[MINOR PLOT SPOILERS]
Star Wars: The Last Jedi’s divisive reception is genuinely unprecedented. The originals are universally loved, the prequels are universally loathed and The Force Awakens only faced dissent from a miserable minority. Yet this latest instalment has a Rotten Tomatoes audience score of 54%, meaning fans are split almost straight down the middle. When asked if The Last Jedi is any good, I’ve genuinely replied, “I don’t know”. Sure, I know my opinion, but what on earth is theirs going to be? I don’t want to give them any false expectations. The situation is only made more confusing when you consider the lavish acclaim poured on the film by critics. Why are audiences so polarised? Why are critics so enamoured? How is there such a disconnect between these two groups? These are all excellent question that I can't and won't answer. Instead, I’m going to explain why The Last Jedi is my favourite Star Wars film since The Empire Strikes Back.
I love The Last Jedi because it challenges everything. From the moment Luke flippantly throws his lightsaber away, I knew I had to do the same with my expectations. I get how this could be frustrating, but after the indulgent nostalgia of The Force Awakens, I found the frequent flipping of the Star Wars formula refreshing. Crucially, this isn't subversion for the sake of it. As well as being hilarious, Luke’s dismissal of his lightsaber establishes the state of his character. Which is, of course, another source of fan fury. This isn't the same wide-eyed Luke Skywalker that gazed naively at the twin suns of Tatooine. This is a downtrodden Luke, riddled with guilt and disillusioned with the Jedi. Mark Hamill - despite his reservations towards this direction - reprises his role outstandingly. His incredibly nuanced performance is thoroughly gripping, convincingly inhabiting a Jedi consumed by serious inner conflict. Frankly, Luke's never been more compelling.
In fact, The Last Jedi’s greatest strength is the richness of its characters. Writer/director Rian Johnson lays out sturdy and substantial character arcs that hold the film together. Much like The Empire Strikes Back, The Last Jedi expands on the characters its predecessor established with more challenging conflicts and deeper relationships. Poe Dameron comes face to face with the consequences of his recklessness after a disastrous mission leaves the Resistance hanging on a thread. Finn examines his place in the fight against the First Order, as his bravery and commitment are challenged. Even Supreme Leader Snoke serves as more than another Palpatine, his arc presenting a wider point about the arrogance of power. However, Rey is easily the most extensively developed character. Johnson’s smart script and attentive direction in tandem with Daisy Ridley’s assured performance superbly convey Rey grappling with her purpose in the universe. Simultaneously, Rey's intimate interactions with Luke and Kylo Ren show her struggle to find an identity amidst the pulling influences of light and dark. On a dramatic level, The Last Jedi flourishes.
The Last Jedi’s biggest flaw is its rather sprawling narrative. Unlike the intently plotted and tightly paced The Force Awakens, Johnson's film liberally spreads characters across various plotlines. As a result, there’s constant planet hopping. Fortunately, this isn't a huge deal. Johnson juggles it all deftly; I rarely felt that we spend too little or too much time anywhere. More importantly, every plotline is utterly compelling. Each is packed with rich characters, dazzling visuals, nuanced conflicts and occasionally thoughtful social commentary. Even the much-maligned Canto Bight subplot fascinated me. The city is set up as another Mos Eisley-esque wretched hive of scum and villainy but is revealed to be a glamorous casino resort for wealthy arms dealers. It’s another ingenious subversion of a Star Wars trope that also serves as a surprisingly relevant observation on the deceptive shininess of real-world scumbags.
On top of all of this are the stunning visuals. Colour is used to mesmerising effect, most notably in the striking contrast between Crait’s layers of pure white salt and deep red soil. In other places, the art department has boldly pushed the boundaries of what a Star Wars film looks like. A spellbinding moment in which a cruiser lightspeeds through a dreadnought and a surreal sequence exploring Rey's internal battle particularly spring to mind. The brilliance of the visuals also extends beyond surface spectacle. An intense shot of Rey and Kylo both using the force to tug at Luke's lightsaber vividly reflects the tension between the characters. Most significant, however, is the cinematography. To compliment Johnson's attention to character, longtime collaborator Steve Yedlin utilises lengthy close-up shots to emotively focus on the actors’ faces. A wonderful shot of Leia staring out of the rebel base on Crait is a particularly powerful example; a collar conceals most of her face so the camera can concentrate on the feeling in her eyes.
To clarify, The Last Jedi isn't a perfect film. There are still odd moments (*cough* Mary Poppins *cough*) that I'm unsure about and whilst I don't agree with them, I do understand fans’ grievances. However, as a whole, The Last Jedi is an invigorating addition to the Star Wars universe. Purposefully subversive, emotionally rich and visually outstanding, the eighth episode in this iconic saga is an exhilarating breath of fresh air.
9.2/10
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