2 (out of 4)
Uprooting expectations for the sake of thumbing their noses at fanboys who drooled over every second of Episode VII, Disney's Rian Johnson’s The Last Jedi is nothing close to what any could have imagined going in. Despite a theoretically positive break from established formula for the most part, every new direction for the series is a blind alley, every sub plot is a hamster furiously spinning in place and Johnson's accomplishments with its characters, new and old, are next to none.
Spoilers inbound: touches like the milk monster inhabitants of Luke's island, Super Leia, Snoke’s embarrassing death, and the brushing off of Rey’s origin all make for smoke and mirrors, figuratively, and, in one scene, literally. Disney has tossed aside the brand's obsessive fandom almost as an expensive passive aggressive response to criticisms that The Force Awakens is a simulacrum of the original Star Wars – with the cliffhanger they ended on, many expected the second part of this new trilogy would also be closer to The Empire Strikes Back. "Bet they'll never see this coming!" the executives surely speculated, desiring to pull multiple rugs out from under its massive audience without giving much thought to the saga's continuity or the power of nerd outrage.
But in a tentpole film this strangely flawed – though it's still at least a hair above the wearying pointlessness of Rogue One – it's easy to focus on it's many fundamental issues and ignore all praiseworthy aspects entirely. Daisy Ridley's Rey and Adam Driver's Kylo Ren are the only characters that offer anything reasonably worth an audience's investment. Kylo’s inner conflict and Rey’s own independent-minded convictions are tested and mingled together in this chapter. Their respective performances are admirable, and the two make for a possibly romantic but nonetheless exciting duo to watch interact especially they carry the coolest set piece of the film.
But even the strongest scene of the movie is terribly prefaced by the disposal of super-villain Supreme Leader Snoke, and the subsequent action scene, while energetic and full of decent choreography, is hindered in accordance. Along the lines of General Leia, Finn, Poe, and new characters like Admiral Holdo (Laura Dern) and DJ (Benicio del Toro), all of them are wrapped up together in simultaneous chaos across multiple narrative planes, coalescing for but a moment or two of proper cinematic escapism. But damn near every scene still comes with an asterisk of blemishes, be it narrative confusion, poor character development, its problematic context within the Star Wars legacy or cringe-inducing humor.
But even taken just on its own terms, Episode VIII is an absurd miscalculation. This film has already put diehards in a fit, and as the film’s problems are highlighted and outlined in coming months, don't be surprised if The Last Jedi's status as nearly as baffling as the prequels will likely take hold in the fan community. To the average viewer or critic though, it’s just another Star Wars movie, covered from every marketing angle to appeal to anyone who may not already give a shit. It’s an entertaining mess assuredly, but if some critics haven’t lost all their credulity, then we must either be watching a different film – wouldn’t that make more sense since what I watched bordered so hard on parody? – or the Mouse has some reviewer folks like Indiewire's David Ehrlich, and many others, deep in its pockets.
To keep it brief...