

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There is a lot to love in this film, and a lot of elements and plot-points that have already been generating arguments and heated debates throughout the Star Wars fandom. We’re going to go through each of the film’s most divisive surprises, from low-stakes squabbles to the-fate-of-the-universe-hangs-in-the-balance battles.

Let’s start the ball rolling with two moments that absolutely could have been high-stakes scenes, but were quickly undermined. The first involved everybody’s favorite Wookie, Chewbacca (Joonas Suotamo), and his fakeout death on the desert planet of Pasaana. Chewie is captured by stormtroopers and almost gets carried away in a transport shuttle, before Rey (Daisy Ridley) and Kylo Ren (Adam Driver) use the Force to drag the ship this way and that in a potentially fatal game of tug-and-war. This moment echoes an iconic The Last Jedi scene in which Rey and Kylo struggle for mastery over Luke Skywalker’s old lightsaber, but here the outcome is that Rey suddenly unleashes a fiery explosion of Force lightning to try and overcome Kylo’s grip, blowing up the shuttle and giving us a hint of her Sith heritage. Fortunately for Rey, Chewie wasn’t killed in the explosion after all, and survives all the ensuing violence to finally get rewarded with his very own medal, having waited forty-two years to get recognition for his help in destroying the Death Star. Later in the movie, the same sort of scenario involves C-3PO (Anthony Daniels), who has to have his memory completely wiped so that he can be made to speak Sith, so that Rey can find the ruins of the Death Star, so that she can discover a Sith Wayfinder which Kylo ultimately destroys in the palm of his hand, so…there was no reason for C-3PO to have his memory wiped at all. Thankfully the movie remembers this and has an irate R2-D2 (Hassan Taj/Lee Towersey) reverse the override and restore C-3PO’s fond recollections of his best friend. The moment when he “dies” is still emotional, and does lead to some funny jokes, as all good C-3PO scenes do, but all of those theories about “Sith-3PO” were making mountains out of one very small, unimportant molehill.

The relationship dynamics in Rise Of Skywalker are next on the list, not only because of how screentime is wasted on them, but because of how unbearably messy they are. It’s no secret anymore that director J.J. Abrams and The Last Jedi director Rian Johnson couldn’t ever figure out any sort of continuity between their films, but the whiplash of seeing our protagonists leap at light-speed from one relationship to the next here seems to imply that Abrams can’t even establish continuity with…himself. Rey and her possibly Force-sensitive friend Finn (John Boyega) were the sequel trilogy’s “original” love story, back when Finn was cool for about five minutes, but that was before the fandom collectively went crazy for “Reylo”, the popular coupling of Rey and Kylo Ren that finally gets payoff in Rise Of Skywalker with the pair’s first kiss and declarations of mutual love – sort of: Driver and Ridley speak volumes with subtle gestures, and don’t really need to say anything at all. Such is not the case for Finn, who spends a large part of the movie waiting to tell Rey something, presumably something romantic, before just…forgetting? Moving on? He clearly has some emotions for her at the beginning of the film, despite having been caught up in a romantic entanglement with fellow Resistance fighter Rose Tico (Kelly Marie Tran) in The Last Jedi, and with fellow ex-stormtrooper Jannah (Naomi Ackie) here in Skywalker. But then again, Poe Dameron (Oscar Isaac) also maybe has a thing for Rey, or was I the only one getting that from their weirdly flirtatious exasperated argument in the film’s opening scenes, which even features droid BB-8 humorously looking back and forth between the two characters as Rey reprimands Poe for lightspeed-skipping in the Millennium Falcon, and Poe tells her off for damaging BB-8 (even as relationships crash and burn around them, Poe and BB-8 are resolutely loyal to each other: there’s a love story for you, and it would still be less weird than whatever was going on between Lando Calrissian (Billy Dee Williams) and the much-younger Jannah during the film’s finale). Meanwhile the film continues to tease the idea of semi-romantic tension between Finn and Poe in the subtlest possible way, while also giving Poe a former female love interest of his own, one who doesn’t really have a whole lot to do except be Poe’s former female love interest. I think the crucial element here is that she’s female: after all, gotta squash all those gay rumors. Having a two-second lesbian kiss is surely enough to make up for no substantial LGBTQ+ representation in forty-two years (and for certain countries, it was apparently too much).

Let’s move on to female characters, who, with the obvious exceptions of Rey and Princess Leia (Carrie Fisher, in her final, posthumous appearance), tend to get the bare minimum of screen-time or development. I’d be hard pressed to tell you what I thought of Jannah, Rose Tico or Zorii Bliss (Keri Russell), none of whom actually has anything to do except look cool, stand around, or stand around and look cool. Both Jannah and Zorii are at least technically supposed to have a handful of emotional beats each, but Rose especially seems to exist solely to make sure angry audience-members don’t ask where she went. But she might as well just not be here at all – she has maybe two or three throwaway lines, few if any character-building moments, and seemingly no acknowledgement of the fact that she was Finn’s love interest in the previous movie. I didn’t even think they were a particularly cute couple, but after the nightmare that actress Kelly Marie Tran went through, experiencing bullying and harassment from toxic fans, it seems suspiciously convenient that she’s little more than an extra in this film.

Other characters who fail to make an impression (and don’t worry, we’re almost done with the film’s big negatives), even after being hyped-up in the marketing, include Dominic Monaghan as another extra whose name I have already forgotten; Lupita Nyong’o reprising her role as Maz Kanata (another female character pretty much wasted); the super-creepy alien assassin Ochi of Bestoon (Liam Cook), who killed Rey’s parents and was then devoured by a giant sand-worm; and, unfortunately, Rey’s actual parents, played by Billy Howle and Jodie Comer. Yes, the very same Jodie Comer who is one of the Hollywood’s biggest rising stars at the moment – how are we not talking about the fact that she is in Star Wars, people?

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J.J. Abrams was always going to have to struggle to come up with an explanation for how Rey’s parents could technically be nobodies, but also somebodies: what he devised is pretty complex, so stick with me here. Rey’s grandfather is Emperor Palpatine (Ian McDiarmid), and her father is Palpatine’s hitherto-unknown son. Before this extraordinary reveal, it was never indicated that Palpatine ever had a son, or a family, or a life, for that matter: not as the Emperor, not even as Sheev Palpatine, Senator from Naboo. Not only are we never told the son’s name, or when he was born, where he came from, or whether he was Force-sensitive himself, but we are never given the answer to the most glaringly obvious question that arises as a result of this reveal: who, dare I ask, was the poor unfortunate soul that birthed Palpatine’s son, and…um, why? Was he born when Palpatine was still a relatively human person, or after Palps had transformed into the ghastly, shriveled-up hobgoblin that we’re most familiar with? Anyway, Rey’s Father, it is revealed, chose to be a nobody instead of embracing his family name, and that’s why he and his wife sold their daughter into a torturous life of basically slavery, to protect her from Palpatine – because of course any good parent, knowing they’re about to die, would choose to sell their own child to an abusive community of junk-traders and scavengers rather than, oh I don’t know, leaving her with people who might actually care about her safety! And of course it makes sense that, after killing the parents, Ochi of Bestoon didn’t fly back to Jakku and hunt down the only human girl in a village that we saw in The Force Awakens was probably less than a mile wide. In other words, while the parents were marginally necessary, it would’ve probably made more sense to have her be, like Anakin, the result of Palpatine’s meddling with midi-chlorians (or are we still trying to ignore those were ever a thing?). She could still have been a Palpatine, and we wouldn’t be left with the horrifying implied revelation that Palpatine actually fathered a child.

Apart from the messiness of the Rey Palpatine reveal, the Emperor’s return is a welcome one. His resurrection is completely unexplained (“The dead speak!”, the film’s opening crawl reads, and that’s about as much explanation as you’re gonna get), but it’s nice to see that he isn’t totally back in shape after being tossed into the hellfire that was the second Death Star’s utter obliteration: now, the Emperor’s limp, skeletal body moves around on the end of a long metal crane-arm extended from the ceiling of his throne room on the Sith planet Exegol, like a creepy ventriloquist doll speaking with the voices of a thousand generations of Jedi. McDiarmid is obviously fabulous, and even gets to briefly return to a form we last saw him take in Revenge Of The Sith, as he sucks the life force out of Rey and Kylo Ren to repair his broken body and restore his strength. This time around he’s extra moody, having just discovered that his granddaughter doesn’t want to take part in the Palpatine family photo-op with his millions of ghostly Sith followers. And so, with no choice left to him but to destroy the universe, he unleashes the Final Order.

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The Final Order is appropriately ominous at first, as we see hundreds of titanic star destroyers rise from beneath the ice of Exegol, each armed with a planet-destroying weapon, to wreak havoc on the galaxy and establish Palpatine’s dominion. But these weapons are only used, to obliterate a single planet, and as a result the Final Order is ultimately defeated by a cavalry of space-goats. For the record, I have no complaints about that – in Star Wars, the underdog always comes out on top, and we love to see it. The film’s epic finale has Lando Calrissian and about a billion other spaceships pop out of hyperspace to come rescue the goat-riders and put an end to General Pryde (Richard E. Grant) and his menacing fleet – though not before a couple more deaths, including that of pilot Snap Wexley (Greg Grunberg), who gets shot down just before the battle turns in the Resistance’s favor. Bad timing, Snap.

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But few of the film’s scenes hit home quite like Leia Organa’s death, and the extensive use of ghosts, Force-ghosts and Jedi voice-overs. Midway through the movie, as Kylo Ren and Rey duel to the death amongst the shattered ruins of the Death Star, Leia finally reaches out to her son through the Force, using all of her Jedi training to find her son, the Ben Solo she knew and still loved, and bring him back to the Light Side. She succeeds, but has to use all of her remaining strength to achieve victory over the corrupting influence of Palpatine and his puppet Snoke (voiced by Andy Serkis), who had stolen Ben away from her and turned him into Kylo Ren. In the end, though Leia passes away in the attempt, she is a crucial element in the Skywalker Family’s victory over the Sith, just as we had all hoped she would be. There is no doubt that, if Carrie Fisher were still alive, then Leia would have had a much larger role in this film, but what we get is still powerful and emotionally satisfying – Luke Skywalker’s Force-ghost tells Rey that Leia actually trained to be a Jedi after the fall of the Empire, and he even gives her Leia’s very own lightsaber, which Rey subsequently uses, along with Luke’s a.k.a Anakin’s, to defeat Palpatine, symbolically uniting the power of all the previous Skywalkers against the Emperor. But it’s not just the Skywalkers who stand with Rey – it’s all of the past Jedi, who visit Rey as voices in her head as she lies, almost lifeless, on the ground at Palpatine’s feet: and I’m not even just talking Luke Skywalker (Mark Hamill) and Yoda (Frank Oz). A whole bunch of fallen Jedi give advice and courage to our protagonist in that moment, from Obi-Wan Kenobi (voiced by Ewan McGregor and Alec Guinness) Qui-Gon Jinn (voiced by Liam Neeson) and Mace Windu (voiced by Samuel L. Jackson), to some of the extended universe’s most notable heroes like Kanan Jarrus (Freddie Prinze Jr.) and Ahsoka Tano (voiced by Ashley Eckstein), who apparently died a Jedi despite (a) being alive the last time we saw her, and (b) leaving the Jedi Order in The Clone Wars. Fittingly, the final word is given to Anakin Skywalker (Hayden Christensen) himself, as the Jedi-turned-Sith-turned-Jedi tells Rey to restore balance to the Force and finish what he started. But even as a thousand generations of Jedi live inside Rey (something she acknowledges in an Iron Man-esque growl of determination, with her “I am all the Jedi” line), so too does Ben Solo have his own ghosts. Soon after being redeemed by his mother’s purifying love, Ben has a conversation with the ghost of his father, Han Solo (Harrison Ford), who actually appears physically – and, weirdly, also has audible footsteps, despite being intangible – and, in typical Han fashion, abruptly cuts his son off before he can start apologizing for all his sins with a quick “I know”, echoing his long-ago declaration of love to Princess Leia.

There are many echoes reverberating in The Rise Of Skywalker, from quick but powerful payoffs, to a number of startlingly poetic parallels. Even Luke Skywalker is still developing as a character even after his death, finally managing to lift his X-Wing fighter jet from the waters of Ahch-To even after infamously failing to do so on Dagobah in The Empire Strikes Back. Ben Solo echoes Anakin’s redemption arc by turning to the Light at the end of the movie, helping Rey to defeat Palpatine. And it’s Palpatine’s own Force-lightning which Rey deflects back into his hideous face, ultimately disintegrating the Emperor (in what appears to be a Raiders Of The Lost Ark callback) and preventing Rey herself from succumbing to the Dark Side. And then, she sort of dies.

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But thankfully, all those Force-phone calls between Rey and Ben were actually leading up to something, and something big: while in The Last Jedi they mostly just provided the two characters a way to communicate, Rise Of Skywalker adds a new wrinkle to the relationship, allowing Rey and Ben the ability to transfer physical objects via telepathy, including a beaded necklace, Darth Vader’s helmet, and a helpful lightsaber. Ben, cradling Rey’s dead body in his arms after the battle, is able to take things one step further by physically transferring his own life to Rey, reviving her but also killing himself in the process. Rey is quick on the uptake and manages to steal a kiss from the redeemed Jedi, just before he fades away into the Force, leaving Rey Palpatine to carry on with the massive burden placed upon her by generations of Jedi, Sith and Force meddling.

One thing she will not be carrying anymore is the Palpatine family name, which she abandons in the film’s final scene in exchange for “Skywalker”. The scene is a poignant one: Rey goes to Tatooine and buries Luke and Leia’s twin lightsabers just outside the Lars moisture-farm where the story began back in 1977. The Skywalker siblings’ Force-ghosts, united in death, look on as she takes up their family name and sets out into the double sunset with BB-8 beside her, and a lightsaber of her own (a lightsaber that I and many others think is yellow, while others claim it’s white). This is undoubtedly the film’s most controversial move: on the one hand, it makes sense that Rey wouldn’t want to be a Palpatine, and it’s poetic for her to adopt the Skywalker name, making sure that their name never dies out from the galaxy. On the other hand, fans are upset that Rey didn’t simply choose to keep the Palpatine name and redefine her grandfather’s legacy, proving that you can still be a good person, no matter where you come from or who your family happens to be. Both arguments are understandable, but at the end of the day it comes down to the fact that Star Wars has always been the story of the Skywalker family – to let their memory die out, buried in the sands of Tatooine, would be a dishonor to their legacy.

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And with that, the story of Skywalker is finished, once and for all. Peace has been restored to the galaxy. Balance in the Force has been achieved, through the actions of Rey Skywalker and Ben Solo, champions of the Light and Dark, who came together in what they called a “Force dyad” to become the “two that are one” – remember my Star Wars recap reviews, where I told you that duality would have a part to play in this last movie? I didn’t even expect that sort of shoutout in the film’s own dialogue (I expected it to be all in the subtext), but the confirmation was highly appreciated. The Empire, The First Order, and The Final Order have all been vanquished, and nobody needs to build any more Death Stars. For the first time, the galaxy is completely tranquil, and we no longer need to worry about what Sith Lord will rise next, because there won’t be another Sith Lord. This is it. This is the end.

We, the fans of this incredible franchise, have finally brought the story home. There will undoubtedly be much more Star Wars to come in future years, whether in the form of prequels or sequels, but I hope that Disney never feels the need to resurrect Palpatine once again, or bring the Skywalkers back. Any tampering along those lines would serve only to ruin the perfection of this pure, beautiful moment.

This is the ending we’ve been looking for.

“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

“Star Wars: The Last 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.

Star Wars: The Last Jedi

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If you’re reading this review, you’re probably aware that this film has sparked a very hostile, very aggressive reaction from both its defenders and detractors. The division in the Star Wars fandom over whether or not The Last Jedi is good, bad, or even an actual part of the series’ canon, has overshadowed many of those who attempt to talk about the film without suddenly veering into angry rants. You see, the thing is: there is no right answer, because opinions are subjective. Subjectively, The Last Jedi is the best Star Wars movie: there, I said it. I’ll also say this – it’s a masterpiece of cinema, and, apart from a few iffy bits, a great film. And you don’t have to believe, listen to, or even acknowledge what I’m saying.

I do hope you’ll at least take some time to listen, though, because Jedi is a film I feel passionately about, and I hope my arguments for why are at least understandable.

The movie came at a crossroads in the saga’s history, and it’s not surprising that the story reflects that, touching on themes of evolution, and the process of adaptation: if you read between the lines, it’s not hard to see that Jedi is speaking directly to the fandom, and addressing the glaring generational divides within its ranks. “They are what we grow beyond”, Master Yoda (voiced by Frank Oz) says at one point, and it’s like he’s talking about the new generation of Star Wars aficionados. If only the transition of power could be so peaceful in real life!

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Unfortunately, Star Wars has always had a problem with a particular group of fans known as “gatekeepers”. These are typically the fans who grew up with the films back in the 70’s or early 2000’s, and now claim to be experts on the franchise. They can probably recite the names of several obscure Outer Rim planets, or give you the entire history of the Old Republic with textbook accuracy, or tell you the life-stories of every single person and alien inside the Mos Eisley cantina in A New Hope. The problem comes about when they start lecturing new, less experienced fans about how they’re the “real” fans, the films were made for them and their enjoyment, and anything that disagrees isn’t canon. The character of Kylo Ren (Adam Driver), who lectures the film’s heroine with a long-winded tirade about how she’s “a nobody” who doesn’t belong in the illustrious saga of the Skywalker family – he’s like the ultimate worst example of a gatekeeper: the type who doesn’t want to see women or minorities in “his” story.

But it’s not just diversity that gatekeepers have been afraid of for years: but also a new group of fans and movie-goers in general, who want to see the story branch out in new directions or take bold, new risks, rather than repeating past hits and highlights for the next decade. And director Rian Johnson has made a film appealing to those people – The Last Jedi is strongly reliant on the idea that there is no one Star Wars story: everybody has their own opinion on the beloved series, and that’s good. There are no right answers. There is no right Star Wars. It’s a theme he reinforces in many different ways, sometimes loudly, sometimes more subtly: since I previously mentioned Kylo Ren as a gatekeeper, let’s turn the tables and look at the villain’s mirror image and moral opposite, the mysterious Rey (Daisy Ridley). She’s been asked time and time again who she is, where she comes from, what makes her so special – but what she learns to accept in this movie is that, yes, as Kylo said, she’s a nobody, probably nothing more than the daughter of some nameless pair of scrap-traders on the desolate heap of Jakku. She (and we, the audience) have been waiting patiently to see who Rey’s parents will turn out to be, but the big revelation is that they don’t matter: because in the original Star Wars, long before “I am your father” or much less midi-chlorians, had been conceived, anybody could be a hero, no matter who they were or what background they came from. At the very end of the movie, we see it once again in the shape of a young, Force-sensitive boy on Canto Bight, who looks up at the stars with eyes full of wonder: this movie is as much about him as it is about anyone, because it’s a story about passing the torch from generation to generation, and about the legends we inspire in our lifetimes that will influence a new group of heroes.

Many people claim that The Last Jedi‘s overarching theme is best exemplified by Kylo Ren’s singularly pessimistic line: “Let the past die. Kill it if you have to.” I could not disagree more. Jedi never once tells us to forget our past – in fact, on multiple occasions, it requires its cast of characters to confront their own pasts and learn from past failures. I mean, Yoda himself says it: “The greatest teacher, failure is”. That’s at least one of the themes of The Last Jedi – that you can’t run from your past, you need to embrace it and see if you can learn from it. If you can find a balance and live between your past and your future, then happy will you be.

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And that word, “between”, is what will lead into the next section of this review, because I say so and I don’t have a better lead-in. The idea of duality has always been present in Star Wars, present in almost every aspect of the galaxy’s society, as we’ve discussed; but Jedi is the first film to tackle the theme head-on and explore the gray area in between any two things. It’s something most noticeable in the parallel journeys of Rey and Kylo Ren, who find themselves being pulled away from their respective sides of the Force and towards each other, in some neutral zone between the Light and the Dark, between Jedi and Sith, between Good and Evil. The struggle is great for both of them, as neither one truly understands what is happening, or why they are being called to each other. In their haste, they mistake it for a semi-romantic attraction (I don’t ship the “Reylo” pairing, and I think it works best when you look at it as merely an idea that Rey and Kylo got stuck in their heads during their many telepathic encounters: it’s notable that after they actually meet in person, neither one shows any romantic interest in the other). Rey and Kylo are very hesitant to inch away from their own separate corners of the Force, and even in their epic showdown neither one offers to turn, as they both had thought the other would: instead, they spout their own propaganda at each other. It’s Kylo who, surprisingly, comes closest to the truth when he begs Rey to join him in a world where there are no Jedi, no Sith, no First Order, no Resistance. But – surprise, surprise – his idea for how to achieve that perfect world involves intergalactic genocide. In the end, neither Kylo nor Rey is able to make the first move towards establishing a balanced universe, and Kylo ends up retreating back into the shadows, becoming Supreme Leader of the First Order and doubling down on his attempt to destroy the Resistance. But the meeting of these two champions still gives us reason to hope for a universal oneness someday – in their coup against Supreme Leader Snoke (voiced by Andy Serkis) Rey and Kylo stand back-to-back and fight side-by-side, without a side. They swap lightsabers for a minute, using opposing sides of the Force to fight. Even when they do move to fight each other, neither one is able to claim Luke Skywalker’s lightsaber for their own, to the point where the saber actually splits in half rather than choose an allegiance. These two are wholly separated, but also connected by a powerful bond. Whether we’ll see them stand together in Rise Of Skywalker or go their separate ways, is anyone’s guess.

But based on what Johnson started in his film, I wouldn’t count out the possibility of Rey and Kylo joining each other in the critical gray area between Good and Evil. In The Last Jedi, morality is a societal construct, and one that means little when held up to scrutiny: as codebreaker, jailbreaker and turncoat extraordinaire DJ (Benicio Del Toro) reveals, both the First Order and the Resistance are buying their weapons from the same suppliers, who in turn squander their money on the lavish – and possibly illegal – pleasures of Canto Bight. While we’re on the subject, I have to ask whether anyone actually likes the character of DJ, or wouldn’t have preferred if Finn (John Boyega) and Rose Tico‘s (Kelly Marie Tran) paths had led them to the person they were actually looking for in the first place, the Master Codebreaker all-too briefly portrayed by Justin Theroux?

Even heroes like the once-mighty Luke Skywalker (Mark Hamill) make questionable choices: arguably the biggest shocker in the movie is when it is revealed that Luke, in a moment of weakness, went to kill a young Kylo Ren as the boy slept. Many fans argue that this is a betrayal of Luke’s character, as we had previously seen him risk his life to try and bring Darth Vader back from the Dark Side. I get where they’re coming from, but it’s also not like Luke hadn’t exhausted much of his strength and stamina fighting Vader. He probably wasn’t too keen on the idea of spending the remaining half of his life struggling to redeem his nephew’s soul. And let’s not forget that, while under Palpatine’s corrupting influence, Luke did try to brutally murder Vader and started lopping off his limbs. Luke has always been a wild card: it’s in character for him to be conflicted.

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It’s the same situation within the ranks of the Resistance, where people are more concerned with doing the right thing than looking like heroes: the violet-haired Admiral Amilyn Holdo (Laura Dern) even has to squash a mutiny led by “trigger-happy flyboy” Poe Dameron (Oscar Isaac), after he decides to disobey her orders and make up a new plan on the fly, as he so often does. The film at first makes us think that Holdo is a villainous or morally questionable character because she doesn’t tell her plans to Poe, but ultimately turns the tables on us and reveals that it was Holdo, all along, who had the right idea, and that she didn’t reveal her plans because Poe had been demonstrated earlier in the film to be unruly and unmanageable, and she knew he would never follow through with her last-ditch, self-sacrificial plan. But with the help of a little Leia ex machina, everything gets sorted out and Holdo proceeds to enjoy one of the coolest death scenes in film history, as she flies a spaceship at light-speed straight through the attacking First Order fleet, cutting star destroyers in half with blinding accuracy. For more on why Admiral Holdo is actually the best character in The Last Jedi, you can check out this article here.

Sadly, there’s another prominent theme in this movie: that of saying farewell, and going out on a high-note. Carrie Fisher, who had portrayed the indomitable Princess Leia Organa since 1977, passed away at the age of 60 just a year before The Last Jedi opened in theaters. When the film came out, it was clear that Carrie went out on a high-note, finally getting to use the Force in one of Jedi‘s most memorable moments. While there is suspicion that she will have a small appearance in The Rise Of Skywalker, it’s comforting to know that at least she got to be a true Skywalker before her passing.

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In-universe, however, it’s Luke Skywalker who gets an epic send-off, using the last of his strength to distract Kylo Ren long enough to let the Resistance escape through his fingers. His death, alone and at peace, watching the sunset just as he did forty years previously when his journey began on Tatooine, is poetic and beautiful. Though he had been troubled in life by his own failure to stop the spread of evil, he was able to leave the world knowing that he had done his best. Think of it this way: at least he got a death scene. Poor old Admiral Ackbar was simply pulled out into the frozen vacuum of space without any warning. Luke also had the good fortune to die in some of the best lighting Star Wars has ever produced – seriously, what happened to the days of moodily lit, smoky underground space-pubs and dark Death Star corridors? Nowadays, a respectable Skywalker wouldn’t be caught dead walking around without at least two different setting suns shining down on him and perfectly illuminating him from every possible angle. And I haven’t even mentioned the cloak: I mean, let’s be honest here, Aragorn and Harry Potter wish they had cloaks like Luke Skywalker’s – the final scene of it blowing away across the oceans of Ahch-To is so sad in part because that beautiful accessory is going to land somewhere in the water where it’s impossible to salvage. Most of the scenes of Luke’s beautiful island hermitage were filmed on the remote island of Skellig Michael, off the coast of Ireland. Everyone likes to rant and complain about Luke turning into a weird old man drinking green milk and hunting giant codfish, but why don’t we ever talk about the fact that he lived, undisturbed, for however many years, in one of the most gorgeous places in the Star Wars universe? I mean, seriously, if you’re going to get angry, at least get angry about the fact that he never had the courtesy to invite anybody to his island getaway!

Speaking of which, let’s just run through some of the locations visited in The Last Jedi. Aside from Ahch-To, which, admittedly, is pretty lonely aside from the random group of Jedi nuns and a couple hundred adorable porgs, we also visit the glittering vistas of Canto Bight, the Star Wars version of Monte Carlo, and the planet Crait, a snowy planet covered in blood-red soil which allows for some of the most family-friendly goriness we’ve ever seen in Star Wars, even under the Lucasfilm banner. Maybe you don’t like the movie, maybe you hate the themes, the characters, the whatever…but can we all agree that these locations are amazing?

The Last Jedi also includes some epic action sequences: most notably an opening battle that rivals the similar opening of Revenge Of The Sith, except that this one has the instantly lovable, resilient Paige Tico (Ngo Thanh Van) giving up her own life to save the Resistance, and not a bratty teenage nightmare named Anakin Skywalker. Thus, this battle actually tops the opening battle of Sith in my opinion, and gets the film rolling along at breakneck speed. To add onto that, why don’t we give enough credit to the complexity of Rose Tico’s character, at least at first? There she was, having just lost her sister, and she finds Finn trying to flee in one of the escape-pods to go look for Rey (as if she needs his help). While Rose really doesn’t have anything to do beyond that initial scene, it’s infinitely amusing to watch her zap Finn into unconsciousness to prevent him from “deserting” – and, even though we never actually see any real deserters, the scene indicates that multiple people have tried to run from the fight, making the Resistance feel like an actual army rather than just a bunch of the most perfect, fearless people in the galaxy teaming up to fight evil.

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There are multiple disappointing moments in the film beyond the usual ones that get brought up all the time, like about how “the escapade on Canto Bight serves virtually no purpose”, or “Snoke’s backstory was never explained”, two things that are certainly problematic. But in the name of originality, and mostly because I’m just a big Gwendoline Christie fan, here’s a complaint that doesn’t get brought up as much: the huge waste of a character that is Christie’s Captain Phasma. While it’s already frustrating that Christie was forced to hide under a heavy suit of metal throughout her time in the franchise, it’s even more annoying that, while male metal-clad characters like Darth Vader and The Mandalorian all get cool action scenes despite being helmeted and hidden, Phasma was never able to do anything truly impressive with her limited screentime. If they weren’t going to use her in any way in The Last Jedi, why didn’t they just leave her in some random trash-compactor on Starkiller Base back in the last movie? How did she even get off of Starkiller Base before it exploded? I have a lot of questions.

If you allow me to continue talking, I will begin to ramble, and rambling leads to meandering, which leads to whatever it is I’m doing right now. And that is why I must now say goodbye to you, dear reader. We’ve worked our way through more than four decades of Star Wars history to get to this point, and we’re finally here, at the end of all things. Very soon, I will have the pleasure of being able to see The Rise Of Skywalker, and I can only hope it lives up to not only my expectations, but those of fans around the world – some of whom have been waiting for this movie since 1977. Think about that, for a moment, and then consider the message of The Last Jedi, a movie that, at its core, is simply trying to make sure that the fire of rebellion never goes out.

Never stop watching Star Wars. Never stop sharing it with new people. Never stop fighting for hope and freedom, in any way you can. The Last Jedi reminds us that we are all part of the Skywalker Saga – no matter who we are, where we come from, or what we look like. Star Wars belongs to all of us, and that will never change.

May the Force be with you.

Movie Rating: 9.9/10

“Star Wars: The Force Awakens” 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.

Star Wars: The Force Awakens

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A lot gets made of the fact that, when designing the story structure of The Force Awakens, director J.J. Abrams used the first Star Wars movie as a template instead of trying to make sense of George Lucas’ fabulous script draft which would have explored the backstory of the mysterious, microbiotic Whills, yet another previously unknown species which apparently live inside Force-sensitive beings. Tell me, dear reader: would you rather be forced to sit through another trilogy about midi-chlorian biology, or something that actually focuses on…oh, I don’t know, an actual story? Doesn’t mean Abrams couldn’t have gone for something a little more fresh, but it’s a Star Wars tradition at this point to start out basic.

And let’s not pretend like A New Hope isn’t an awesome movie to try and repeat. The Force Awakens, thankfully, is a good copy of a very good movie. Could be worse: it could have been a clone of Attack Of The Clones, for instance!

There are several crucial differences between Lucas’ original film, and Abrams’ wildly successful remake, which is one of the highest-grossing movies of all time. Abrams’ Star Wars film, the first produced under the Disney banner, is more committed to having a diverse cast representing many different demographics. The story has a strong thematic core, and does break away from A New Hope at the very end to set up an intriguing cliffhanger and a fascinating conflict between our protagonist and her sworn enemy. And the film overall has a sense of self-awareness that allows for some fun bits of meta-humor: not quite as much as The Last Jedi, but still quite good.

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Rey (Daisy Ridley) is not Luke Skywalker. Though she may live a nearly identical life on a nearly identical planet, she is in many ways his opposite. For instance, Rey is compelled to eventual action by her desire to do good, not by any personal motivation – in fact, if she had her way, she would be flying back to the dusty sand-pit of Jakku as fast as possible to await her parents’ return. Ridley does a very good job of selling Rey’s resilience, practicality and the feeling that she truly is a nobody. Rey clearly has a strong connection to Skywalkers of old, and it remains to be seen whether The Rise Of Skywalker will reveal a missing link between her family and theirs, but she is at first reluctant to accept any of the duties bestowed upon her. She doesn’t have any princesses to save, any helpful Kenobi to guide her (actually, there is a Kenobi-lookalike living not far away on Jakku, but he gets murdered by the First Order within the first five minutes), or any known reason to get involved besides wanting to help the Rebellion in their time to need. For her archenemy, Kylo Ren (Adam Driver), it’s a personal affront to his strong sense of heritage to see a “nobody” daring to intrude on the Skywalker Saga.

Kylo Ren is not Darth Vader, and the First Order is not the Empire. Whereas the Empire was modeled strongly after the Nazi regime, the First Order are their modern counterparts, neo-Nazis. Kylo Ren is no tragic hero in the style of Anakin Skywalker, no matter how much he yearns to wear the helm of Vader and declare himself a Sith Lord: Kylo, with his idiotic accouterments of darkness and unintelligible muffled voice, is Vader’s cheap knock-off – an elitist, privileged white boy who runs away from home only to be brainwashed by cultists and madmen. As for the First Order, we’ve never actually had a clear idea of where they came from or how they established power in the galaxy, but their acolytes are obviously under the impression that they’re following in the footsteps of history’s forgotten heroes, as you do when you’re a neo-Nazi. And yes, there were many ways to get this point across that didn’t involve the First Order somehow having all the same Imperial technology and agendas, all the way down to having Stormtroopers who are just as bad at firing weapons.

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Speaking of Stormtroopers, the character of FN-2187 a.k.a. “Finn” (John Boyega) has no equal in the original trilogy. As a First Order foot-soldier sickened by the horrors of warfare and struggling between his fear of the Order and his instinct to run, Finn represents everybody trapped in a dark place, looking for a way to escape. But after he does achieve his freedom, the film really never has anything more to do with his character, and so slowly but surely he becomes comic relief, with even his few distinguishing features watered down or made into jokes: oops, no, he was never really a great stormtrooper after all – turns out, he was a janitor. Whoops, he got his hands on a lightsaber for a moment there – but he’ll be stuck with a random blaster-gun from now on. After a while, it’s simply pathetic to watch as he gets dumbed down, tripped up, or otherwise undermined by a script that never seems to remember it’s dealing with a literal Stormtrooper.

The original characters are not the same characters we knew. We see Luke Skywalker (Mark Hamill) only very briefly, but exposition allows us to understand that after the events of Return Of The Jedi, the legendary Skywalker went into hiding after his new Jedi temple produced the villainous Kylo Ren: much of the plot of The Force Awakens revolves around trying to track down the last Jedi and enlist him to fight the First Order. Leia Organa (Carrie Fisher), on the other hand, has aged gracefully into her responsibilities as commander of the Resistance, a group of battle-worn veterans who apparently only got to enjoy a decade or two of peace before going back onto the battlefield. Even C-3PO (Anthony Daniels) is hardly recognizable anymore with his new red arm, while R2-D2 (Kenny Baker) has gone into low-power mode, awaiting the return of Skywalker (the latter development, besides being a necessary plot-point, also seems contrived to keep our attention on the new droid, BB-8). But the most startling change has come over Han Solo (Harrison Ford), whom we last cracking jokes and wooing Leia after the Battle of Endor. Han in The Force Awakens is no hero, but instead a worn-out pirate back to his old ways: he’s fled from his duties as a parent, having given up all hope on his wayward son, Kylo Ren (whose given-name is actually Ben Solo). It’s fun and charming to see Han seeking adventure in the great unknown with his usual rogue’s gallery of weird-looking alien villains, but it’s not long before he’s reluctantly drawn back into the fate of the Skywalker family, as he’s called upon to track down Kylo Ren and bring him home. The relationship that he develops with fellow pilot Rey has led to much speculation that the two are father and daughter, but that theory doesn’t make much sense to me (though Abrams plays his cards just right, so that every theory about Rey’s parentage seems like it could have a seed of truth): I think Han saw Rey as the child he never had, the child Kylo could have been if he had been a better father. When Han eventually comes face-to-face with his son, Kylo seems almost to hesitate, to waver, asking aloud for guidance and help. There are many theories about what exactly occurs in this moment, and what was going through both characters’ heads as they both realized what needed to happen. But whoever it was that ignited the blade, somehow Kylo Ren’s lightsaber ended up embedded in Han Solo’s chest. Most likely it was Kylo with the guidance of his Sith master Snoke (voiced by Andy Serkis), but maybe it was Han acting quickly and selflessly to ensure that his son would be kept alive by the First Order; maybe that would ease the burden of patricide off of Kylo’s shoulders; maybe that would preserve a small glimmer of light within his dark, corrupted soul. Whatever you choose to believe, I think we can all agree that in this case, Han never even had a chance to shoot first.

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He also never gets a proper burial, as Starkiller Base explodes shortly after his death, meaning that his body is merely stardust in the vacuum of space. Maybe that’s how he would have wanted it. It’s certainly how Harrison Ford wanted it: he had been waiting for that moment since 1983.

Starkiller Base is not…no, actually, Starkiller is basically just the Death Star, isn’t it? Except bigger and covered in trees for whatever reason. Is it an actual planet that was converted into a gigantic weapons-system for the First Order? If not, and it was man-made, why would you waste time terraforming the place – especially since you know the entire planet will get blown up in a couple of minutes by two or three fighter pilots? Beyond being annoying redundant, the reveal that Starkiller is 5.5 times the size of the Death Star is honestly insulting to the pilots and brave Rebels who lost their lives disabling that weapon back when it was considered the biggest thing in the franchise.

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Pretty much everything else is precisely what you think it is: Poe Dameron (Oscar Isaac) is a more morally-pure Han Solo (though even that is apparently set to change, with the character possibly meeting some unsavory rogues from his own past in The Rise Of Skywalker). The Resistance is virtually no different than the Rebellion of yesteryear – they’ve got the same tech, the same military commanders, the same call-signals.

The Force Awakens is not A New Hope.

It’s the same hope, with a different name, and a slightly different story, told from a new perspective and through the eyes of a modern, diverse cast of characters. It’s, admittedly, not the most groundbreaking installment in the saga’s history. But this same hope is what’s been keeping the Star Wars story going strong for over forty years, and it hasn’t failed yet: it’s the hope that rebellions are built on, the hope that lights a fire that will restore the Republic, or ignite Resistance, or burn the First Order down, or do pretty much anything you want it to – it’s all the classic charm of Lucasfilm, mixed in with a little sprinkle of Disney magic, and I must say, I quite enjoy the taste.

Movie Rating: 7.9/10

“Star Wars: The Rise Of Skywalker” Final Trailer!

I’m not crying, you’re crying. Okay, well, I’m crying a little, but only a little…*I watch the trailer for the fifteenth time in a row, and get up to Carrie Fisher’s voice-over at the end*…okay, I’m officially sobbing again.

This stuff is pretty emotional. It’s the final trailer for the final movie in a saga that has spanned over forty years – I mean, that sort of thing doesn’t happen every day. We cried tears over the conclusion to a single decade of the Marvel Cinematic Universe…imagine four decades of Star Wars, coming to a close at long last, delivering what may or may not be a satisfying conclusion to one of the most epic and legendary adventures of all time, one of the greatest stories ever told onscreen. Am I expected to hold back my tears when C-3PO, who’s been one of the few constants in this franchise (and has appeared in every single Star Wars film to date) tells his friends that he’s taking one last look at them, in case something happens to him? How about when we catch a fleeting glimpse of what looks to be the Tantive IV, the first starship to ever appear in Star Wars, crash-landing on an alien planet? Am I supposed to simply ignore Daisy Ridley being visibly moved to tears at multiple spots in the trailer? Am I supposed to just forget about – well, actually, I am trying to forget about “Reylo”, but am I supposed to forget about Reylo? No, I don’t think so! *voice cracks*

As you can imagine, I’m emotionally distraught right now. The trailer starts out a bit slow, but quickly builds up to a crescendo, giving us hints of the thrilling action and bittersweet emotions we should expect from the final chapter in this story: Resistance fighters riding horses in a cavalry charge across the shattered wreck of a star destroyer, vast Imperial star cruisers emerging from the ice of a frozen planet, Kylo and Rey dueling amid the ruins of the second Death Star. Palpatine is back, and seated once more on a throne – director J.J. Abrams loves his parallels, you know, so we might want to be prepared for a Vader-esque self-sacrifice moment at the end of the film, whether from Kylo Ren or Rey – is Rey going to be Dark Rey? Is that still a thing? Am I supposed to think about that right now, when I have so many things to cry about? Oh yeah, and for whatever reason Dominic Monaghan of The Lord Of The Rings is in this movie – I’m cool with that. He’ll probably make me cry even more: not for any particular reason, just because…Lord Of The Rings is sad. You know? I mean, that connection makes sense to me: it doesn’t to you?

But nothing makes the tears start flowing like the very ending, when Carrie Fisher’s voice-over delivers the final line in the final trailer for the final film in the final trilogy of this incredible saga, a trailer that “just-so-happened” to drop on what would have been Fisher’s 63rd birthday: just after Mark Hamill’s “The force will be with you”, her voice, soft and comforting, is heard, with a simple but passionate: “always”. The story of Star Wars lives on forever.

So don’t blame me for crying. The blame is solely with you, dear reader, if you are somehow unmoved by this nostalgic sob-fest. *cries dramatically, as the Star Wars theme plays for the twentieth time*

Trailer Rating: Off The Charts.

Jonah Hill (Maybe) Cast In “The Batman”!

With the focus all on Bruce Wayne’s nemesis Joker for the past few weeks, with critics and early audiences chattering excitedly about controversy and Oscar drama, it’s understandable why plenty of people have probably forgotten about, you know, Bruce Wayne. But yes, indeed, there is a new Batman movie coming out of DC Studios, and the headlines it’s been stirring up today might turn the attention away from Joker for just a little while (not enough to make a dent in that film’s box-office tracking, though).

The Matt Reeves-directed Batman prequel, simply entitled The Batman, already caused quite a rift in the DCEU fandom when it cast Robert Pattinson in the lead role, as the franchise’s newest Dark Knight. But since then, there’s been little to no news about the film, and much of what has been rumored seems “too good to be true”. Daisy Ridley was rumored at one point to be playing Batgirl; then it was Andy Serkis as a possible candidate for The Penguin; Eddie Redmayne lobbying for the role of The Riddler; Vanessa Hudgens wanting to play Catwoman; Josh Gad campaigning for The Penguin; just last night Zendaya made unintentional waves in the Batman fandom by wearing green to the Emmys, which, according to some, was a nod to Poison Ivy; only a few weeks ago it was Rihanna who accidentally got herself labeled as Poison Ivy by over-enthusiastic theorists; so on and so on. The list of A-list actors who want to be in The Batman to accompany Pattinson on his journey back to stardom is incredibly long, but so far none of these are more than rumors or fan-speculation. And as for the actual cast that is being assembled, well, it’s a lot more low-key. Matt Reeves has already made it clear he’s going for a much more grounded approach to the superhero than has been previously attempted, so maybe he just doesn’t want big, flashy superstars distracting from his vision. Whatever his reasoning, he’s just picked out two actors for lead roles – and, well, they might not be Rihanna, but they’re nothing to sneeze at, either.

First, Westworld‘s Jeffrey Wright has apparently been cast to play Commissioner Jim Gordon, Gotham City detective, Batman ally, and, most importantly, the father of Barbara Gordon, a.k.a. Batgirl. Wright’s casting suggests that a woman of color could be up for that coveted role: considering that Batgirl, in the comics, happens to be a white woman with red hair, this will undoubtedly spark more of the usual uproar about how “Hollywood hates redheads”, a statement that is still laughably wrong no matter how many times it gets brought up. However Reeves decides to interpret Barbara, though, the casting of her father is a win for Wright, who’s got a decent, but relatively low-profile resume: he’s definitely looking to change that, scoring roles in the next James Bond film, as well as Marvel’s What If? streaming show.

Then, there’s the big headline: Jonah Hill, a two-time Oscar nominee who has mostly flown under the radar with mainstream audiences, is in early talks to play a villain in The Batman, but neither he nor Warner Brothers can decide which one. Apparently Matt Reeves is intent on nabbing the Moneyball star, and Hill is intent on starring in this movie; it’s just a matter of figuring out which of Gotham’s legendary rogues is best suited for the dramatic actor. According to other trades, the conversation has been narrowed down to a choice between The Penguin and The Riddler, both iconic characters; but “it is unclear if the two sides will be able to find common ground”. I can’t imagine how difficult this choice could possibly be (if you’re going to cast Jonah Hill in your Batman movie, you cast him as The Penguin, there is no room for doubt), but all the reports are unanimous in saying that the delay has nothing to do with dealmaking, but everything to do with pure indecision. Personally, Hill as Penguin and Eddie Redmayne as Riddler sounds like a perfect scenario, and if it were up to me, I wouldn’t be hesitating, but Reeves and Warner Brothers probably know what they’re doing. Emphasis on probably

The Batman is expected to include a large, possibly unprecedented number of villains, but no names are yet confirmed. So I turn the question to you: who would you like to see Jonah Hill play in the Caped Crusader’s solo movie? Share your thoughts in the comments below!

“Ophelia” Trailer!

The stories of Shakespeare have been redundantly adapted to the big screen over and over again, but every now and again there comes a fresh look at the classic stories that truly turns the tables and gives modern audiences a new taste for the Bard and his work.

Ophelia, an interesting new spin on the old Hamlet story, looks like it could be one such game-changer. Here, the camera has been turned on one of the play’s supporting characters: the princess Ophelia, who is usually only remembered these days for her iconic death by drowning. This is a chance to bring an overlooked heroine into the spotlight, and Ophelia seems to be giving the princess a more active role, while also highlighting the role of Hamlet’s mother Queen Gertrude. Daisy Ridley of Star Wars will take on the role of Ophelia, while Gertrude will be portrayed by Naomi Watts. Tom Felton, best known as Draco Malfoy from the Harry Potter series, will play Ophelia’s devoted brother Laertes. That sort of star power can’t be ignored.

Without stepping too far into the fantastical, Ophelia looks to be bringing the story to life in a fresh and exciting way: with wars, political intrigue, romance and tragedy cleverly viewed from a woman’s eyes – not just in front of the camera, but behind it too, as the film is directed by Australian filmmaker Claire McCarthy. Too many adaptations of these medieval stories try to give them a modern spin (such as last year’s mega-flop Robin Hood, which tried to turn the hero of English folklore into a literal superhero). Ophelia, on the other hand, has a definite antiquated atmosphere, from the poetic dialogue to the beautiful vistas of Danish landscapes – well, technically, Czech Republic landscapes, but whatever. Some quite picturesque castles, at any rate.

Trailer Rating: 7/10

Star Wars Episode IX Teaser Trailer!

This is going to be something of an unusual review. I will admit why right up front.

The truth is, I haven’t watched the last few Star Wars movies. The original trilogy? The prequels? I’ve watched those, multiple times. But this new saga had never appealed to me until now, when, suddenly, I find myself standing dazed and confused wondering what on earth, or what on Tattooine, this trailer means. And that is very unfortunate, because this trailer looks pretty awesome, even though a good bit of its symbolism is probably lost on me.

We’ll discuss the big stuff first though, just because this is the stuff I do understand pretty much entirely. SPOILERS AHEAD, for those of you, who, like me, had never watched the last two Star Wars movies.

1: The Title. The film’s long-anticipated title has been revealed to be Star Wars: The Rise Of Skywalker, which is very cool – “Every Generation Has A Legend” is the movie’s slogan. I am aware that Luke Skywalker is dead, and I have no clue whether this title is supposed to refer to him returning, or something like that. We hear Luke’s voice in the first part of the trailer, as he tells Rey about her inner power, and how a thousand generations live within her.

2: Princess Leia! The late great Carrie Fisher is in the movie, as expected, and gets a beautiful and heart-warming moment in the trailer, tearfully embracing Rey (Daisy Ridley). Having not watched Star Wars: The Force Awakens or Star Wars: The Last Jedi, I can’t give any opinion on Rey herself, except that she looks like an incredible heroine: there’s a moment here, at the 1:08 mark, where she backflips onto a very fast moving spaceship that seems to be trying to mow her down. It’s a great shot.

3: THE EMPEROR IS BACK? I didn’t even realize what I was seeing, at the 1:39 mark, when we see Rey and her team looking out over a wide barren landscape, gazing towards some distant mass of broken metal: I probably should have realized immediately that this is the remains of the literal Death Star – and, at the very end of the trailer, we hear the ominous laughter of Emperor Palpatine: who I, at least, thought was dead. Was this common knowledge to people, that the Emperor is back? That the Death Star is still out there, somewhere in the universe? Though, to be fair, the Death Star looks pretty dead and lifeless at this point, but it looked only half-built in The Return of the Jedi and turned out to be fully functional, so I don’t trust that megalithic weapon, however broken it might look. There’s something really scary about the Death Star, honestly, that makes its appearance here really awe-inspiring.

Those are most of the big things, I think, that this trailer shows. One surprising reveal, at least for me, was the appearance of Billy Dee Williams reprising his role as Lando from the original trilogy. We see characters like Chewbacca and C-3P0 again, though, of course, there’s also appearances from the newer generation, such as Kylo Ren (Adam Driver), Poe (Oscar Isaac), and Finn (John Boyega). The backstories of these new characters are a total mystery to me, and I’m eager to fill this gap in my knowledge, because they all look pretty interesting. The droid BB-8, I could do without: I’ve seen this character pretty much everywhere for years now – like Olaf from Frozen, or Groot from Guardians of the Galaxy, these “mascot” characters always become really annoying to me, really quickly.

The trailer looks really awesome, and there’s no way I’m gonna miss seeing this in theaters: this is the end of an incredible and beloved era. I used to love the Star Wars movies, but lost my enthusiasm for them – now, as the story comes to an end, my passion for this brilliant universe has been renewed. Maybe I’ll even get around to watching The Force Awakens and The Last Jedi sometime in between now and December, when The Rise of Skywalker will come out.

Trailer Rating: 9.5/10