Star Wars: The Last Jedi

I'd wager that when George Lucas set out to write Star Wars Episodes I-III he imagined himself creating sophisticated scripts which would politically and ethically diversify his intergalactic creation through a tragic appeal to universal social justice.

Tragic inasmuch as the Jedi would be betrayed and the Emperor would inevitably reign supreme.

It's possible that Star Wars: The Last Jedi writer and director Rian Johnson respected this aspect of Lucas's vision (he did achieve that aspect of his vision) but wanted to tone it down a bit, or to make Episode VIII easier to follow anyways.

If that's the case, well done.

In fact, The Last Jedi's a masterpiece of unpretentious chill ethicopolitical sci-fi activism, not to mention an explosive Star Wars film, way done to the nitty-gritty.

Best since Jedi.

Possibly better than Jedi.

Conflict.

As the last remnants of the resistance run out of fuel, star destroyers who can track them through hyperspace pick them off one by one, and after most of their senior leadership is suddenly wiped out by Kylo Ren (Adam Driver), passionate headstrong and defensive rebels bitterly dispute their remaining options.

Lacking the requisite rank to command, Poe Dameron (Oscar Isaac) improvises plan B, which an embarrassed Finn (John Boyega) puts into action, along with the aid of dedicated worker Rose Tico (Kelly Marie Tran).

Meanwhile, Rey (Daisy Ridley) and Luke Skywalker (Mark Hamill) become better acquainted as her innocent forceful magnetism awakens hope in his forlorn Jedi consciousness.

Kylo Ren and Supreme Leader Snoke (Andy Serkis) seek to drive them apart however, to further delay the resurgence of the Jedi, and strengthen their sadistic stranglehold on the galaxy.

That's the bare bones, but I don't want to give too much away, nothing too out of the ordinary, I'd say, it's more of a matter of how it's held together.

Comedically.

Astronomically.

General Hux (Domhnall Gleeson) of all characters, looking much more pale and sickly, taking the brunt of the insults, he battles wits early on with Dameron, but if you think of their dialogue extranarratively, it's as if Johnson is brilliantly laying down his gambit, his new direction, his original take on Star Wars, his embrace of lighthearted extreme space tragedy.

Muck like Captain America: Civil War's bold mention of The Empire Strikes Back, The Last Jedi's uncharacteristic unprecedented Star Warsian ridiculousness pays off as nimble youthful energy, and Hamill, and Chewbacca (Joonas Suotamo), Chewbacca doesn't show up in spellcheck, and Leia Organa (Carrie Fisher), and Laura Dern (Vice Admiral Holdo)(Dern is super impressive), spontaneously and playfully redefine rebellious agency.

Apart from Rey and Finn, I wasn't that impressed with the new cast in The Force Awakens, but as Johnson's lighthearted humanistic fallible yet decisive characters joyfully play their roles with competent agile abandon, in situations wherein which there is no clear and precise plan of action, it's as if his direction creates a loving caring nurturing self-sacrificing bold aesthetic that's lucidly transmitted through every innocent yet volatile melodic aspect.

It's a risk, embracing the lighthearted so firmly in such a solemn franchise, but it works well, incredibly well, no doubt a byproduct of having the legendary Mark Hamill so close at hand, and, possibly, red bull, could this be the crowning achievement of today's youth's sober obsession with red bull?

It's like they know when to be funny, when to be furious, when to be desperate, grateful, condemnatory, sad, ruthless, gracious, assertive, feeble.

Abused animals are set free.

Plutocratic weapons dealers castigated.

Vegetarianism presented as a conscientious choice.

Loving kindness shown towards animals leads survivors towards light.

Without being preachy or sanctimonious.

Just short random bursts well-threaded into the action.

It's not all cute and cuddly, the mischievous substance is backed by unyielding pressure, the entire film apart from the interactions on Luke's far away island is one massive extended fight scene, coming in at 152 chaotic minutes, a sustained accelerated orgasmic orchestration, that seems like it was just takin' a walk in the woods, or considering what to do on a long weekend.

New character DJ's (Benicio Del Toro) embrace of moralistic relativism left me puzzled.

You'd have to be a huge piece of shit to betray the resistance like that.

He's right that both sides purchase weapons from arms dealers and use them to pursue alternative ethicopolitical visions.

But he's wrong to have not chosen a side during a real conflict with physical casualties mounting by the minute, one group notably less oppressive than the other.

When shit hits the fan, when a Hitler decides he wants to conquer Europe, or the president of the United States starts directly supporting misogynists and white supremacists, or the right to unionize is threatened politically, when extremes govern, then moralistic relativism takes a back seat to action, and you fight them, with mind, body, and spirit, plain and simple.

Don't know what to make of Maz Kanata's (Lupita Nyong'o) labour dispute. If her employees are comin' at her that hard, she must be utilizing antiquated labour policies.

Too much praise perhaps, but I haven't really loved a new Star Wars film since I was 7.

It worked for me.

Big time.

Spoiler: I was glad they recognized there could never be a last Jedi.

The Jedi might take on a new name if future Jedi don't understand that the powers they possess were once referred to as Jedi powers.

They'd still be Jedi, however, or at least gifted individuals in tune with whatever word they use to characterize the force.

The universe would never stop producing them.

Although alarming build-ups of plastics could prevent people from breeding which could lead to even less Jedi, which would be a very small number indeed.

Kylo Ren the death eater, Rey, born of non-magical parents.

There's a Harry Potteresque magic to The Last Jedi.

Culturally conjuring.