Film Review – Star Wars: The Last Jedi

Star Wars: The Last Jedi

Disney’s Rey of Light


When the long-anticipated first entry of the Star Wars sequel trilogy, The Force Awakens, was released in theaters in 2015, it received widespread acclaim, with many critics calling it “a return to greatness.” However, as a longtime fan of the franchise, I disagree that the series ever “peaked” (an endemic opinion that emerged after the polarizing Prequel Trilogy), given the obvious overlooked flaws in the original films. Nonetheless, I continue to support the multimedia cash cow with my attention and money. The following year came the debut of the spinoff Star Wars film Rogue One, also well-revered, afterward the next mainline Episode, Star Wars: The Last Jedi.

Major Spoilers for The Force Awakens

Despite losing Starkiller Base, a third Death Star in all but name, the First Order rules the franchise’s nameless galaxy, forcing the Resistance to evacuate their main fleet on the planet D’Qar. In a daring move, pilot Poe Dameron leads a solo attack against the First Order dreadnought Fulminatrix, destroying its critical cannons and creating an opportunity for Resistance vessels to escape. However, Dameron’s decision to defy General Leia Organa’s orders and attempt to destroy the entire ship leads to his demotion to captain. This is a significant development as it highlights the ongoing tension and personal struggles within the Resistance, particularly in the aftermath of Han Solo’s patricide by his son, Ben, who still identifies as Kylo Ren.

The film picks up where The Force Awakens left off. On the aquatic world Ahch-To, Rey presents the self-exiled Jedi Master Luke Skywalker with his old lightsaber. The legendary Jedi Knight casually tosses it aside and locks himself in his hut. This moment has sparked intense debates among fans, critics, and even actor Mark Hamill. Luke has been criticized for allegedly losing his character growth from the Original Trilogy. However, one should consider that Kylo was his nephew, his flesh and blood. As I am no stranger to the pain of betrayal from my biological family, I can empathize with Luke’s reaction and understand his decision.

Meanwhile, Supreme Leader Snoke questions his apprentice Kylo’s loyalty to the dark side of the Force and potential to become a worthy successor to his maternal grandfather, Darth Vader. Snoke sees that Kylo has “too much of his father’s heart” in him and disciplines him through various Force powers like lightning. Back on Ahch-To, Rey tries to recruit Luke into the Resistance against the First Order, mentioning that his sister Leia sent her. However, Skywalker insists that the time of the Jedi Order has passed, alluding to their downfall after the Clone Wars. Eventually, the Jedi Master agrees to give Rey a few lessons despite his pessimistic views.

After an attack by the First Order on the vessel Raddus exposes Leia to cold space, the long-necked and lavender-haired Vice Admiral Amilyn Holdo, portrayed by franchise newcomer Laura Dern, takes charge of the Resistance. Holdo disdains Poe’s warning that the fleet will run out of fuel, causing the pilot to distrust the new commander. Meanwhile, former First Order stormtrooper Finn, now a full ally of the Resistance, wants to search for Rey and joins one of his admirers, Rose Tico, to seek the Master Codebreaker in the casino city Canto Bight on the advice of Maz Kanata (embroiled in a union dispute) so that they can disable the First Order’s hyperspace tracker.

On Ahch-To, Rey and Kylo briefly communicate telepathically, hinting at a deeper connection between the two characters. However, their interaction is disrupted by Luke, who initiates her first lessons and enlightens her that the Force is not a simple dichotomy of light and dark, as previously believed. Rey uncovers a place beneath the island, steeped in the dark side. Afterward, she continues her conversation with Kylo, who compels her to find the truth of his descent into darkness and the subsequent rift between him and his uncle. When Rey ultimately departs, an old friend visits Luke, who urges him to transcend the past. He delivers the most iconic quote in the Sequel Trilogy, underscoring the film’s profound impact on the Star Wars narrative.

Poe assists Finn, Rose, and BB-8 in visiting Canto Bight on Cantonica, where they encounter trouble with the local police. While in custody, they manage to escape with the aid of the stuttering slicer DJ, portrayed by Benicio Del Toro, who is also a new addition to the Star Wars saga. DJ assists them in infiltrating the Supremacy, disguised as First Order officers. Despite their efforts, they are eventually apprehended, leading to a confrontation between Captain Phasma and the defector Finn. The First Order decimates the Resistance’s fleet, leaving only the Raddus. Poe challenges Vice-Admiral Holdo, who commands the ship’s evacuation to an old Rebel Alliance outpost on Crait, the setting for the film’s climactic battle.

Meanwhile, Rey takes an escape pod from the Millennium Falcon and surrenders herself to the First Order. Kylo Ren escorts her to Supreme Leader Snoke’s throne room, leading to a confrontation reminiscent of Return of the Jedi, where she tries to persuade Kylo to abandon the dark side. The leader of the Knights of Ren grapples with both sides of the Force. The movie culminates in the Battle of Crait, echoing the Hoth battle at the start of The Empire Strikes Back, delivering unexpected twists that conclude the eighth episode on a high note.

As someone who initially didn’t care much for The Force Awakens but believed Episode VIII was an improvement, perhaps the pinnacle of the Sequel Trilogy, my first rewatch solidified that view. Most of the film felt fresh; since I rewatched the movie on Disney+, I saw it in its entirety and could mercifully pause for bathroom breaks. Like its predecessor, the writing is nothing short of intelligent. It has witty banter galore, plenty of homages to the Original Trilogy, and characters on either side of the conflict, predominantly Luke and Kylo, being equally just in their motives. The gray area of the Force receives significant focus as well.

However, while The Last Jedi is nearly perfect, it shares the same issues as its predecessors, chiefly the sheer number of events that occur within the films (for instance, C-3PO no longer has the distinctive arm color he had in Episode VII). No specific trilogy or movie has ever been the main problem with Star Wars; yet, admittedly, creator George Lucas wasn’t entirely foresightful when expanding it into a franchise. Consequently, the numerous spinoff books and television series have had to fill in the gaps between the films, and many remain unfilled. Nevertheless, the second installment of the Sequel Trilogy is a pinnacle of the Skywalker Saga and the series.


The GoodThe Bad
Excellent acting.
Very intelligent writing.
Insightful sociopolitical commentary.
Engaging character growth.
Tons of great homages to the Original Trilogy.
Superb soundtrack and visual effects.
Still a lot of things that occur outside the films.
The Bottom Line
One of the high points of the Star Wars saga.

Film Review – Pinocchio (1940)

Pinocchio (1940)

Liars, Lies, and the Lying Puppets Who Tell Them


Italian author, humorist, and journalist Carlo Lorenzini, better known by his pseudonym Carlo Collodi, published his magnum opus, The Adventures of Pinocchio, in serial form for the children’s magazine Giornale per i bambini from 1881 to 1882, and would receive acclaim as one of Italy’s most significant contributions to the worldwide literary zeitgeist, its most translated and widely read after the Bible. It would inspire countless other fiction and adaptations like Disney’s iconic version, its name shortened to Pinocchio, released in 1940, which initially failed at the box office due to the forthcoming Second World War.

The film opens with the Talking Cricket, named Jiminy in Disney’s version and voiced by Cliff Edwards, singing “When You Wish Upon a Star,” which would eventually serve as the studio’s musical motif. Then he narrates the tale of the eponymous puppet, so named for being made of pine, whom poor, elderly woodcarver Geppetto creates and wishes alive upon a star. Pinocchio consequentially animates thanks to the Blue Fairy but retains his puppet form, and she assigns Jiminy as his “conscience,” Geppetto doing his part to raise him and trying to send him to school.

A classic game of cat and…fox

On the way, Pinocchio encounters the effeminate vulpine con artist “Honest” John Worthington Foulfellow and his silent feline companion Gideon, who recruit him into vagrant showman Stromboli’s puppet show. Jiminy fails to emancipate his charge, with the Blue Fairy eventually doing the job after a round with Pinocchio’s untruths that results in her constantly elongating his nose, coupled with her iconic quote, “A lie keeps growing and growing until it’s as plain as the nose on your face.” Afterward, the puppet is on his own and joins a coach of boys en route to Pleasure Island.

The island bears a curse where its visitors, free to engage in vices like vandalism, fighting, smoking, and drinking, turn into donkeys due to making “jackasses” of themselves, with Pinocchio, mid-transformation, escaping with Jiminy’s help and finding Geppetto in the belly of the whale Monstro, from whom they must escape. Overall, Disney’s adaptation is, to date, still one of the strongest; however, there are some dangling threads, like what happens with Honest John and Gideon, and many moments come off as ridiculous today. Regardless, the musical numbers like “Hi-Diddle-Dee-Dee” (which serves as a bit of a central theme) are endearing, and aside from endless ruination by past and modern activists, journalists, and politicians, is an iconic piece of animated cinema.


The GoodThe Bad
Still one of the best adaptations of Collodi’s classic.
Great animation.
Decent music.
A lot of moments that haven’t aged well.
Many character fates left unresolved.
Endlessly ruined politically.
The Bottom Line
A must-see among Disney enthusiasts.

Film Review – JFK

Back and to the Left

I was largely apathetic and carefree in grade school about the world’s happenings, American politics, and US history until I took my education more seriously, starting in the seventh grade. While I got the general gist of American history during eighth and ninth grades, I discovered well after graduating college that many inconvenient details were absent from mainstream textbooks. I long knew about the assassination of President John Fitzgerald Kennedy, with conspiracy theories abounding about his murder, expanded upon through director Oliver Stone’s “controversial” Academy Award-winning JFK, which many film critics consider his magnum opus.

The movie heavily utilizes footage from the 1960s, opening with President Dwight Eisenhower’s farewell speech regarding the military-industrial complex. Then it proceeds to JFK’s assassination proper in Dallas, Texas, on November 22, 1963, by Lee Harvey Oswald (who would himself be killed the same day by nightclub owner Jack Ruby), portrayed by Gary Oldman in Stone’s film during his original material. The music is decent, but the irritating overuse of snare drums, chiefly during the president’s murder, can be pretty annoying. After the first ten minutes, my initial impression of the film was also negative, given lines like, “Goodbye, you sorry bastard! Die!” and conversations like this:

The president has been shot.
Oh no!
They think it’s in the head.

Luckily, this doesn’t indicate the movie’s overall quality, as the second act is better, concluding with Jim Garrison’s (played by Kevin Costner) trial against Clay Shaw (Tommy Lee Jones), where excellent points and observations are made about the iffiness of the Kennedy assassination, only for Shaw to win. I can relate to many of the themes, like Garrison being a crappy husband and father and that “official” government reports shouldn’t be blindly trusted. One thing that irked me about the movie’s reception outside movie critics was that questioning the government was more “controversial” than the film’s racist and homophobic slurs (and sadly, the MPAA thinks saying “fuck” is worse than those, for some illogical reason). Then again, the Woke movement didn’t exist in 1991.

Works on contingency? No, money down!

The acting was okay, aside from lines like those above and the overabundance of allegedly “intelligent” characters, mainly the Southern historical figures and politicians, sounding like dumb hillbillies (you can tell I’m from the South by my voice, but I have the dignity not to talk like that). Aside from the irritating snare drums, the music was mostly good, with the violin pieces being the strongest, particularly during the ending credits (before which comes an epilogue showing the fates of the various luminaries featured in the film). Many great quotes also abound, like “The bigger the lie, the more people will believe it.”

Overall, despite a lousy beginning, some bad writing (including unnecessary gratuitous swearing), and occasional veering off-topic (like Mardi Gras and gay parties), JFK has something for everyone regardless of how they feel about the Kennedy assassination and conspiracy theories, mostly deserving the Academy Awards it received. It’s easily a bucket-list film (but that is far from synonymous with “masterpiece”) and makes excellent sociopolitical commentary about questioning one’s government, even in the face of “official” facts (which often come from people with political agendas). Sadly, given the federal destruction of most documents related to the Kennedy assassination, who the hell knows if we’ll ever discover the genuine, objective, verifiable truth?

The GoodThe Bad
Some of the performances are good.
Ditto the music.
Trial at end is the film’s high point.
Great sociopolitical commentary.
Bad first impression.
Snare drums in music are irritating.
Inconsistent quality of acting.
Sometimes veers off-topic.
The Bottom Line
A bucket-list film with something for everyone regardless about how they feel about the Kennedy assassination.

Musical Soundalike of the Day, 4/29/2024

Something I’m trying since I’ve been having trouble keeping up in this blog, first a piece of music that sounds like a cross between previously-written pieces.

“Where Everybody Knows Your Name” from Cheers

+

The Love Theme from St. Elmo’s Fire

=

“The End of Your Adventure” from Etrian Odyssey III: The Drowned City

Let me know if the videos don’t work.

The Great Wolf Pack: A Call to Adventure

I first heard about Great Wolf Lodge through several commercials and an episode of Undercover Boss (though I didn’t watch said episode completely), with the immediate attraction being the indoor water park chain’s lupine mascot Wiley Wolf, outfitted in an adorable boy scout/park ranger combination uniform. As such, I researched said company and discovered their anthropomorphic animal cast aimed at younger audiences. The characters would endure several aesthetic changes, the latest of which would star in a short movie, The Great Wolf Pack: Call to Adventure, released in 2022.

The film itself stars Wiley Wolf in his latest design as he joins friends like Sammy Squirrel, Oliver Raccoon, and others in an adventure that later involves a clash between two races with a claim to a territory. The characters are cute, the animation is fluid, the themes are relatable, and the voice performances are well-executed. However, there are issues like the general kiddy nature of the movie and lack of appeal to older audiences. Many “why” moments regarding dialogue and conversations also abound, and other oddities like Oliver having red panda parents come at the end. The theme songs during the ending credits are somewhat excruciating as well.

Still, it’s not a long film and is viewable on YouTube.

Mental Spring Cleaning

After struggling endlessly to read traditional textual books, I decided, for sake of my mental health, to stop, even though I was in the middle of a fantasy trilogy, which to me is no big loss since I didn’t really care about the characters, the setting, or whatnot, and the books will probably never be adapated to feature film, anyway. From now on, I’ll only be reading books that have been adapted into film or will be adapted into film, are part of series I genuinely care about and love (like Star Wars), graphic novels, comics, nonfiction books that aren’t puff pieces or hatchet jobs or in any fashion political or antireligious, and so forth. Decluttering my life in this regard has actually been mildly therapeutic, surprisingly.

Bagi, the Monster of Mighty Nature

I heard about this 1980s made-for-television anime film from a friend here on Dreamwidth; given the central role of an anthropomorphic cat-woman, I couldn’t resist. It opens in medias res with a score-old Japanese hunter, Ryosuke (or just Ryo), teaming with a South American boy, Chico (with the character costuming largely implying Mexico more than any other country), to track a monster terrorizing the countryside. Five years before, Ryo, also the son of a crime reporter father and geneticist mother, rides with his motorcycle gang and encounters a cat-woman named Bagi, a hybrid of a human and a puma.

The film relates the backstories of Bagi and Ryo’s mother, which culminates in stopping a conspiracy of scientists planning to unleash a strain of rice that can eradicate humanity, eventually returning to the present afterward. Overall, I found this a satisfying watch, even if I had to watch it in Japanese (but luckily with English subtitles), but the performances of the seiyū were superb. Given that the flaws of English voice acting are more readily apparent than those of a foreign language, this wasn’t a bad thing, and all the voices fit their respective characters. It’s on YouTube, so by all means, watch it.

The Wind in the Willows (1995)

I may have heard of Kenneth Grahame’s The Wind in the Willows before seventh grade before I read the actual book, given its intelligent animal cast. After reading it, it remained one of my all-time favorite pieces of literature, mildly influential upon my written word. Numerous adaptations have spawned since the dawn of film and television (most on the latter), with Disney being among the earliest studios to take a crack at it by combining it with their interpretation of Washington Irving’s completely unrelated short story The Legend of Sleepy Hollow.

Among the more contemporary (sort of) adaptations is the 1995 British animated television film produced by the TVC (Television Cartoons) in London (likely defunct since nothing has come out of the studio since 2001). It opens with a live-action sequence where a Victorian woman begins to tell her children the tale, which quickly morphs into a full-fledged animated film. The story proper starts with Mole, disillusioned with spring cleaning, emerging from his underground home to meet and befriend Ratty (just called Rat in this adaptation), with both having a picnic with another river inhabitant, Otter, and his young pup, Portly.

Then they join the wealthy Mr. Toad, who takes them on a trip with his gypsy caravan, but the amphibian hastily develops a fascination with motor vehicles when one causes his carriage to crash. The following spring, Ratty, Mole, and their friend, Mr. Badger, attempt to dissuade their amphibian friend from his obsessions, but he steals and crashes a car, earning a score-long prison sentence. He ultimately escapes with the help of the jailer’s daughter, encountering various tribulations before reuniting with his companions and taking back Toad Hall when weasels seize it. 

Overall, I enjoyed this adaptation, though I can’t wholly attest to its faithfulness to the source material (but it seems to do so, at least in my memory). The bookends of the Victorian woman telling her children the story seem unnecessary. However, I liked the various costumes of the animal characters, Otter in particular, and the animation was pleasant. I would gladly reread the book were I to get the time and watch its other adaptations, probably excluding the live-action ones since most seem to star humans that look nothing like the animals they allegedly play. Regardless, I don’t regret watching this film and would recommend it.

Daily Prompt, 4/7/2024

Daily writing prompt
If you could be a character from a book or film, who would you be? Why?

Can’t think of any specific characters, but probably any of the mentats from the Dune franchise, since I wish I could have my mind and thoughts superbly organized and mimic computer abilities like being able to commit new ideas to memory, recall that which is important, and block things that trigger me.

Jesus Christ Superstar

(I watched this to celebrate Good Friday.)

Based on the rock opera by Andrew Lloyd Webber and Tim Rice, the first film adaptation of Jesus Christ Superstar, directed by Norman Jewison (who had two years before directed that of Fiddler on the Roof) is an incredibly psychedelic take on the story of Jesus that screams “the 1970s,” rife with tons of WTF anachronisms (like a bus of hippies, military soldiers that resemble those of the film’s time, and a few air force jets, among others), and sizably focusing on historical/religious figures like Jewish high priest Joseph ben Caiaphas (whose name and biblical role I now know thanks to the film and his respective Wikipedia article), with bizarre takes on other luminaries like King Herod as well.

I don’t want to go into intense depth about the film. However, I will say that it exemplifies my belief that the quality of any form of media like books, film, television, and video games (for me especially), positive or negative, is almost strictly a point of view. Much of the music is enjoyable and sometimes catchy but frequently has abrupt instrumental, stylistic, and tonal shifts, with its other aspects having abundant WTF and YMMV moments. I found the film incredibly entertaining (but as I said, film quality is often a point of view) because I relate to the story of Jesus as an autistic (like being seen as delusional and ostracized by my kind) and have certain biases regarding the religious commentary, in which case it very much deserved the criticism from religious groups it got at its time of release.

Overall, I enjoyed the movie but can easily understand why and how many others would feel otherwise.