21 Reasons ‘Star Wars: The Force Awakens’ Deserves Every Dollar
21. It's not over.A long time ago, in a galaxy far, far away…1. There's something for everybody.2. References to past movies add a layer, but don't get in the way.3. Stays well within the light side of the Force.4. It's the perfect (re)combination of crowd-pleasing elements.5. Makes smart use of Joseph Campbell's monomyth.6. It builds on the original — and then some.7. Han Solo is back!8. The music makes the movie … again.9. It gets off to a good start.10. Old droids and new.11. It's about time "Star Wars" had a worthy heroine.12. Daisy Ridley is a true discovery.13. The film is full of strong female characters.14. It humanizes the Storm Troopers.15. Takes place a long time ago in a galaxy far more open-minded.16. A more dimensional (but no less iconic) villain.17. Finds shades of grey in the Force.18. Emotional underpinnings to archetypal story.19. J.J. Abrams shakes his small-screen roots, thinks big.20. Sanely paced, though you'll still want to see it a second time.21. It's not over.A long time ago, in a galaxy far, far away…1. There's something for everybody.2. References to past movies add a layer, but don't get in the way.3. Stays well within the light side of the Force.4. It's the perfect (re)combination of crowd-pleasing elements.5. Makes smart use of Joseph Campbell's monomyth.6. It builds on the original — and then some.7. Han Solo is back!8. The music makes the movie … again.9. It gets off to a good start.10. Old droids and new.11. It's about time "Star Wars" had a worthy heroine.12. Daisy Ridley is a true discovery.13. The film is full of strong female characters.14. It humanizes the Storm Troopers.15. Takes place a long time ago in a galaxy far more open-minded.16. A more dimensional (but no less iconic) villain.17. Finds shades of grey in the Force.18. Emotional underpinnings to archetypal story.19. J.J. Abrams shakes his small-screen roots, thinks big.20. Sanely paced, though you'll still want to see it a second time.21. It's not over.
21. It's not over.
A long time ago, in a galaxy far, far away…
1. There's something for everybody.
2. References to past movies add a layer, but don't get in the way.
3. Stays well within the light side of the Force.
4. It's the perfect (re)combination of crowd-pleasing elements.
5. Makes smart use of Joseph Campbell's monomyth.
6. It builds on the original — and then some.
7. Han Solo is back!
8. The music makes the movie … again.
9. It gets off to a good start.
10. Old droids and new.
11. It's about time "Star Wars" had a worthy heroine.
12. Daisy Ridley is a true discovery.
13. The film is full of strong female characters.
14. It humanizes the Storm Troopers.
15. Takes place a long time ago in a galaxy far more open-minded.
16. A more dimensional (but no less iconic) villain.
17. Finds shades of grey in the Force.
18. Emotional underpinnings to archetypal story.
19. J.J. Abrams shakes his small-screen roots, thinks big.
20. Sanely paced, though you'll still want to see it a second time.
21. It's not over.
A long time ago, in a galaxy far, far away…
1. There's something for everybody.
2. References to past movies add a layer, but don't get in the way.
3. Stays well within the light side of the Force.
4. It's the perfect (re)combination of crowd-pleasing elements.
5. Makes smart use of Joseph Campbell's monomyth.
6. It builds on the original — and then some.
7. Han Solo is back!
8. The music makes the movie … again.
9. It gets off to a good start.
10. Old droids and new.
11. It's about time "Star Wars" had a worthy heroine.
12. Daisy Ridley is a true discovery.
13. The film is full of strong female characters.
14. It humanizes the Storm Troopers.
15. Takes place a long time ago in a galaxy far more open-minded.
16. A more dimensional (but no less iconic) villain.
17. Finds shades of grey in the Force.
18. Emotional underpinnings to archetypal story.
19. J.J. Abrams shakes his small-screen roots, thinks big.
20. Sanely paced, though you'll still want to see it a second time.
21. It's not over.
Obviously, there will be many more episodes of "Star Wars" to come. The success of "The Force Awakens" is that it delivers enough closure to merit the price of admission (the destruction of a certain planet-sized Sith base sends audiences into applause even as it delivers the single most spectacular explosion the series has seen to date), while setting up an open-ended and compelling larger narrative to come. Countless reboots have stumbled to find that balance, over-estimating the audience's interest in sequels ("The Golden Compass," "John Carter"), whereas Abrams' immensely satisfying blockbuster leaves us wanting more. — Peter Debruge
This is about the moment that the backlash sets in. "Star Wars: The Force Awakens" has broken box office records around the world, the first wave of fan excitement is trickling out into the culture at large, and now, the skeptics jump in with daggers drawn to take the movie down a notch.
It happened with "Avatar," and now, J. J. Abrams' glorious re-launch of the world's most popular franchise is primed to be the next victim. Fine, that's how these things go, but don't let the nay-sayers fool you. In a year rife with spectacle, nothing thrills like "Star Wars," and if you loved it, you're not alone.
Here, in a "Rearview" intended for those who've already seen the movie [warning: spoilers ahead — viewers are advised to go in knowing as little as possible], Variety chief international film critic Peter Debruge gives you ammunition to defend the galaxy's biggest blockbuster
It doesn’t matter if this is your first “Star Wars” movie or if you’re the sort of die-hard who saw the original back in 1977, slept on “Star Wars” bedsheets and owned every action figure Kenner produced. “The Force Awakens” works for both veteran Jedis and young Padawans (those are Jedis in training, for all you neophytes). The film revives franchise-favorite characters while refreshing the storyline for a new generation, although it’s important to remember — and respect — the age difference. Those who were kids when the first movie came out should keep in mind that this sequel was designed to appeal to today’s kids as well, and the fact that it does so without flatulence jokes or another Jar Jar Binks-like buffoon is to be commended.
Between the six previous features, spin-offs, animated series and video games, George Lucas’ imaginary galaxy has been fleshed out enough that you don’t need to be a “Star Wars” savant to pick up on references to other storylines. Still, J. J. Abrams is clever about putting many of these details in the background, where they earn a knowing chuckle without overtaking the story — as in an early desert scene, when a clever cut reveals that the metal wall behind Rey was actually the foot of a fallen AT-AT combat walker. It’s the same tactic used a few minutes later, when she refers to a rickety old ship (which turns out to be the Millennium Falcon) as “garbage.”
This may sound blasphemous to a certain kind of fan, but some of this century's most popular sci-fi, fantasy and comic-book movies are simply too dark, featuring graphic warfare ("The Lord of the Rings") or nightmare-inducing, neck-snapping villains ("The Dark Knight Rises") totally unsuitable for young viewers. Now that "Star Wars" is officially a Disney property, the new film functions well within the confines of a PG-13 rating (whereas other strong-arm studios pressure CARA into going easy on what really ought to be an "R"), striking a tone in which both individual deaths and the destruction of entire planets register without scarring young viewers for life. (Keep that in mind when complaining about the uncertain fate of Captain Phasma: For kids, she's tossed into a trash compactor off-screen, and though older audiences are deprived of a gory finish, they benefit from a wink to the original "Star Wars.")
Before Quentin Tarantino came along, George Lucas belonged to the original generation of fanboy writer-directors, repurposing proven ingredients from popular entertainment genres in the "Star Wars" and Indiana Jones movies — a film-geek tradition that director J. J. Abrams faithfully upholds in "The Force Awakens." Once again, we thrill to a high-stakes sequence of set pieces (chased by TIE Fighters over Jakku!) and cliffhangers (taken prisoner by Storm Troopers!) derived from classic adventure serials, combined with the futuristic appeal of science fiction (robots and rocket ships) and the old-fashioned, swashbuckling action of pirate movies (the original inspiration for exciting but otherwise implausible lightsaber duels).
Like George Lucas before him, J. J. Abrams and co-writers Michael Arndt ("Toy Story 3") and Lawrence Kasdan ("The Empire Strikes Back") modeled "The Force Awakens" after the universal "hero's journey" identified by comparative mythology pioneer Joseph Campbell, who identified a common structure to human stories, no matter how long ago or far away they take place: The hero receives a call to adventure, initially refuses, meets a mentor and crosses into a special world, where (s)he meets allies and faces an ordeal in order to realize the quest. It's more than a formula; it's the foundation for the most enduring tales of all time — and this one is just beginning.
Nevermind how the Sith managed to stage such an impressive comeback. It's more fun to root for the underdog, and "The Force Awakens" presents a familiar mission on a much bigger scale. Kylo Ren is a more aggressive-looking version of Darth Vader, Supreme Leader Snoke looms far larger than the withered Emperor, and the Death Star looks like a golf ball compared to the planet-sized Starkiller Base, blasting not just one planet (a la Alderaan) but five at a time. After watching "The Force Awakens," the original "Star Wars" suddenly seems so much smaller and less exciting, like a nostalgic trip to an old kindergarten playground.
Whether brandishing a blaster pistol or bullwhip, Harrison Ford was the quintessential action hero of his generation, so it's a coup to get the 73-year-old star (who reportedly never watches his own performances) in "The Force Awakens," especially considering the impact news of his plane crashing in Santa Monica made last summer. Some ageists have mistaken his on-screen energy here as "old" or "bored," but "weary" describes it better — that's precisely the charming mix of ease and nonchalance the actor has always embodied. His best moment in the new movie suggests how both Ford and his character have matured since we last saw them: "Women always figure out the truth. Always."
Mark Hamill and Carrie Fisher also reprise their original roles as sibling star-warriors, but the most indispensable encore here comes from composer John Williams, the man responsible for giving George Lucas' space opera its grandeur and scope. Now 83, the five-time Oscar winner even declined working on Steven Spielberg's "Bridge of Spies" in order to revisit the Jedi universe, writing new themes for Rey and Kylo Ren, while musically reinforcing the links to the series' legacy. Consider the impact aboard the Millennium Falcon, when a would-be moment of suspense reveals the entrance of Han Solo and Chewbacca: The music slyly underscores that surprise by invoking the familiar "Star Wars" anthem. (Fun fact: Han Solo has never had his own music.)
The dramatic first blast of John Williams' score, accompanied by the yellow logo retreating into distant space and subsequent paragraphs of important yet impossible-to-digest exposition are an indispensable part of a true "Star Wars" viewing experience. Series fans wouldn't expect "The Force Awakens" to begin any differently, signaling that we're in safe hands. Meanwhile, for first-timers, that combination of music and visuals is as thrilling today as it was in 1977, setting our anticipation for all that follows.
It's great to see C-3PO and R2-D2 together again, even if the robots aren't quite their old selves (the ever-anxious C-3PO frets, "You probably didn't recognize me because of the red arm" — a clever trick to show that he's seen his share of action since Episode VI). Meanwhile, that leaves room for a new robot sidekick in the sphere-shaped BB-8, who buzzes and whirs like the temporarily muted R2, while displaying every bit as much loyalty to his master. Most of the time, we have no idea what he's saying, although he has a pretty cool way of giving a thumbs-up.
Leia and Amidala don't count. "Star Wars" has given us memorable female characters before, but there's a big difference between princesses in distress and a proactive, self-reliant heroine like Rey, a Force-strong scavenger with a secret past sure to be revealed in future installments (three guesses as to who her father might be). As a showrunner on "Felicity" and "Alias," J. J. Abrams has more than demonstrated that championing female protagonists is more than mere tokenism, while his treatment of Rey puts her up there with the leading ladies of "Twilight," "The Hunger Games" and "Pirates of the Caribbean": a capable pilot, skilled engineer and likely successor to Luke's Jedi legacy, rather than a mere love interest.
Though young Ridley isn't the first one in her family to be bitten by the acting bug (her great-uncle Arnold Ridley was a performer and playwright), she had no major credits to speak of before being cast as Rey in "The Force Awakens." That said, she has the makings of a star, displaying the alert, expressive quality of Keira Knightley in every frame she inhabits. When the magnetic star's onscreen, you can't look away.
In addition to Ren, whose novice grasp of the Force is strong enough not only to resist mind-control but also to manipulate Storm Troopers, the film reintroduces Leia as a shrewd, stalwart general. Scan the crowd of extras at Resistance headquarters, and nearly half the extras appear to be women — a sign that this galaxy (or at least the film's casting directors) are more enlightened about gender ratios than our own. That's not to say that there hasn't been pushback, as in David Garrett's skeptical essay, questioning whether a woman could rise to Captain Phasma's rank in the Imperial army. Still, representation matters.
This might not seem like such an important point, but considering how much of "Star Wars" mythology is made up of recycled parts, Finn's origins are the film's most inspired breakthrough. In the prequels, we learned that under their uniforms, Storm Troopers weren't robots (as might easily be assumed) but human clones brainwashed into serving the Empire. Now, "The Force Awakens" imagines what might happen if one of these seemingly anonymous mercenaries suddenly developed a conscience.
You probably noticed that Finn isn't played by a white actor, the way Luke Skywalker and the Darth Vader (despite being voiced by James Earl Jones) were 38 years ago. Not only does that represent progress in typically anglo-centric Hollywood casting (to George Lucas' credit, two of the most unforgettable roles went to Billy Dee Williams and Samuel Jackson), but it raises interesting questions about race relations in this universe. Judging by the intermingling in Maz Kanata's cantina (or her wisecrack about Chewy being "my boyfriend"), the "Star Wars" characters aren't as hung up as earthlings are about interracial (or even inter-species) dynamics.
Audiences may laugh when Kylo Ren removes his helmet to reveal a long-haired and angst-ridden Adam Driver beneath, but that's not necessarily the failure some take it to be. After all, Ren's menacing mask is so effective that we project terrifying ideas of what might lie behind (imagine the disappointment if the film had waited till Ren's big confrontation with his father to reveal his face), but the truth is that Ren represents what the prequel trilogy so clumsily tried to convey: a Jedi torn between the pull of Dark and Light.
The relatively complex character arcs of both Finn and Kylo Ren prove that "Star Wars" can extend beyond one-dimensional good and evil archetypes, touching on something more nuanced, where Jedis can turn to the Dark Side (as Anakin Skywalker once did) and Storm Troopers can prove themselves worthy of wielding Anakin's lightsaber. To the extent that "Star Wars" dramatizes mankind's timeless struggle between righteousness and temptation, this movie best embodies the reality that the two are often intermixed — no matter what the Vatican film critic may say.
Whereas the famous "Luke, I am your father" line provided the defining moment in "The Empire Strikes Back," the fact that Kylo Ren is Han and Leia's son is handled quite differently — less as a stunt twist than for the depth and conflict it adds to his character. More impressive still is how his seduction by the Sith affects his parents: In a key scene together, they express much the same deep trauma at Ren's betrayal that losing a child imparts in such domestic tragedies as "In the Bedroom" and "Ordinary People," lending the film a rock-solid emotional foundation.
In interviews, director J. J. Abrams has indicated that he revisited many of George Lucas' visual inspirations before tackling the assignment, studying John Ford westerns (for their stunning use of landscapes) and Akira Kurosawa samurai pics (for choreography and blocking). That homework helps to explain why this is the TV-trained helmer's most cinematic feature to date. It may not be as anarchic or innovative as this year's "Mad Max: Fury Road" (d.p. Dan Mindel got much of that punk sensibility out of his system working for the late Tony Scott), and yet, the film's iconic compositions are better suited to stand the test of time.
Among the critical shortcomings of George Lucas' prequel trilogy, the director seemed to put more attention on style (designing new aliens, cities and hairdos) than content. "The Force Awakens" keeps the novelty factor under control, so the relatively familiar surroundings remain interesting without becoming overly distracting: Jakku evokes the deserts of Tatooine, the inside of Starkiller Base looks an awful lot like the Death Star and so on. At the same time, J.J. Abrams gives our eyes time to take in and appreciate genuinely new venues, as when Rey arrives on the green planet of Takodana or the troupe enters Maz Kanata's castle, rather than cutting away too quickly from these stunning establishing shots.
Obviously, there will be many more episodes of "Star Wars" to come. The success of "The Force Awakens" is that it delivers enough closure to merit the price of admission (the destruction of a certain planet-sized Sith base sends audiences into applause even as it delivers the single most spectacular explosion the series has seen to date), while setting up an open-ended and compelling larger narrative to come. Countless reboots have stumbled to find that balance, over-estimating the audience's interest in sequels ("The Golden Compass," "John Carter"), whereas Abrams' immensely satisfying blockbuster leaves us wanting more. — Peter Debruge
This is about the moment that the backlash sets in. "Star Wars: The Force Awakens" has broken box office records around the world, the first wave of fan excitement is trickling out into the culture at large, and now, the skeptics jump in with daggers drawn to take the movie down a notch.
It happened with "Avatar," and now, J. J. Abrams' glorious re-launch of the world's most popular franchise is primed to be the next victim. Fine, that's how these things go, but don't let the nay-sayers fool you. In a year rife with spectacle, nothing thrills like "Star Wars," and if you loved it, you're not alone.
Here, in a "Rearview" intended for those who've already seen the movie [warning: spoilers ahead — viewers are advised to go in knowing as little as possible], Variety chief international film critic Peter Debruge gives you ammunition to defend the galaxy's biggest blockbuster
It doesn’t matter if this is your first “Star Wars” movie or if you’re the sort of die-hard who saw the original back in 1977, slept on “Star Wars” bedsheets and owned every action figure Kenner produced. “The Force Awakens” works for both veteran Jedis and young Padawans (those are Jedis in training, for all you neophytes). The film revives franchise-favorite characters while refreshing the storyline for a new generation, although it’s important to remember — and respect — the age difference. Those who were kids when the first movie came out should keep in mind that this sequel was designed to appeal to today’s kids as well, and the fact that it does so without flatulence jokes or another Jar Jar Binks-like buffoon is to be commended.
Between the six previous features, spin-offs, animated series and video games, George Lucas’ imaginary galaxy has been fleshed out enough that you don’t need to be a “Star Wars” savant to pick up on references to other storylines. Still, J. J. Abrams is clever about putting many of these details in the background, where they earn a knowing chuckle without overtaking the story — as in an early desert scene, when a clever cut reveals that the metal wall behind Rey was actually the foot of a fallen AT-AT combat walker. It’s the same tactic used a few minutes later, when she refers to a rickety old ship (which turns out to be the Millennium Falcon) as “garbage.”
This may sound blasphemous to a certain kind of fan, but some of this century's most popular sci-fi, fantasy and comic-book movies are simply too dark, featuring graphic warfare ("The Lord of the Rings") or nightmare-inducing, neck-snapping villains ("The Dark Knight Rises") totally unsuitable for young viewers. Now that "Star Wars" is officially a Disney property, the new film functions well within the confines of a PG-13 rating (whereas other strong-arm studios pressure CARA into going easy on what really ought to be an "R"), striking a tone in which both individual deaths and the destruction of entire planets register without scarring young viewers for life. (Keep that in mind when complaining about the uncertain fate of Captain Phasma: For kids, she's tossed into a trash compactor off-screen, and though older audiences are deprived of a gory finish, they benefit from a wink to the original "Star Wars.")
Before Quentin Tarantino came along, George Lucas belonged to the original generation of fanboy writer-directors, repurposing proven ingredients from popular entertainment genres in the "Star Wars" and Indiana Jones movies — a film-geek tradition that director J. J. Abrams faithfully upholds in "The Force Awakens." Once again, we thrill to a high-stakes sequence of set pieces (chased by TIE Fighters over Jakku!) and cliffhangers (taken prisoner by Storm Troopers!) derived from classic adventure serials, combined with the futuristic appeal of science fiction (robots and rocket ships) and the old-fashioned, swashbuckling action of pirate movies (the original inspiration for exciting but otherwise implausible lightsaber duels).
Like George Lucas before him, J. J. Abrams and co-writers Michael Arndt ("Toy Story 3") and Lawrence Kasdan ("The Empire Strikes Back") modeled "The Force Awakens" after the universal "hero's journey" identified by comparative mythology pioneer Joseph Campbell, who identified a common structure to human stories, no matter how long ago or far away they take place: The hero receives a call to adventure, initially refuses, meets a mentor and crosses into a special world, where (s)he meets allies and faces an ordeal in order to realize the quest. It's more than a formula; it's the foundation for the most enduring tales of all time — and this one is just beginning.
Nevermind how the Sith managed to stage such an impressive comeback. It's more fun to root for the underdog, and "The Force Awakens" presents a familiar mission on a much bigger scale. Kylo Ren is a more aggressive-looking version of Darth Vader, Supreme Leader Snoke looms far larger than the withered Emperor, and the Death Star looks like a golf ball compared to the planet-sized Starkiller Base, blasting not just one planet (a la Alderaan) but five at a time. After watching "The Force Awakens," the original "Star Wars" suddenly seems so much smaller and less exciting, like a nostalgic trip to an old kindergarten playground.
Whether brandishing a blaster pistol or bullwhip, Harrison Ford was the quintessential action hero of his generation, so it's a coup to get the 73-year-old star (who reportedly never watches his own performances) in "The Force Awakens," especially considering the impact news of his plane crashing in Santa Monica made last summer. Some ageists have mistaken his on-screen energy here as "old" or "bored," but "weary" describes it better — that's precisely the charming mix of ease and nonchalance the actor has always embodied. His best moment in the new movie suggests how both Ford and his character have matured since we last saw them: "Women always figure out the truth. Always."
Mark Hamill and Carrie Fisher also reprise their original roles as sibling star-warriors, but the most indispensable encore here comes from composer John Williams, the man responsible for giving George Lucas' space opera its grandeur and scope. Now 83, the five-time Oscar winner even declined working on Steven Spielberg's "Bridge of Spies" in order to revisit the Jedi universe, writing new themes for Rey and Kylo Ren, while musically reinforcing the links to the series' legacy. Consider the impact aboard the Millennium Falcon, when a would-be moment of suspense reveals the entrance of Han Solo and Chewbacca: The music slyly underscores that surprise by invoking the familiar "Star Wars" anthem. (Fun fact: Han Solo has never had his own music.)
The dramatic first blast of John Williams' score, accompanied by the yellow logo retreating into distant space and subsequent paragraphs of important yet impossible-to-digest exposition are an indispensable part of a true "Star Wars" viewing experience. Series fans wouldn't expect "The Force Awakens" to begin any differently, signaling that we're in safe hands. Meanwhile, for first-timers, that combination of music and visuals is as thrilling today as it was in 1977, setting our anticipation for all that follows.
It's great to see C-3PO and R2-D2 together again, even if the robots aren't quite their old selves (the ever-anxious C-3PO frets, "You probably didn't recognize me because of the red arm" — a clever trick to show that he's seen his share of action since Episode VI). Meanwhile, that leaves room for a new robot sidekick in the sphere-shaped BB-8, who buzzes and whirs like the temporarily muted R2, while displaying every bit as much loyalty to his master. Most of the time, we have no idea what he's saying, although he has a pretty cool way of giving a thumbs-up.
Leia and Amidala don't count. "Star Wars" has given us memorable female characters before, but there's a big difference between princesses in distress and a proactive, self-reliant heroine like Rey, a Force-strong scavenger with a secret past sure to be revealed in future installments (three guesses as to who her father might be). As a showrunner on "Felicity" and "Alias," J. J. Abrams has more than demonstrated that championing female protagonists is more than mere tokenism, while his treatment of Rey puts her up there with the leading ladies of "Twilight," "The Hunger Games" and "Pirates of the Caribbean": a capable pilot, skilled engineer and likely successor to Luke's Jedi legacy, rather than a mere love interest.
Though young Ridley isn't the first one in her family to be bitten by the acting bug (her great-uncle Arnold Ridley was a performer and playwright), she had no major credits to speak of before being cast as Rey in "The Force Awakens." That said, she has the makings of a star, displaying the alert, expressive quality of Keira Knightley in every frame she inhabits. When the magnetic star's onscreen, you can't look away.
In addition to Ren, whose novice grasp of the Force is strong enough not only to resist mind-control but also to manipulate Storm Troopers, the film reintroduces Leia as a shrewd, stalwart general. Scan the crowd of extras at Resistance headquarters, and nearly half the extras appear to be women — a sign that this galaxy (or at least the film's casting directors) are more enlightened about gender ratios than our own. That's not to say that there hasn't been pushback, as in David Garrett's skeptical essay, questioning whether a woman could rise to Captain Phasma's rank in the Imperial army. Still, representation matters.
This might not seem like such an important point, but considering how much of "Star Wars" mythology is made up of recycled parts, Finn's origins are the film's most inspired breakthrough. In the prequels, we learned that under their uniforms, Storm Troopers weren't robots (as might easily be assumed) but human clones brainwashed into serving the Empire. Now, "The Force Awakens" imagines what might happen if one of these seemingly anonymous mercenaries suddenly developed a conscience.
You probably noticed that Finn isn't played by a white actor, the way Luke Skywalker and the Darth Vader (despite being voiced by James Earl Jones) were 38 years ago. Not only does that represent progress in typically anglo-centric Hollywood casting (to George Lucas' credit, two of the most unforgettable roles went to Billy Dee Williams and Samuel Jackson), but it raises interesting questions about race relations in this universe. Judging by the intermingling in Maz Kanata's cantina (or her wisecrack about Chewy being "my boyfriend"), the "Star Wars" characters aren't as hung up as earthlings are about interracial (or even inter-species) dynamics.
Audiences may laugh when Kylo Ren removes his helmet to reveal a long-haired and angst-ridden Adam Driver beneath, but that's not necessarily the failure some take it to be. After all, Ren's menacing mask is so effective that we project terrifying ideas of what might lie behind (imagine the disappointment if the film had waited till Ren's big confrontation with his father to reveal his face), but the truth is that Ren represents what the prequel trilogy so clumsily tried to convey: a Jedi torn between the pull of Dark and Light.
The relatively complex character arcs of both Finn and Kylo Ren prove that "Star Wars" can extend beyond one-dimensional good and evil archetypes, touching on something more nuanced, where Jedis can turn to the Dark Side (as Anakin Skywalker once did) and Storm Troopers can prove themselves worthy of wielding Anakin's lightsaber. To the extent that "Star Wars" dramatizes mankind's timeless struggle between righteousness and temptation, this movie best embodies the reality that the two are often intermixed — no matter what the Vatican film critic may say.
Whereas the famous "Luke, I am your father" line provided the defining moment in "The Empire Strikes Back," the fact that Kylo Ren is Han and Leia's son is handled quite differently — less as a stunt twist than for the depth and conflict it adds to his character. More impressive still is how his seduction by the Sith affects his parents: In a key scene together, they express much the same deep trauma at Ren's betrayal that losing a child imparts in such domestic tragedies as "In the Bedroom" and "Ordinary People," lending the film a rock-solid emotional foundation.
In interviews, director J. J. Abrams has indicated that he revisited many of George Lucas' visual inspirations before tackling the assignment, studying John Ford westerns (for their stunning use of landscapes) and Akira Kurosawa samurai pics (for choreography and blocking). That homework helps to explain why this is the TV-trained helmer's most cinematic feature to date. It may not be as anarchic or innovative as this year's "Mad Max: Fury Road" (d.p. Dan Mindel got much of that punk sensibility out of his system working for the late Tony Scott), and yet, the film's iconic compositions are better suited to stand the test of time.
Among the critical shortcomings of George Lucas' prequel trilogy, the director seemed to put more attention on style (designing new aliens, cities and hairdos) than content. "The Force Awakens" keeps the novelty factor under control, so the relatively familiar surroundings remain interesting without becoming overly distracting: Jakku evokes the deserts of Tatooine, the inside of Starkiller Base looks an awful lot like the Death Star and so on. At the same time, J.J. Abrams gives our eyes time to take in and appreciate genuinely new venues, as when Rey arrives on the green planet of Takodana or the troupe enters Maz Kanata's castle, rather than cutting away too quickly from these stunning establishing shots.
Obviously, there will be many more episodes of "Star Wars" to come. The success of "The Force Awakens" is that it delivers enough closure to merit the price of admission (the destruction of a certain planet-sized Sith base sends audiences into applause even as it delivers the single most spectacular explosion the series has seen to date), while setting up an open-ended and compelling larger narrative to come. Countless reboots have stumbled to find that balance, over-estimating the audience's interest in sequels ("The Golden Compass," "John Carter"), whereas Abrams' immensely satisfying blockbuster leaves us wanting more. — Peter Debruge
Image: Courtesy of Disney/Lucas FIlm
Image: Courtesy of Disney
Image: Courtesy of Disney
Image: Courtesy of Disney/Lucasfilm
Image: Courtesy of Disney/Lucas FIlm
Image: Courtesy of Disney/Lucasfilm
Image: Courtesy of Disney/Lucasfilm
Image: Courtesy of Disney/Lucas FIlm
Image: Courtesy of Disney
Image: Courtesy of Disney/Lucas FIlm
Image: Courtesy of Disney/Lucasfilm
Image: Courtesy of Disney/Lucasfilm
Image: Courtesy of Disney
Image: Courtesy of Disney
Image: Courtesy of Disney/LucasFilm
Image: Courtesy of Disney/Lucasfilm
Image: Courtesy of Disney
Image: Courtesy of Disney/Lucasfilm
Image: Courtesy of Disney/Lucasfilm
Image: Courtesy of Disney/Lucas FIlm
Image: Courtesy of Disney
Image: Courtesy of Disney
Image: Courtesy of Disney/Lucasfilm
Image: Courtesy of Disney/Lucas FIlm
Image: Courtesy of Disney/Lucasfilm
Image: Courtesy of Disney/Lucasfilm
Image: Courtesy of Disney/Lucas FIlm
Image: Courtesy of Disney
Image: Courtesy of Disney/Lucas FIlm
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The movie sucked.
Interesting read here. The film was great entertainment and in that Star Wars tradition. You can see the things that make it a science fairy tale and not sci-fi, as with ALL the Star Wars films, but it’s one of the better ones and he lead characters were great to watch. Boyega and Ridley had brilliant chemistry and all the cast worked well together. Familiar, yt different and it passed the generation test.. My father-in-law , in his 70s loved it as did my teenage daughter and nieces.
I could not even finish watching “Episode 3” back in 2005, it was so awful, and “Indiana Jones and the Kingdom of the Crystal Skull” is something I refuse to think about… So, as far as sequences go, I think this was amazing, not disappointing at all compared to what could’d been!
EMPTY franchise slum promotional.
INTEL RUN Hollywood – – –remains NOWHERE!
Please STOP dissing Jar Jar! The year Phantom Menace came out was a year that started and, with new social media, has given Political Correctness reins to run amok to where one can’t say, do, or enjoy anything that may cause some offense to some group or other!!! The year Menace came out I was a teenager and the 1 thing about Jar Jar (annoying, kid like character he was – remember too we saw an older member of his kind in the film) I liked –he was the first alien in anything that did NOT speak with a Standard US dialect, English, Australian and/or New Zealand!!!! Sometimes We Can Read TOO Much into something that is only meant to contribute to the story being told at the time and not a complete political statement on the current or potential future Reality.
This movie is a huge piece of shit. The plot and dialogue are weak, Ridley and Boyega and Driver have NO chemistry or screen presence whatsoever, and keeping the best character out of the movie until the final 30 seconds and then just show him slobbering on a cliff is a huge cop-out! The prequels were not very good but at least they felt dense and layered like the original. This feels like imitation fan fiction designed to cash in on nostalgia. No wonder Lucas wants nothing to do with it!
Not often I reply to a post but man did I hate this movie! Boring, poor acting and casting horrific. I was the first to see Star Wars, 1977, in Honolulu and it was and still is a masterpiece. The only other hype that outdid this was the so called Grateful Dead reunion sans Mr. Garicia. Thanks Chizz for not making me feel alone!
What I find most intriguing about Kylo Ren is that he ISN’T some handsome, Darth Revan-looking Sith overlord, but a relatively “normal” kid that dresses up like Darth Vader in an attempt to make himself feel more secure and more powerful. He’s not intimidating when he takes off his mask, not in the slightest. With the mask on and lightsaber in hand, however, suddenly he’s larger than life. The fact that he worships Vader and wants to emulate him only serves to make him scarier when in “the mask”, since we can imagine that his thought process pretty much begins and ends with “what would Vader do”? Not the real Vader, mind you, but the Vader he has built up in his mind – the unstoppable killing machine and Galaxy dominating evil force that he has constructed from his ideal concept of Vader.
But, if we remember…Anakin was pretty much a whiny brat with long locks and leading man looks as well. It was only when he put on the mask and suit that he became Vader and started to gain a mythic quality. Kylo Ren seems like he’s seeking to obtain a similarly mythic, similarly intimidating status, but he’s fumbling through it as best he knows how, since he doesn’t have Vader there to model himself after…only hearsay, legends, and tales.
Yes. So much this!
I was on board until the author uttered this atrocity: “…his treatment of Rey puts her up there with the leading [lady] of Twilight…”
*blink blink*
That’s like comparing an apple to some sort of pathetic, one-dimensional orange. How about Buffy? Furiosa? Geez, even Hermione Granger would have been preferable…
My family and I saw the movie and it was very disappointing. We gave it a 2.5 out of 5.
….Why?
I don’t get why this keeps happening… #14… Storm Troopers are NOT the same as Clone Troopers.
Clone Troopers from ep. 1\2\3 = Clones of Jango Fett
Storm Troopers from ep. 4\5\6 = Enlisted Men…This is the academy Luke is talking about joining in ep. 4
Storm Troopers from ep. 7 = Kidnapped\reconditioned personnel and possibly drafted\enlisted\reconditioned personnel.
Just got back from seeing this – I really did enjoy the movie, and have an appreciation for reading articles like these. All 21 points have their validity and really highlighted some things for me to ponder a little deeper that I did not think about immediately while watching the film. There are some good articles out there that are definitely more negative but also have ‘food for thought’. It’s up to the individual whether they can read both sides of the equation and still come away with their own opinions without becoming emotionally unbalanced by the viewpoints of others…
The movie definitely had it’s flaws though, and maybe some elements strayed a little too close to VI and V, but all in all the film met my expectations. New characters (developed well, I think), a new story that promises to engage more with Episode VIIi, and a nice ‘class reunion’ of old character favorites that was not horrendously overdone to the point of super-saturating the film with fan service. Good job all around, by the cast and crew.
Sometimes I get into internet comment threads talking with anti vaxxers….and eventually they resort to “you’re just a shill!” when they flounder. Similar to this is the argument that if one finds fault with a generally liked movie then it must be because one is trying to be contrarian or appear smarter.
The Force Awakens is not great art, but it’s decent. It has gaping flaws, mostly in character development, acting, and typical JJ Abrams ADD style filmmaking. It overall feels like it is trying way too hard and begging to be liked, mostly by not doing anything other than adhere to the structure of episode IV. The credulity straining coincidences, the numerous unnecessary cutesy references to the original franchise, and ineffective/undeveloped attempts at developing character and relationships are what sabotage this movie, which…was nonetheless fun!
I cannot stand losers who write in to critisize movies that are generally liked trying to show how sophisticated they are and BLAH BLAH BLAH…….THE MOST IMPORTANT thing about the new Star Wars was my 9 year old daughter LOVED it!!!! Thats what mattered most to me…..I remember feeling the same way about the
Original trilogy(which I watched episodes 4 and 5 and u wanna talk holes in the plot. But who cares …I loved them still. I loved the new one….if u dont like Star wars…….move along lol
Thank you for this. I just came back from seeing it a second time. All points you mentioned are stellar.
I was amused that defined what a padawan was to neophytes, but didn’t know that Jedi is the plural of Jedi, not Jedis. Also, chewy is what good cookies can be. Chewie is the Wookiee you were referencing.
Any backlash against this movie is warranted given the fact that Abrams and Disney kept the story largely secret before reviews started coming in stating that the movie was basically a 2015 remake of New Hope with dashes of Empire. Of course this “holding back” strategy has been used by Abrams in the past, but it was strategically important in this instance. And, of course the Abrams/Star Wars loyalists are happy but many of the casual viewers that I’ve come in contact with (or read comments on-line) were disappointed with this approach. And, of course those people will be treated like social pariahs because critics have overpraised yet another tentpole movie( so they don’t become pariahs themselves) and the Internet community likes to make its decisions about these types of zeitgeist-defining releases and insult anyone who doesn’t share the same view.
“Kylo Ren is a more aggressive-looking version of Darth Vader”…This is where I stopped reading. I think you smoked something or are basing the comment on one of the Lego episodes where Darth Vader is now a punch line.
I thought the movie was pretty good although a bit of a rehash of Ep IV and V.
Only brainless idiots think its a “reboot” of IV. It’s as if you never saw it at all. TFA was barely even similar to New Hope.
Saw it. Thought it was very weak. No amount of “here’s why you should like it or be outcast” articles is going to convince me otherwise. Also, I score movies on plot, dialogue, and action, not “open mindedness.” Pondering unfollowing Variety on Twitter for this constant barrage of Disney/Star Wars propaganda.
Oh no, you might unfollow Variety on Twitter?! How will they survive?
@Patrick, that is something they will just have to figure out on their own.
I’m with you, Conscientious. The strong attendance for this movie is a triumph of marketing the reboot (and that’s what these “episodes” are, reboots). The attendance for the next installment will lack those – like me – dissatisfied with a product that even the Variety reviewer (you know, the guy paid to actually assess the movies for an industry audience, as opposed to come up with 21-point propaganda pieces) found good but by no means great.
I find it funny that you’re reading articles about a weak movie:/ Troll!
Checking to see if the rest of the public is waking up or if this prophet must dishonored in his own land.
I like how this guy references “leading ladies” from terrible films like The Hunger Games, Pirates, and Twilight, not Ripley, Sarah Connor, or Furiosa. If film critics are gonna fall so hard on the diversity argument, then at least cite some good examples.
I feel Harrison Ford and Carrie Fisher were big pluses to the film.
If an article has to be written pointing out 21 reasons why a movie is good then the movie isn’t that good to begin with. It’s not abnormal to dislike a movie, don’t have to walk lock step with what the problem machine says is popular.
Are you not familiar with the concept of journalism or indeed the film section of Variety and follow up articles?
You didn’t like Star Wars? Big deal.
None of the films you like have articles written about them talking about what made them enjoyable? The films you like are so good they have no further media follow up?
(Correction)..”with what the PR machine says is popular”….