My apologies for the late review. I was too much of a wimp to battle the crazy crowds of opening weekend.
The Force Awakens, directed by J.J. Abrams, is the seventh installment of the franchise and has held the redemptive hopes of millions of fans ever since the lackluster prequel trilogy. It delivers on all fronts—technically and artistically—and offers a chance for not only nostalgia, but also for anticipating where future editions may lead.
Abrams has decided to follow the blueprint of the original Star Wars, with sprinkles of episodes five and six added for flavor. Viewers will see many echoes of the former films (what George Lucas called poetic rhyming) in plot, character, and imagery. The Empire has been replaced by The First Order, who seeks to destroy the Republic and find Luke Skywalker, who has disappeared. A storm trooper, Finn (John Boyega), escapes from the Order and flees to a nearby planet with captured resistance pilot Poe (Oscar Isaac). Finn runs into a plucky, scavenging youngster, Rey (Daisy Ridley), who gets caught up in the chase for a droid that carries a clue as to the whereabouts of Skywalker. Kylo Ren (Adam Driver) has connections to Han Solo and Luke Skywalker and is the leader of the dark side. Along the way, Rey and Finn meet Han and Chewbacca, and they have to devise a plan for helping General Leia and the rebellion take down the Order’s new and destructive weapon.
One element of this film that differentiates itself from the prequels is its much improved use of traditional special effects. People wear costumes and act on live sets. The CGI feels as if it’s kept to a minimum, and when it is used, it appears almost seamlessly. This is a credit not only to developing technology, but also to Abrams’s use of real production design. This makes for a much stronger visual product. Viewers will likely also notice the incredible diversity of characters in this film, something noticeably lacking in the original trilogy. Leia is no longer the only female in the universe, and white men are not the only heroes. Women play prominent roles on both sides of the battle, as do a variety of minorities. This is a welcomed change and implies a future in which people no longer focus on such superficial characteristics.
The acting here is strong, as Boyega is extremely watchable as the over-his-head everyman to the more powerful (with the force, of course) Rey, whose feminine toughness has an Elizabeth Bennett-meets-John Connor quality. Isaac is one of the most charismatic actors of the last ten years, and his participation in the series is a brilliant choice. Ford still holds his own, even in his seventies, and the addition of Driver as Darth Vader’s replacement looks like it will be a good fit for the series. He has the acting range Hayden Christensen just couldn’t pull off.
There are a few lulls along the way. The middle third of the film drags a bit as exposition takes over and a slew of intergalactic “Lucas-speak” dominates most conversations. And as with the beloved original films, there are certainly plenty of “Wait, how does she know how to do all that?” and “How did the bad guys become so bad if it’s so easy to kill them?” moments. But, the fantasy prevails, and we don’t much mind.
The most successful aspect of The Force Awakens is how enjoyable it is to watch purely as an action/adventure/science fantasy flick. The prequels were as clunky as an AT-AT, lumbering and mechanical. With excessive CGI, whiny children, childish humor, abysmal dialogue and drab set pieces, the prequels lacked the humanity of the original trilogy. The Force Awakens addresses all of these flaws and corrects them with sleek visual flair and traditional character depth. We once again care about these people and their mission. And we want to follow them across the galaxy.
Abrams has pulled off a nearly impossible feat: viewers will once again remember why they loved these films in the first place and eagerly await, without fear, what may come next. The series is most definitely back...and in full force.
Grade: A-
The Force Awakens, directed by J.J. Abrams, is the seventh installment of the franchise and has held the redemptive hopes of millions of fans ever since the lackluster prequel trilogy. It delivers on all fronts—technically and artistically—and offers a chance for not only nostalgia, but also for anticipating where future editions may lead.
Abrams has decided to follow the blueprint of the original Star Wars, with sprinkles of episodes five and six added for flavor. Viewers will see many echoes of the former films (what George Lucas called poetic rhyming) in plot, character, and imagery. The Empire has been replaced by The First Order, who seeks to destroy the Republic and find Luke Skywalker, who has disappeared. A storm trooper, Finn (John Boyega), escapes from the Order and flees to a nearby planet with captured resistance pilot Poe (Oscar Isaac). Finn runs into a plucky, scavenging youngster, Rey (Daisy Ridley), who gets caught up in the chase for a droid that carries a clue as to the whereabouts of Skywalker. Kylo Ren (Adam Driver) has connections to Han Solo and Luke Skywalker and is the leader of the dark side. Along the way, Rey and Finn meet Han and Chewbacca, and they have to devise a plan for helping General Leia and the rebellion take down the Order’s new and destructive weapon.
One element of this film that differentiates itself from the prequels is its much improved use of traditional special effects. People wear costumes and act on live sets. The CGI feels as if it’s kept to a minimum, and when it is used, it appears almost seamlessly. This is a credit not only to developing technology, but also to Abrams’s use of real production design. This makes for a much stronger visual product. Viewers will likely also notice the incredible diversity of characters in this film, something noticeably lacking in the original trilogy. Leia is no longer the only female in the universe, and white men are not the only heroes. Women play prominent roles on both sides of the battle, as do a variety of minorities. This is a welcomed change and implies a future in which people no longer focus on such superficial characteristics.
The acting here is strong, as Boyega is extremely watchable as the over-his-head everyman to the more powerful (with the force, of course) Rey, whose feminine toughness has an Elizabeth Bennett-meets-John Connor quality. Isaac is one of the most charismatic actors of the last ten years, and his participation in the series is a brilliant choice. Ford still holds his own, even in his seventies, and the addition of Driver as Darth Vader’s replacement looks like it will be a good fit for the series. He has the acting range Hayden Christensen just couldn’t pull off.
There are a few lulls along the way. The middle third of the film drags a bit as exposition takes over and a slew of intergalactic “Lucas-speak” dominates most conversations. And as with the beloved original films, there are certainly plenty of “Wait, how does she know how to do all that?” and “How did the bad guys become so bad if it’s so easy to kill them?” moments. But, the fantasy prevails, and we don’t much mind.
The most successful aspect of The Force Awakens is how enjoyable it is to watch purely as an action/adventure/science fantasy flick. The prequels were as clunky as an AT-AT, lumbering and mechanical. With excessive CGI, whiny children, childish humor, abysmal dialogue and drab set pieces, the prequels lacked the humanity of the original trilogy. The Force Awakens addresses all of these flaws and corrects them with sleek visual flair and traditional character depth. We once again care about these people and their mission. And we want to follow them across the galaxy.
Abrams has pulled off a nearly impossible feat: viewers will once again remember why they loved these films in the first place and eagerly await, without fear, what may come next. The series is most definitely back...and in full force.
Grade: A-