(Century 16, Century 20)
If you like “Star Wars” at all, you need to see “Star Wars: The Force Awakens,” J.J. Abrams’ thirty-years-later sequel to “Star Wars: Return of the Jedi.” No spoilers here, I promise. I will say a few things, though, about this ultimate in critic-proof movies.
There’s nothing bold or particularly unexpected about the script by Abrams, Lawrence Kasdan and Michael Arndt or the direction by Abrams. Lucasfilm (sold by founder and “Star Wars” creator George Lucas in 2012), Disney and the creative trust have agreed to stay true to the franchise’s established universe, characters and style, inviting back old characters and establishing new ones capable of winning young hearts and sustaining a fresh storyline.
The big innovation here is to put a young woman front and center. Although Rey (Daisy Ridley) — the strikingly attractive waif in question — proves conspicuously unconvincing in muscling opponents off their feet in an early fight scene (with what arms?), she’s entirely credible behind a blaster or the controls of the Millennium Falcon. If Rey is the new Luke, “best pilot in the resistance” Poe Dameron (Oscar Isaac) and new recruit Finn (John Boyega) are the new Han, and orange is the new droid, by which I mean super-cute “one of a kind” droid BB-8 (who immediately calls to mind WALL-E). CGI characters Maz Kanata (Lupita Nyong’o) and Supreme Leader Snoke (Andy Serkis) are essentially the new Yoda and Emperor, respectively; General Hux (Domhnall Gleeson) is the new Grand Moff Tarkin and Kylo Ren (Adam Driver) is the new Darth Vader — with a twist.
Just about everything in “The Force Awakens” serves as a pastiche to the original trilogy, including the sandy, snowy and forested planets and the Death Star-style headquarters of mass destruction: Starkiller Base. The strategy is in keeping with Lucas’ creative approach of cyclical storytelling and also serves as a stylistic rebuke to his digi-fied 1999-2005 prequel trilogy. Here, we get varying degrees of screen time from Solo (Harrison Ford), who I can tell you is a major focus and still has the old chemistry with Chewbacca (Peter Mayhew); Luke Skywalker (Mark Hamill), General Leia Organa (Carrie Fisher), C-3PO (Anthony Daniels) and R2-D2.
Ford’s the best thing about “TFA” and nails all the best lines, while the new cast acquit themselves admirably, suggesting future installments stand on solid ground with a set of reasonably engaging characters. In story terms, the film can be dimwittedly obvious and self-plagiarizing, with little of real-world consequence and even less that’s new (the Empire remains fascist, with Stormtroopers conscripted as child soldiers, while the Force remains a spiritual energy that can tip powerfully to good or evil). Abrams makes epic use of the frame when he can (which is most of the time), and visual effects and production design remain the franchise’s most convincing claims to artistry.
At this date in movie history, of course, artistry isn’t the point, so is “Star Wars: The Force Awakens” a fun-filled adventure at the movies and a license to print money? Yes and yes, with repeat business assured from pop-eyed kids and their tear-wipingly nostalgic parents — and grandparents.
Rated PG-13 for sci-fi action violence. Two hours, 15 minutes.
— Peter Canavese
