Staying barely one step ahead of the enemy TIE fighters on their tail, Rey and Finn manage to commandeer the dust-choked but ever-durable Millennium Falcon, leading to a wild loop-de-loop chase scene in which Rey turns out to be an exceptionally gifted pilot. Escaping the First Order with Poe’s help, the desperate but good-hearted Finn crash-lands on Jakku, where he ultimately partners with Rey - who makes it quite clear that she’s in no need of rescuing, thank you very much - to ensure that BB-8’s intel makes it back to the Resistance. This time, the droid is not R2-D2 but an orange-colored, spherical-bodied model called BB-8 the desert planet is not Tatooine but Jakku the human who adopts the droid is a tough young scavenger named Rey (Daisy Ridley) and the coveted information concerns the whereabouts of Luke Skywalker, the last of the Jedi knights, who has mysteriously gone missing. An ace Resistance pilot named Poe Dameron (Oscar Isaac, solid in a minor role) is captured by the First Order, but not before concealing a top-secret map inside a small droid, which he sends away to a desert planet. If all this sounds familiar, the similarities only continue from there. Doing battle with the First Order are the good men and women behind a rebel movement called the Resistance. A conflicted young warrior-slave who goes by the name of Finn (John Boyega), this Stormtrooper has been brainwashed into serving the First Order - a new army of galactic terrorists that arose from the ashes of the evil Empire, about three decades after the Battle of Endor.
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Shot on 35mm film (plus some 65mm Imax footage), in a decisive refutation of Lucas’ all-digital aesthetic, Abrams’ movie has grit under its nails and blood in its veins, as we see in an early battle sequence in which an Imperial Stormtrooper’s white helmet is suddenly streaked with red. And if Abrams and his co-writers Lawrence Kasdan (back for more after “The Empire Strikes Back” and “Return of the Jedi”) and Michael Arndt have shouldered a near-impossible burden of audience expectations here, it’s hard not to look favorably upon “The Force Awakens” simply for being a massive improvement on “The Phantom Menace,” “Attack of the Clones” and all but a handful of moments in “Revenge of the Sith” - taken together, a stultifying experiment in brand extension gone awry, in which Lucas’ much-vaunted technical wizardry and visual imagination proved no match for the unholy torpor of his storytelling.īy contrast, “The Force Awakens” feels disarmingly swift and light on its feet, possessed of a comic sensibility that embraces contemporary wisecrackery and earnest humor in equal measure. 18 release from becoming the year’s top-grossing movie and possibly the most successful movie of all time, at least until the forthcoming episodes directed by Rian Johnson and Colin Trevorrow arrive. Still, the film’s tilt toward nostalgia over novelty will hardly prove a commercial liability indeed, nothing short of a global cataclysm (and even then, who knows) is likely to keep Disney’s hugely anticipated Dec. Still, the reassuring familiarity of Abrams’ approach has its limitations: Marvelous as it is to catch up with Han Solo, Leia and the rest of the gang, fan service takes priority here over a somewhat thin, derivative story that, despite the presence of two appealing new stars, doesn’t exactly fire the imagination anew. Abrams seems to have had the original three films firmly in mind when he embarked on this monumental new undertaking, structured as a series of clever if sometimes wobbly callbacks to a trilogy that captivated a global audience and helped cement Hollywood’s blockbuster paradigm. Reinvigorating the franchise with a welcome surge of energy, warmth and excitement after the misbegotten cycle of prequels released between 19, incoming writer-director J.J. If the first “Star Wars” (1977) hadn’t already been rebranded “A New Hope,” that optimistic title might have applied just as well to “ Star Wars: The Force Awakens,” by any measure a rousing, even restorative seventh chapter in the immortal space-opera saga established and now relinquished by George Lucas.
(EDITOR’S NOTE: While every effort has been made to avoid spoilers, those seeking an untainted viewing experience are advised to avoid reviews, this one included, until after they’ve seen the movie.)
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