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When it comes to a project as feverishly adored and, for many, particularly
meaningful as "Star Wars," high expectations in regard to any sort of
continuation can be a curse. This is the fate which befell 1999's "Star Wars:
Episode I - The Phantom Menace"—the first of George Lucas' controversial
prequels—and one which could have easily encompassed the franchise's rapturously
anticipated latest trilogy opener. This time, however, audiences need not worry.
In the reverent hands of writer-director J.J. Abrams and co-scribes Lawrence
Kasdan and Michael Arndt, "Star Wars: Episode VII - The Force Awakens" is
everything fans could want in a 32-years-in-the-making sequel to 1983's "Return
of the Jedi"—and maybe, for that matter, more. Abrams' love, respect and
unmistakable nostalgia for the series shines through at every turn of his
enticingly crafted narrative, but the filmmaker never loses sight of his own
artistic eye and sensibilities.
When Jedi knight Luke Skywalker (Mark Hamill) vanishes, twin sister General Leia
Organa (Carrie Fisher) enlists ace pilot Poe Dameron (Oscar Isaac) for a secret
mission to find him. A
map to Skywalker's whereabouts Poe hides inside his droid BB-8 becomes the most
coveted possession for not only Leia's Resistance, but also the nefarious First
Order, a second rising of the Galactic Empire lorded over by Supreme Leader
Snoke (Andy Serkis) and masked apprentice Kylo Ren (Adam Driver). Caught in a
new fight to save the Republic from takeover are Stormtrooper-with-a-conscience
Finn (John Boyega); savvy Jakku scavenger Rey (Daisy Ridley), whom BB-8 latches
onto when she finds him in the desert; and smugglers-turned-heroes Han Solo
(Harrison Ford) and Chewbacca (Peter Mayhew), the former holding a personal
stake in locating not only Luke, but also Kylo Ren.
"Star Wars: Episode VII - The Force Awakens" fires on all cylinders just about
all of the time. The pressure must have been intense bordering on terrifying for
J.J. Abrams when he was hired for the daunting task of kick-starting a brand-new
trilogy within the "Star Wars" cinematic canon, but one would never know it
based on the level of dazzling confidence and control dripping from the screen.
The battle between good and evil, light and dark remains largely the same, but
Abrams' handling of these themes is riveting and vital. He makes certain to not
merely repeat what has already been done, but to see the story through to its
natural next phase. This achievement extends to the film's tonal grace, a
balance of levity and humor with pathos and existentialism.
Whereas George Lucas' screenplays were the central failing of his prequels—the
romantic interludes between Anakin Skywalker and Padme Amidala in 2002's "Star
Wars: Episode II - Attack of the Clones" would make a writer of daytime soaps
cringe—there are no such issues with "The Force Awakens." Dialogue frequently
buzzes with stamina and flair, while the camaraderie of its spirited ensemble
shines throughout. Thirty-plus years may have passed since "Return of the Jedi,"
but the returning actors—most notably Harrison Ford and Carrie Fisher as Han and
Leia—seamlessly pick up where they left off, the intervening decades giving them
and their relationship the added benefits of history and wisdom. Honestly. Ford
hasn't appeared this engaged in years.
Meanwhile, the newcomers to the epic sci-fi space saga are so dynamically
imagined and share such immediate chemistry it is as if they have been around
since the beginning. Daisy
Ridley is a tremendous find as Rey, fierce and ingratiating, while John Boyega
(2011's "Attack the Block") is instantly sympathetic and engaging as fellow lead
protagonist Finn. Doing an about-face from their adversarial work in 2015's "Ex
Machina," Oscar Isaac emanates warmth and proficiency as talented pilot Poe
and Domhnall Gleeson is chilling as General Hux, shades of Hitler invading his
slightly over-the-top intense, vein-popping portrayal. As the out-of-control
Kylo Ren, Adam Driver (2014's "This Is Where I Leave You") digs deeply to find
the agony of his internal conflict, the light within him dimmed but not yet
entirely snuffed out by the Dark Side's seduction. With his hoodie and tantrum
throwing, he is the goth kid of the Star Wars universe. Invaluable contributions
from Peter Mayhew as Han Solo's furry sidekick Chewie, Anthony Daniels and Kenny
Baker as sparring robot pals C-3P0 and R2-D2, and the unforced adorableness of
droid BB-8 round out the central players.
If the original "Star Wars" trilogy of 1977-'83 had imagination to spare but
could not always flawlessly pull off its every fantastical setting and special
effect, and the extravagant prequels of 1999-'05 were so reliant on era-specific
CGI and green screen they often felt artificial, 2015's "Star Wars: Episode VII
- The Force Awakens" has been made at precisely the right time where
advancements in technology have finally caught up to the series' full conceptual
ambitions. Using visual effects as a coherent aid rather than a gaudy crutch,
director J.J. Abrams has made a movie as joyous and warm as it is startling and
edgy. John Williams' score displays the same mesmeric scope as cinematographer
Dan Mindel's rapturous images, taking viewers from the arid sand dunes of Jakku
to the forbidden snowy forests of Starkiller Base to the boundless reaches of
outer space itself.
An aesthetic gift though the picture is, it is the humanity of the
characters—not just the heroes, but also the troubled, fearful villains, the
good-hearted androids and a trusty Wookiee named Chewbacca—which gives this
series its lasting appeal and unsuspecting poignancy. In a world where the
notion of happily-ever-after is neither guaranteed nor fixed, these people are
struggling to find their way—to discover their destinies, to cling to the ones
they love, in another tragic instance to pull away from the ones who so dearly
love them.
However, there is a formula to “The Force Awakens” that might rub some fans the
wrong way, with Abrams and Kasdan essentially recycling events from “A New Hope”
to inspire the new film. Cynics will likely scoff, but it seems to be a
calculated move, trying to realign the
franchise with recognizable formula to help launch a modern saga with different
participants. At least that’s the hope, and the movie certainly ends with a
humdinger of a cliffhanger that makes the wait for “Episode VIII” (due in May,
2017) all the more painful. Déju vu is persistent, but Abrams taps into the soul
of “Star Wars” with real vigor and an understanding of what made the George
Lucas years so special, providing a rollicking adventure that brings back pure
escapism, epic visuals, and boldly designed heroes and villains, making the
return to a long time ago in a galaxy far, far away all the more satisfying.
"Star Wars: Episode VII - The Force Awakens" is a special kind of blockbuster,
wondrous and thrilling and not in the least hampered by cynicism. It is that
lack of cynicism that makes this reviewer remember seeing the first film in
1977. A time post Watergate and Vietnam where George Lucas's film seemed like a
balm to the decade. Abram's Force Awakens feels the same. "Star Wars: The Force
Awakens" is a blast from start to finish--funny, thrilling and heartfelt in ways
that I didn't think were possible from the franchise anymore. Does it supersede
"Star Wars" and "The Empire Strikes Back"? Maybe not but it honors them more
than any other element of the franchise that I can think of. Does it live up to
the gargantuan levels of pre-release hype? It comes far closer to doing so than
any level-headed person could have possibly expected it to do. And when the
whole thing is said and done, I realized as the end credits were unspooling that
I was feeling a sensation that I hadn't experienced in 35 years--the desire to
see a new "Star Wars" movie. Don't be surprised, adults, if watching it makes
you feel like a kid again.
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