It scores out over that film by at least pretending to break from the mould, rather than insulting our intelligence by trying to argue that everything fits in with the existing canon. Jakku is just Tatooine by any other name, BB8 is R2-D2, the plans for Luke's home are the plans for the Death Star - even the early deaths are a straight lift from Anakin's vengeful slaughter in Attack of the Clones. The Force Awakens is massively derivative from the outset, both in the general movements of its plot and its specific details. But their presence only serves to remind us how good the originals were, and adds doubt as to whether the new blood are good enough to hold things up on their own. There are some lovely moments here: the chats between Han Solo and Leia are the film's most human and emotional parts, and Mark Hamill's appearance, like an exiled King Arthur having Excalibur returned, is a nice touch.
#Star wars the force awakens rey tv
There's a conscious effort here to bring back the original actors to give the project their blessing and pass the torch, just as in Star Trek Generations or certain episodes of The Next Generation TV series. The presence of the older cast warrants a further comparison with 'Trek. The lightspeed sequences here are almost identical to the hyperspace sequences from Star Trek Into Darkness. But that being said, it's clear that the two 'Trek films he made were essentially just practice for this.
There is less of the irritating lens flare that there was on Star Trek or Super 8, and the action sequences don't look like they were assembled purely for the basis of making the trailer look exciting. I will give Abrams some credit, in that it is one of his better behaved efforts in terms of the camerawork. Whether you look at A New Hope as a Star Wars film or as a love letter to adventure stories, it still holds up well enough (for all its problems) to make this feel immediately superfluous. The toys may be faster, and the Death Star-that's-not-but-actually-is might be bigger, but it's still essentially A New Hope with modern-day editing. It's positively flabbergasting how a film like this can be hailed as a masterpiece when it feels for all the world like watching a bunch of children dressing up and re-enacting their version of A New Hope.
The single biggest problem with The Force Awakens is how desperately and despairingly unoriginal it is. But as someone who looks upon the originals fondly - or at least acknowledges their deserved place in cinema history - I still count myself among those wanting this to be good, rather than hoping that it would fail outright. It's also true that I have never been the biggest fan of Abrams, branding him "the master of hype" and "our generation's Wizard of Oz", who is capable of making flashy, tempting trailers but less capable at telling original stories. It's true that I was initially dismissive of Disney's decision to buy Star Wars, back in the days when I regularly wrote for WhatCulture!. Sadly, that last great hope has ended up as just another version of A New Hope, leaving us dazzled by the modern visuals but otherwise disappointed. It seemed as though everyone was pinning their hopes on this film working, as though it was the last great hope that Star Wars could one day be good again. Having already convinced themselves, like long-suffering Highlander fans, that things at least couldn't get any worse, the hype steadily grew as the old cast members returned and more and more details were affectionately teased.
#Star wars the force awakens rey series
Abrams, gave the sci-fi community and the film-going public reason to have positive expectations about this series again.
It took less than ten years after Revenge of the Sith brought the ghastly prequel saga to a sorry conclusion for the powers-to-be (in this case Disney) to decide that audiences would be ready for another instalment or three.ĭisney's acquisition of Star Wars from George Lucas, coupled with the involvement of J. The seemingly endless wave of remakes, reboots, re-imaginings and redundant sequels was bound to hit the Star Wars franchise sooner or later. Lovecraft's The Call of Cthulhu, which has increasingly become the mantra of Hollywood executives. "That is not dead which can eternal lie" - the immortal line from H.
0 kommentar(er)
