He pinpoints the intersection between characters’ desperate need to belong and the special effects that will lift those longings into the realm of myth. But the new writer-director, Rian Johnson, isn’t an impersonal technician (or a rote imitator, like Abrams). There’s no such thing anymore as a straight, single-strand narrative in this kind of “universe” movie, which has a mandate to look backward and forward as well as sideward at any character with the potential to be spun off into his or her own vehicle.
What you’d never dare expect is high style, let alone the kind of emotion that holds you through the requisite hopscotching among three different story arcs. Abrams’s The Force Awakens, which was the first episode under Disney’s aegis - as well as the first to leave George Lucas behind, presumably counting his money and lamenting the fickleness of fans. You’d expect it to be loud and gargantuan and to hit its marks in the manner of J.J.
The new Star Wars, Episode VIII: The Last Jedi is shockingly good.
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