And you can start playing this game as soon as the film begins.Įchoing The Empire Strikes Back, The Last Jedi opens with the baddies’ heavy artillery turning a rebel base into a firework display.
Shocking revelation about the hero’s parentage? Tick. Morally slippery new ally for the heroes? Tick. Just as The Force Awakens was so structurally similar to the first Star Wars instalment that it was as much a remake as a sequel, you could easily fill a bingo card headed ‘Stuff That Was In The Empire Strikes Back’ while watching The Last Jedi. Its use of flashbacks, voiceovers and montages counts as a leap into the avant-garde when set against the series’ usual Saturday-matinee classicism. Is Curb Your Enthusiasm TV's most influential show?īy Star Wars standards, then, Johnson’s demystifying exercise is radical and subversive. Review: Margot Robbie deserves a gold for I, Tonya The US soldiers who became North Korean film stars are any of them what they’re cracked up to be? The most intelligent film in the franchise by several light years, The Last Jedi can be seen as the space-opera equivalent of Clint Eastwood’s revisionist western, Unforgiven, in that it pours scorn on its hero’s legendary reputation - but it eventually gives us the satisfaction of seeing why he acquired that legendary reputation in the first place. The Force, the Jedi, good, evil, destiny, family, self-sacrifice, war itself.
All the monolithic concepts that have been the foundation stones of the Star Wars saga are chipped away. In an early scene, Luke himself asks why anyone would assume that a man with a laser sword could turn the tide against a fascist army, and the film, written and directed by Rian Johnson (Brick, Looper) keeps prodding and pulling at its own mythos with the same irreverent spirit and enquiring mind. The clever thing about Star Wars Episode VIII: The Last Jedi is that it takes these questions seriously, and it has a lot of tongue-in-cheek fun with them, too.
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