As I explained around this same time last year, I’m not the
biggest fan of Star Wars. I recognise its cinematic significance and I get a
certain amount of enjoyment out of the films themselves (even the ones that the
rest of the world seems to hate with a passion), but I never really bought into
the hype that those films carry to this day. Incessantly pushing The Force Awakens in my face for pretty much all
of last year definitely didn't help, even with how much I ended up liking
that film.
So, with all that in mind, even I am legitimately hyped for this film. The lack of obnoxious advertising could be a part of it, but there’s something else here that makes me anxious to check it out. Knowing how other cinematic continuities have been going of late, with even DC figuring out that some form of variety would be much appreciated, this film could present something different and help strengthen the series, considering this will be the first of the Star Wars cinematic Anthology with more already on the way. But even I couldn’t have expected this film to be this different.
So, with all that in mind, even I am legitimately hyped for this film. The lack of obnoxious advertising could be a part of it, but there’s something else here that makes me anxious to check it out. Knowing how other cinematic continuities have been going of late, with even DC figuring out that some form of variety would be much appreciated, this film could present something different and help strengthen the series, considering this will be the first of the Star Wars cinematic Anthology with more already on the way. But even I couldn’t have expected this film to be this different.
The plot: Jyn (Felicity Jones), having been drafted into the
Rebel Alliance at a young age, learns that her father Galen (Mads Mikkelsen)
had been helping the Empire to build a new weapon that could spell doom for the
galaxy: A planet-sized planet destroyer called the Death Star. Teaming up with
Rebel officer Cassian (Diego Luna), his reprogrammed Imperial droid K-2SO (Alan
Tudyk), pilot Bodhi (Riz Ahmed) and former temple guardians Chirrut (Donnie
Yen) and Baze (Jiang Wen), she sets out to find the plans for the weapon, while
also hopefully redeeming her father’s name as a Rebel ally.
This is a very large-scale cast with a lot of prominent
characters vying for time in the spotlight. Now, even at the hands of studios
like Marvel, this can end rather badly and feel like the film is trying too
hard to engage the audience through several half-baked characters rather than a
couple that are well-developed. However, and this is exceptionally rare even
today, everyone here pulls their
weight dramatically, even considering how many people are here. Jones delivers
real emotion, both in relation to her father and her place in the Rebellion,
Luna handles his character’s moral murkiness with ease, Mikkelsen works well as
this forced-to-comply engineer and Ahmed gives a certain grounded affability to
the role.
From there, we get Donnie Yen and Jiang Wen as one of the most awesome double-acts in any action movie this year, Alan Tudyk stealing every scene he’s given as the dry-witted droid (what is it with these movies and the droids always being the most memorable?), Forest Whitaker bringing serious menace with a touch of heart to the war-scarred veteran he’s been given, and Ben Mendelsohn proves that he doesn’t need to chew the scenery to be effective with a restrained and calculating presence that serves as a nice counterpoint to Domhnall Gleeson’s General Hux. We also get some familiar faces (and voices) making cameos like Jimmy Smits as Senator Organa, James Earl Jones as Darth Vader’s still-harrowing voice and… actually, I’m going to hold off on talking about the elephant in the room regarding who we see return for this film for a little bit; with how many others have already talked about it, I think a bit of reprieve won’t go amiss.
From there, we get Donnie Yen and Jiang Wen as one of the most awesome double-acts in any action movie this year, Alan Tudyk stealing every scene he’s given as the dry-witted droid (what is it with these movies and the droids always being the most memorable?), Forest Whitaker bringing serious menace with a touch of heart to the war-scarred veteran he’s been given, and Ben Mendelsohn proves that he doesn’t need to chew the scenery to be effective with a restrained and calculating presence that serves as a nice counterpoint to Domhnall Gleeson’s General Hux. We also get some familiar faces (and voices) making cameos like Jimmy Smits as Senator Organa, James Earl Jones as Darth Vader’s still-harrowing voice and… actually, I’m going to hold off on talking about the elephant in the room regarding who we see return for this film for a little bit; with how many others have already talked about it, I think a bit of reprieve won’t go amiss.
Considering how well Force Awakens turned out, this may seem
like a moot point by now but it still remains: This is visually gorgeous.
Holding up to the more concrete and tangible aesthetic Abrams set in place, the
action scenes here again have a greater impact because you can tell that, to a
greater extent than we’re used to seeing, there is actual impact to them on
screen. This is where Donnie Yen’s legendary martial arts kick in to really
help further that, as physical combat ends up doing a lot to make the action
beats work really damn well. Actually, in relation to a heightened sense of
realism and the fight scenes, the set pieces here genuinely feel like key
moments in a war. The skirmishes in the streets, the open-air battles, right
down to the sense of strategy that is put into them both in and out of
universe; it’s kind of ironic that it’d take this long before a series called
Star Wars actually came across as
such. Add to that how the sense of scope and the inclusion of many characters
from many planets in the main conflict, and this ends up becoming a space opera
war film, and a damn good one at that.
When the Disney acquisition of Lucafilms first took place, I
remember the overlong bitching from the fanboys about how the Expanded Universe
that had been built up away from the films up to that point was going to be
jettisoned. Hell, I know people who refuse to watch the new films for that very
reason. Well, now that the initial rage has died down a hefty amount in the
wake of The Force Awakens, I think this film will definitely benefit as a
continuation of the story. Set before A New Hope, with plot elements that
directly tie into it, the peppering-in of cameos from both the original and
prequel trilogies does a lot to help connect everything together. Now, this
does lead to a certain extended cameo that… well, let’s just say that it
(somewhat rationally) has been painted as a precedent for a dark age in cinema.
To cut a long story short, Mendelsohn’s Krennic ends up having to answer to Grand Moff Tarkin, or Governor Tarkin as he’s called in-film, and he is portrayed by actor Guy Henry… with Peter Cushing’s visage added with CGI over his. Now, in the cinema, I somehow forgot that Cushing had died back in the 90’s, and sure the effect gently nudges the Uncanny Valley, but… wow, this is probably the best use of this technology I’ve seen yet. It’s not perfect and the character may be on-screen a little too long to keep the effect from being distracting, but it’s still really well-done. Alongside this, the way the film ends up delving further into what was essentially just the thematic backdrop of the original trilogy genuinely lets this hold up as another piece of the narrative puzzle when it comes to Star Wars. Of course, I’m willing to be that there are fans who will disagree with me on that point.
To cut a long story short, Mendelsohn’s Krennic ends up having to answer to Grand Moff Tarkin, or Governor Tarkin as he’s called in-film, and he is portrayed by actor Guy Henry… with Peter Cushing’s visage added with CGI over his. Now, in the cinema, I somehow forgot that Cushing had died back in the 90’s, and sure the effect gently nudges the Uncanny Valley, but… wow, this is probably the best use of this technology I’ve seen yet. It’s not perfect and the character may be on-screen a little too long to keep the effect from being distracting, but it’s still really well-done. Alongside this, the way the film ends up delving further into what was essentially just the thematic backdrop of the original trilogy genuinely lets this hold up as another piece of the narrative puzzle when it comes to Star Wars. Of course, I’m willing to be that there are fans who will disagree with me on that point.
To quote probably the only franchise catchphrase that I
honestly consider to be worth quoting in regular life: Only Sith deal in
absolutes. Now, don’t get me wrong, it does paint a pretty morally hypocritical
view of the whole Jedi/Sith conflict and the Force in general, but that
statement which itself is a depiction of moral absolutes is kind of important
where this film is concerned. I say that because this film breaks a lot of rules when it comes to what makes
a Star Wars story; namely, that it isn’t afraid to show ideological conflict
amongst those who are on the same side. The rebellion is collectively shown to
be a mish-mash of different ideologies, from the pacifists to the idealists to
the extremists to the nihilists, and most of them aren’t exactly on the best
terms with everyone else. There’s doubt, there’s conflict, there’s
contradictions made between people, and honestly, the film comes out all the
better for it.
This more complex morality than Star Wars is used to seeing, what with the moral absolutes made on both sides, shows the kind of mythos deconstruction that would end up leading eternal rival series Star Trek into its greatest moments. Through this willingness to go against the norm, this first step for the Anthology films gives a real impression that this isn’t going to be a uniform set of stories with just different coats of paint; there is room for being different here, possibly more so than the filmmakers themselves realise, considering how director Gareth Edwards thought that Disney would be more restrictive than they actually were on this one. Or, to put it in simpler terms as defined by what we see in the film, you don’t need a gun to win a fight, you don’t need a lightsaber to be at one with the Force, you don’t need to agree with everything someone says to be their ally and you don’t need to survive to become a hero.
This more complex morality than Star Wars is used to seeing, what with the moral absolutes made on both sides, shows the kind of mythos deconstruction that would end up leading eternal rival series Star Trek into its greatest moments. Through this willingness to go against the norm, this first step for the Anthology films gives a real impression that this isn’t going to be a uniform set of stories with just different coats of paint; there is room for being different here, possibly more so than the filmmakers themselves realise, considering how director Gareth Edwards thought that Disney would be more restrictive than they actually were on this one. Or, to put it in simpler terms as defined by what we see in the film, you don’t need a gun to win a fight, you don’t need a lightsaber to be at one with the Force, you don’t need to agree with everything someone says to be their ally and you don’t need to survive to become a hero.
All in all, it’s official: I am now a fan of Star Wars. The
acting is terrific with probably the most entertaining cast of characters I’ve
seen in a single film all year, the action beats are great, the direction
maintains the Disney-era aesthetic while carving out its own place in the
series, and the writing keeps true to the spirit of the franchise while also
re-writing the formula to create a story with a touch more complexity than this
series is usually known for. The Force Awakens left me a bit cold because of
the incredible hype behind it, but this? Regardless of my own feelings
concerning the series, this more than holds up next to the legendary original
trilogy.
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