The story resolves in lengthy, consecutive climaxes which, refreshingly, don’t play like a cynical attempt to pad things out. Along that narrative backbone “The Last Jedi” strings what amount to several tight, often hastily devised mini-missions, each of which either moves the heroes (or villains) closer to their goals or blows up in their faces. ![]() Suffice to say that, despite being comprised of variations on things we’ve been experiencing directly (in “Star Wars” films) and indirectly (in “Star Wars”-inspired entertainment) since 1977, “The Last Jedi” still manages to maneuver in unexpected ways, starting with the decision to build a whole film around a retreat where the goal is not to win but to avoid being wiped out. ![]() The leathery old coot may not be a great bad guy-he’s too much of a standard-issue deep-voiced sadist, in a Marvel mode-but he is quite the chess player, and so is Johnson. The New Order's Supreme Leader Snoke ( Andy Serkis plus CGI) has grand plans for both Rey and his Darth Vader-obsessed apprentice Kylo Ren ( Adam Driver). The first part of “The Last Jedi” cross-cuts between the remnants of our heroes’ ragtag fleet (led by the late Carrie Fisher’s Leia) running away from the First Order, aka the next-generation version of the Empire and Rey ( Daisy Ridley) on the aquatic planet Ahch-To ( gesundheit!) trying to convince the self-exiled Jedi master Luke Skywalker ( Mark Hamill, whose sandblasted face becomes truly iconic in close-ups) to overcome his grief at failing a group of young Jedi trainees and rejoin the Resistance.
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