The iconic opening crawl heralded by John Williams' stupendous score indelibly dictate the rousing aura, and that is when familiarity docks for fresher heights to be explored by "Star Wars: The Rise of Skywalker." From Kylo Ren's (Adam Driver) jarring first sequence until the gripping 15-minute finale, the action hyperspeeds as eyeballs roll along the impressive special effects. Amid the action sequences being incomprehensive in certain seconds, "The Rise of Skywalker" infuses an exclamation point — often in the form of crowd-pleasing explosions or brilliantly choreographed lightsaber maneuvers — to bolt the fun throughout its extended runtime. The flooding minutes of the film are rewarding when the saber duels (there are a sea of their fights throughout) of Rey (Daisy Ridley) and Kylo commence. Their battles are tinged in blue that may foreshadow the lightning-saber induced events that unfold. It is a stark contrast to the red motif of “Star Wars: The Last Jedi,” where the focal shade was a striking red that somehow looms in a few frames in “The Rise of Skywalker” to recognize the significance of its predecessor. Returning for the last installment of the sequel trilogy, Finn (John Boyega), Poe Dameron (Oscar Isaac), and Rey finally team up to search for an elusive artifact known as the Sith Wayfinder and track the whereabouts of the purportedly unkillable Emperor Palpatine (Ian McDiarmid). "The Rise of Skywalker" is Poe and Finn's finest hour. Boyega's Finn is exceptionally determined in this adventure while Isaac's Poe operates with likeable grit. The duo gets a healthy chunk of screentime exchanging sharp banters with a generous array of blaster-shooting plus galactic piloting, warranting a buddy flick if Disney wills it. The film is mechanized to introduce a mind-melting collection of new characters like Jannah (Naomi Ackie) from Kijimi — a new comrade for the Resistance with intriguingly slight ties to Finn; and Zorrii Bliss (a captivatingly provoking Keri Russell hidden in a quasi-Power Ranger suit) — whose mere backstory is being an old acquaintance of Poe from Kef Bir. They have utterly scarce past and present shown in "The Rise of Skywalker" that their only future is to have more spin-offs: either movies or episodes for Disney+.
Characters inserted overcomplicate the plot, if not bolster the story beyond the viewers can actually gauge, and thus expands the galaxy far, far away as it should. But the familiarity with the franchise also drifts from it. Likewise, the overabundance of locations and its inhabitants in the sprawling “Star Wars” lore becomes problematic. The staggering existence of these spots distracts from the supposedly easy narrative. Adding planets plus side-characters feels a bereft move for the sake of adventure when the plot can plainly navigate within the known excitement that audiences hope for. Disney seems motivated to produce more "Star Wars" for the planet and the world will consume it in the name of film economics. But who is complaining? If it means telling extra stories that cannot be explored in the actual movie, then are the tales necessary inasmuch as to bring balance to The Force? Maybe there is no balance at all, just branches of sub-plots to reinvigorate the virtually immortal "Star Wars" mythos. And "The Rise of Skywalker" careens into myth territory, baking a pristine concept known as the Skywalker mantle — it is no longer only a family name but the philosophy of the Jedi, so it must be passed on to live forever. Director J.J. Abrams, who co-wrote the screenplay with Chris Terrio from a story by Chris Trevorrow and Derek Connolly, supplies ample drama in the Kylo-Rey will-they-won't-they dynamic. "Star Wars: The Last Jedi" has had a satsifying amount of Adam Driver acting, though "The Rise of Skywalker" trims his scenes; perhaps in favor of spotlighting Ridley's topnotch command on screen: her theatricality is superfluous. But in the reels where Driver arrives as Kylo, he bleeds with deadpan emotionality sparingly restrained to emmesh viewers and brace for more Darkside (Lightside?) feelings. An inseparable pair of extremes, Ridley's and Driver's energy are translated to overflowing sinister through McDiarmid's classic Emperor portrayal. The trio's thrilling sequence together is heightened by the reveal of Rey's electric roots. And if that is not enough shock, the lady warrior can do Force Lightning in a heart-skipping second. Fandom is often quenched by "The Rise of Skywalker," so cinephiles are treated to historic movie nods too. During the battle of the Resistance against the Final Order, Abrams convenes the cavalry of galactic fleet piloted by "just people" in an homage to the civil rescue from "Dunkirk." Then, the Emperor glows space with his lightning, drawing a shot similar to when Lord Voldemort summons lightning through the Elder Wand in "Harry Potter and the Deathly Hollows Part I." "The Rise of Skywalker" is meant to jumpstart a squad of next episodes due to its stacked storylines, spelling the Disney formula of refamiliarizing franchises for wider consumers. Since the love for beloved cinema outweighs the drive for reconfigured material, Darkside or not, fandom will always prevail. Director: J.J. Abrams Photo/Trailer © Star Wars; YouTube.com
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