It opens the door to why many, I think, dislike this movie. Giving Chewie his reward is an undeniable, four-decades-late bit of fan-service, a treacherous road to walk for a project like this.
Plus Chewbacca, the greatest character in the entire franchise by many parsecs, finally got that medal Princess Leia should have given him back on Yavin 4. Compare any frame in The Rise of Skywalker to the allegedly thrilling conclusion of Disney’s other big breadwinner, Avengers Endgame, and you will see the difference between a cinema that crackles versus soul-deadening smudgy brown nothingness.įrom the opening “lightspeed-skipping” (so many worlds! so many employed illustrators!) to the Aki-Aki Festival of the Ancestors (“colorful kites and delectable sweets!”) to the group hug at the end, The Rise of Skywalker keeps it moving and keeps it big. Abrams is not a director without faults, but the guy always knows where to put the camera, and his imagery is propulsive and vibrant. Its set and creature design, color palette, and blend of practical and computer effects make for some of the richest action-adventure sequences in recent years. The Rise of Skywalker leans into this, and is fast-paced and funny, and blessedly devoid of talk about trade federations like the unbearable prequels. That’s great for essayists, but when Leia grabbed Luke, kissed him on the cheek for good luck, and they swung across a chasm on a grappling hook, what’s plainly on the surface is pure Buck Rogers. Few need reminders that young George Lucas was influenced by approved-by-elite sources like Akira Kurosawa and Joseph Campbell.
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