Star Wars: The Rise of Skywalker (2019)

written by Chris Terrio and J.J. Abrams

from a story by Derek Connolly, Colin Trevorrow, J.J. Abrams, and Chris Terrio

based on Star Wars characters by George Lucas

directed by J.J. Abrams

If there’s one thing that’s clear from watching Star Wars: The Rise of Skywalker, the final chapter in the latest trilogy that concludes the nine-part Skywalker saga, is that the filmmakers were making it up as they went along. No one will ever know just how much had been mapped out by creator George Lucas when he made the first holy trinity of Star Wars (1977), The Empire Strikes Back (1980), and Return of the Jedi (1983). Judging from the inconsistencies, probably not a lot. But no one can argue those first three movies hold up much better as a whole, since they were all supervised by him (the three prequels, 1999’s The Phantom Menace, 2002’s Attack of the Clones, and 2005’s Revenge of the Sith were infamously not at the same level, but you can also tell they were Lucas’ through and through). In contrast, Disney gave writer/director J.J. Abrams the reins for Star Wars: The Force Awakens (2015) and then hired other directors to continue the narrative as they saw fit (Rian Johnson for Star Wars: The Last Jedi (2017) and Colin Trevorrow for The Rise of Skywalker). Not a good idea.

After thousands of fans complained about Johnson’s decision to play with audience expectations in The Last Jedi, Trevorrow was fired and Abrams brought back to course correct the franchise. Was it the right call? Maybe not. The Rise of Skywalker is a rushed, slightly confusing adventure in which Emperor Palpatine (Ian McDiarmid) is alive and kicking and scheming to rule the galaxy by transferring his spirit to Rey (Daisy Ridley), his long-lost granddaughter (so that’s why she’s so powerful). The return of the Emperor is ridiculous, and coupled with all the running around the characters must do – finding a clue that will lead them to an artifact that will lead them to a wayfinder that will lead them to Palpatine (!) – it’s enough to make you wish Abrams and company would enroll in a screenwriting seminar. Also, what in the hell did Finn (John Boyega) want to tell Rey? So frustrating.

And yet, I can’t help but appreciate the effort. Trying to tie all the loose ends left behind by The Force Awakens and The Last Jedi, orchestrating an appropriate denouement to eight preceding films, and on top of that coming up with a creative way to incorporate previous footage of Carrie Fisher, who passed away before production started, as Leia must’ve been a gargantuan task. If you can look past its flaws, The Rise of Skywalker is entertaining enough: it’s more visually exciting than The Force Awakens; the cast seems to click effortlessly for the first time; and the scene in which Rey faces off against Kylo Ren (Adam Driver) on the wreckage of the second Death Star – as huge waves crash around them – emotionally resonant. I also enjoyed the coda in which Rey decides who she is (not a Palpatine, but a Skywalker) and gazes at the Tatooine sunset in a reflection of Luke’s original hero’s journey.

So overall, an imperfect ending to the fable that began forty-two years ago in a galaxy far, far away. But hey, still better than the prequels. I’ll take it.

Click here to read Rogelio Rodríguez’ review on my sister site Cinesthesia.

Rating:**½

Carlos I. Cuevas