Dalamfilm Lucasfilm Star Wars: The Last Jedi, kisah keluarga Skywalker diteruskan ketika para pahlawan The Force Awakens bergabung dengan para legenda galaksi dalam sebuah petualangan mencengangkan untuk menguak kunci misteri lintas zaman mengenai the Force serta terkuaknya secara mengejutkan berbagai rahasia masa lalu. 15Reasons why TLJ is the WORST of the SW Films. It was too formulaic — the entire movie felt overly-scripted, as if the director was following some Star Wars recipe card. Step 1: Start with Spaceships chasing each other. Step 2: Show the evil old white guy empire villains about to launch a weapon of mass destruction. StarWars: The Last Jedi (2017) iLK21 LayarKaca21PG-13 Genre: Action, Adventure, Fantasy, Science FictionYear: 2017 Duration: 152 Min. 3155 votes, average 7.2 out of 10. Rey develops her newly discovered abilities with the guidance of Luke Skywalker, who is unsettled by the strength of her powers. Meanwhile, the Resistance prepares to do battle Tapikalau dilihat lebih dalam, The Last Jedi mampu meng-establish karakter dengan lebih tajam dan mampu memanfaatkan 2,5 jam untuk menunjukkan storytelling yang sangat bagus, emosi yang terbangun, dan membuat saya sendiri percaya bahwa perdamaian bisa tercipta karena harapan akan selalu ada. Kudos to everyone who makes Star Wars happen. StarWars: Episode VIII - The Last Jedi: Directed by Rian Johnson. With Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley. The Star Wars saga continues as new heroes and galactic legends go on an epic adventure, unlocking mysteries of the Force and shocking revelations of the past. TheLast Jedi Ketika Baik - Jahat Tidak Selalu Mutlak Resensi Film BOMBSHELL. Upon re-watching all these films back-to-back you can truly see the mastery of Rian Johnson. THE FINALE Pertarungan Sang Guru di. The Last Jedi berhasil meraup pendapatan sebesar US 450 juta atau setara dengan Rp64 triliun. Needless to say this is something of a huge surprise. Episode VIII - The Last Jedi 2017 - Filming Production - IMDb. Reydevelops her newly discovered abilities with the guidance of Luke Skywalker, who is unsettled by the strength of her powers. Meanwhile, the Resistance prepares to do battle with the First Order. Genre: Action, Adventure, Science Fiction. Release: 2017-12-13. T1nTLA. Star Wars has now occupied a galaxy of its own in the zeitgeist for 40 years and shows no signs of disappearing anytime soon; to the contrary, each new year brings a new Star Wars film of one kind or another, so using the word “last” in connection with anything to do with the series seems a bit disingenuous. Rather, this latest, and longest, franchise entry has the decided feel of a passing-of-the-torch from one set of characters, and actors, to the next. Loaded with action and satisfying in the ways its loyal audience wants it to be, writer-director Rian Johnson’s plunge into George Lucas’ universe is generally pleasing even as it sometimes strains to find useful and/or interesting things for some of its characters to do. Commercially, Disney is counting on another haul soaring past a billion dollars in worldwide theatrical box office alone. As indicated by the dramatic finale of Star Wars The Force Awakens two Christmases ago, the follow-up is anchored by the attempt by Daisy Ridley’s Rey to persuade Mark Hamill’s Luke Skywalker to indoctrinate her in the ways of the Jedi. As a warm-up, however, the first quarter-hour is mostly devoted to the evil First Order’s outer space attack on the Resistance, led by General Hux, who’s goofily played by Domhnall Gleeson as if he were acting in a Monty Pythonesque parody. Still, the resurgent fascists decimate the fleet and put the good guys on their heels. The Bottom Line Far from the last or the least. Release date Dec 15, 2017 Back on terra firma or, to be specific, the thrusting oceanic mountain hideaway so splendidly represented by Skellig Michael, Rey finds Luke in a singularly depressive state, ready to call it a day where Jedi and the force are concerned. For him, it’s all over, and Rey has her work cut out for her getting Luke to change his mind. There are generational differences of opinion on the dark side as well. When Kylo Ren Adam Driver, the turncoat son of Leia and the late Han Solo, shows up in a Darth Vader outfit, Supreme Leader Snoke a deliciously heinous Andy Serkis barks, “Take that ridiculous thing off!” This is the sort of mild all-in-the-family irreverence that the fan culture eats up and Johnson — who here becomes the first person to single-handedly write and direct a Star Wars feature since George Lucas did the honors on the original and two of the “prequels” — injects a good deal of this sort of elbow-jabbing humor into the proceedings. Hardcore series devotees will decide to what extent the new film functions in an equivalent way to how The Empire Strikes Back did in the initial trilogy in 1980. But what it definitely does is stir the pot with ambivalence on both sides of the good-and-evil equation Just as Luke is ready to pack it in as far as perpetuating the Jedi tradition is concerned, so does Kylo Ren begin to question his abandonment of his true legacy; the tables keep turning here, which is desirable from the dramatic point of view of sustaining fan excitement about what’s in store two years from now and beyond. Johnson, whose three indie-slanted prior features — Brick, The Brothers Bloom and Looper — are all crime tales tinged with offbeat humor, is faced with at least two major narrative challenges to advance the renewed face-off between the resurgent First Order and the beleaguered Resistance and to further develop the characters introduced two years ago. As to the first issue, neither here nor in The Force Awakens is it convincingly shown how the demolished Evil Empire was able to bounce back so powerfully just 30 years after its destruction. Even less clear is where Snoke came from, not to mention how he ended up with a face that looks like a twisted and rotted old tree. It feels like not nearly as much time is spent with the bad guys than has been the case in previous Star Wars incarnations no Peter Cushing-back-from-the-dead appearances here. As for the one who counts, Kylo Ren, it remains difficult to accept Driver physically as the son of Ford and Fisher unless there’s a surprise parentage revelation yet to come, which could make for a good joke, although the character’s complexities begin emerging in interesting ways that promise even more surprises in two years’ time, when Abrams’ third chapter to this yarn, the still-untitled Star Wars Episode IX, will land. More crucial is building up audience interest in and sympathy for the new banner carriers for the Resistance, and the results remain mixed. As bold soldier Finn, John Boyega made a big splash two years ago, but his character more or less treads water here; he’s reduced to more generic athletics. An adventure he shares with a new character, maintenance worker Rose Tico Kelly Marie Tran, isn’t one of the most compelling interludes of the film’s 162 minutes. Lupita Nyong’o is in again briefly as the leather-skinned-looking old pirate Maz Kamata. Towering Gwendoline Christie, so wonderful in Game of Thrones, is, ironically, hard to spot. The one character who begins to come into his own here is Oscar Isaac’s fighter pilot Poe Dameron. His status seemed rather generic and uncertain in The Force Awakens, but there’s more confidence here both in the writing and performance of the character as he steps up to fill the void left by Harrison Ford’s Han Solo, without yet having achieved that sort of stature. Perhaps in the next episode. At this stage, Poe has his hands full not only with the First Order’s warriors but with a disconcerting new character who has parachuted into the story. Laura Dern’s Vice Admiral Amilyn Holdo is a lavender-haired, oddly accoutered contemporary of Leia who turns up ostensibly to help the Resistance. But she has an odd way of speaking, doesn’t like “trigger-happy fly-boy” Poe at all and is so negative about every proposal made to thwart the enemy that one might imagine she’s working for the other team. Time will no doubt tell what her game is, but one shares Poe’s apprehensions. Mixed in with these emotions is the poignance attached to Fisher’s death a year ago toward the end of production. Enlivening things in a more positive way is a blaggard named DJ played with great mischief by Benicio del Toro, who sneaks and slithers around and plays all sides like an unusually active lizard. But while the physical action unfolds in the air and on land the climactic battle explicitly recalls the celebrated combat involving the giant AT-AT, or Imperial Walkers, in The Empire Strikes Back, the real drama lies elsewhere, that being in the weird space that prolonged solitude has made of Luke Skywalker’s head and heart. Stating that he considers himself “a legend and a failure,” Yoda’s former devoted student prefers to let his lineage and teachings die out, and an ideological battle ensues, involving both Rey and Kylo Ren, that’s philosophically engaging and narratively elemental. It’s where the film has been headed all along and will assuredly serve as the springboard for what’s to come in two years. Narratively, Johnson has a tendency to create digressions within digressions, not that there’s anything necessarily wrong with that as long as you’re skilled enough to keep multiple balls in the air, which he mostly is. The humor does at times strike notes unusual for the franchise, more often to the good than bad, and John Williams’ vigorous eighth Star Wars franchise score never sounds rote or tiresomely familiar. Maybe the film is a tad too long. Most of the new characters could use more heft, purpose and edge to their personalities, and they have a tendency to turn up hither and yon without much of a clue how they got there; drawing a geographical map of their movements would create an impenetrable network of lines. But there’s a pervasive freshness and enthusiasm to Johnson’s approach that keeps the pic, and with it the franchise, alive, and that is no doubt what matters most. Production company LucasfilmDistributor DisneyCast Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Andy Serkis, Lupita Nyong’o, Domhnall Gleeson, Anthony Daniels, Gwendoline Christie, Kelly Marie Tran, Laura Dern, Benicio Del ToroDirector-screenwriter Rian Johnson, based on characters created by George LucasProducers Kathleen Kennedy, Ram BergmanExecutive producers Abrams, Tom Karnowski, Jason D. McGatlinDirector of photography Steve YedlinProduction designer Rick HeinrichsCostume designer Michael KaplanEditor Bob DucsayMusic John WilliamsCasting Nina Gold, Milivoj Mestrovic, Mary Vernieu Rated PG-13, 162 minutes Home » Star Wars The Last Jedi Review December 18, 2017 Comments count0 Abrams had an unenviable task two years ago when he set out to make what became The Force Awakens reboot Star Wars without changing anything. And to his credit, he did just that by making a shockingly giddy reinvention of that galaxy far, far away that also played like the greatest hits of what came before. But for all his success, the rewards found in The Last Jedi prove even greater. At last we have, for the first time in ages, a Star Wars movie that’s all too happy to go where we don’t expect. To be sure, Rian Johnson’s evocative and often exhilarating sequel continues the post-Disney mandate to remix elements that bask in the familiar. Hence why the First Order is even more imperial this time, striking back against Resistance forces who look increasingly like rebels; Jedi and evil sorcerers alike sit in chairs while skeptically sizing up would-be apprentices; and we even get an epic battle on a planet that may as well be called Salt Hoth given how powdery white those crystals look when the AT-M6 walkers stomp across the landscape like mechanized buffalo grazing during the dregs of winter. Yet within all this repetition, Johnson uses his solitary writing and directing duties to massage and then manipulate our nostalgia. His film subverts and seduces, twists and turns, and frankly challenges us just when the audience dares to get too comfortable. It also gives a needed shot of adrenaline to the numerical Star Wars films that, by the end, leaves you uncertain what is up and what is down, or what is light and what is dark. Still, most will be delighted to jump to lightspeed to find out. That alone makes this vision far less ominous than the marketing suggests. Without giving too much away, The Last Jedi is largely a 152-minute chase across the stars. After a spectacular opening battle, the rebellious and tattered Resistance, led by an unsinkable General Leia Carrie Fisher, spends much of the film fleeing through the cosmos with the First Order nipping at their heels. Despite suffering a grievous blow at the end of the last movie, Andy Serkis’ Supreme Leader Snoke has regrouped his armies and is unfazed as he reinstates fascist rule throughout the galaxy. Intriguingly, however, no matter how high the stakes are raised in this intergalactic grudge match, the most compelling events are occurring on a little island that looks an awful lot like Ireland. In actuality though, it’s Ahch-To, and it is there that this movie picks up right where The Force Awakens left off. Rey Daisy Ridley has come to recruit Luke Skywalker Mark Hamill back into the good fight. Unfortunately, she finds him… less than receptive. Worse still, not only does Luke refuse to get back onto the Millennium Falcon, but this last of the Jedi also demurs from training Rey in his ancient religion. Instead he views his guest as first a nuisance and then later as something akin to his last pupil, Kylo Ren Adam Driver. She’s dangeorus. As it turns out, there are many similarities between Rey and Ren that extends beyond their names, and the more it haunts Luke, the more resistant he becomes. Thus Rey is tempted to seek answers from the other party of this failed master and padawan relationship, just as the First Order begins closing the gap between itself and the wounded Resistance Fleet. Remarkably in spite of its length, The Last Jedi is mostly able to keep things moving at an even keel and with a tonal dexterity that is unusual for the franchise. While the movie borrows more than a few elements from the beloved middle chapter of the original Star Wars Trilogy, The Empire Strikes Back plus some of Return of the Jedi too, Rian Johnson has infused the material with his own decidedly playful sensibility. With more than a hint of self-deprecation, the movie flips on a dime from the reverential and earnest awe that Abrams placed in his worshipful predecessor to gags with the sharpest sense of humor this side of Jabba’s Palace. Seriously, the little Porg aliens who infest Ahch-To threaten to steal the whole film. This is not to say that The Last Jedi ever risks erring into the realm of comedy, or even the pseudo-comedies of Lucasfilm’s sister Disney division, Marvel Studios. There is simply a noticeable dedication to freshen up what is considered appropriate Star Wars, all while maintaining the genuinely gee-whiz delight that has long been entrenched in this saga. The effect intentionally buttresses the familial melodrama that comes in the film’s second half, which crescendos nicely into a grandiose opera by the finale. But to get there, it can at times feel overstuffed, even at two and a half hours. Cut and cropped at a dizzying pace, the top-heavy editing of The Last Jedi suggests Johnson had to still squeeze his already fast-paced yarn into its luxurious running time. This is all the more peculiar since much of the narrative that doesn’t involve Rey, Kylo, or Luke can sometimes appear irrelevant during the middle. For instance, Finn John Boyega and newcomer Rose Kelly Marie Tran attempt an espionage mission that takes them to what is the Star Wars equivalent of the French Riviera. It’s a casino city named Canto Bight, and their adventures here push the Rick’s Café sensibilities from the original Star Wars’ cantina sequence to their limit. Nevertheless, this entire subplot amounts to a whole lot of padding while the real tough and revelatory decisions are made on Ahch-To. In an even more supporting role is Oscar Isaac as Poe Dameron. While Poe still plays third banana to Rey and Finn, his increasingly complicated relationship with Leia and Vice Admiral Amilyn Holdo Laura Dern is one of the stronger elements of the picture, and provides the Star Wars universe with another wonderfully realized female leader. It also allows Isaac to ever more defiantly slouch into the Han Solo role of the next generation, a neat feat for an actor who was supposed to have only cameoed in The Force Awakens. Still, the movie belongs to its revered history. Hamill plays Luke as gnarly and grim, and almost wholly unlike the farmboy or heroic Jedi we remember from 35 years ago. Leia is conversely even more like the late-great Carrie Fisher this time around She’s dry, sardonic, and lovably deadpan. Developing the wit of Hollywood royalty to accompany her onscreen princess title, Leia’s grace and Luke’s mercurial misery are what ties the film together. This movie is very much about them accepting the past and bequeathing their future to young people who are more than just the franchise’s fresh crop this time around—they’ve become true heirs. Join our mailing listGet the best of Den of Geek delivered right to your inbox! The heavy lifting Johnson does—balanced with more than a little fan service—causes The Last Jedi to be Star Wars’ true legacy film. With the torch already passed before the opening crawl, the protagonists now wield this heritage as swiftly as a lightsaber, and when it comes down to the pairing of Ridley and Driver, the movie crackles with real force. Much of the film is about Hamill letting go of the past, but with Ridley and Driver bringing considerable heat and shadings of equivocacy to their roles, they each promise a future for Star Wars more layered than good versus evil, or Jedi versus Sith. Driver also confirms Kylo to be one of the decade’s best baddies. It is in their scenes together the film finds its true spark, and it’s one that lights up the movie’s numerous and impressive action sequences. With a painterly eye and the showmanship of an old school Western epic, Johnson draws each battle and lightsaber sequence with the kind of visual poetry and patience almost forgotten at the blockbuster level—and populates it with characters who are not just lovable, but now are also very, very troubled. By the end, an ambiguity has seeped into the Star Wars universe, and with it, a new overcast gray hangs above all the players. Yet the contrast just makes them and the hue of their blades pop all the brighter. Every new Star Wars movie since Disney bought Lucasfilm has been heralded as the first worthy successor to the Original Trilogy, but with The Last Jedi it’s finally true. Privacy Settings Star Wars The Last Jedi has a large burden on its shoulders. The 2017 film is not only the highly anticipated follow-up to Abrams' rousing and wildly successful 2015 revival of the Star Wars franchise, The Force Awakens, it also has The Empire Strikes Back looming over its head. The 1980 film has long been held up as the high watermark of sequels, let alone the peak of the Skywalker saga. How can any new Star Wars movie hope to measure up to such a pinnacle? The answer arriving this weekend presents a self-aware mirror image of the 1980 film, and pushes its familiar characters further than ever before. The Last Jedi, amazingly, moves above and beyond its predecessor, just like The Empire Strikes Back did decades your sake, and not just to placate the Disney/Lucasfilm empire, it's best to know as little as possible going into The Last Jedi. As the closing moments of The Force Awakens suggested, the orphaned young scavenger Rey Daisy Ridley begins here by reaching out to the reclusive Luke Skywalker Mark Hamill on the mysterious island where he's lived in solitude for years. Elsewhere, Finn John Boyega, Poe Dameron Oscar Isaac, General Leia Organa the late Carrie Fisher, and the rest of the Resistance attempts to ward off the ever-encroaching First Order despite their dwindling numbers. The rest is worth discovering for there is a lot more going on here, much to the credit of writer/director Rian Johnson. In recent days, this film has made at least a couple of headlines for being the longest film yet in the Star Wars franchise, clocking in at over 150 minutes. Johnson uses that length to his advantage, introducing us to new characters and planets without giving them short shrift. Rey, Finn, Poe, and the other characters are all here, but newbies like Rose Kelly Marie Tran and Vice Admiral Holdo Laura Dern and even the more mysterious figures from the previous film like the menacing Snoke Andy Serkis get a brief spotlight. And new locations like a planet dominated by a flashy casino-like city and a salt-mine base offer both stunning visuals and commentaries on modern Last Jedi is at its best when it aims to upend expectations. Rey's desire to get answers from Luke is quickly thrown into disarray as it becomes clear how he's become used to isolation over time, as punishment for his past misdeeds. But even in early moments like when the Resistance tries to pull a fast one on the First Order, Johnson proves most adept at poking holes in any perceived self-seriousness in this sometimes operatic franchise. Even without the series' constant source of quips Han Solo, The Last Jedi is disarmingly funny even as it depicts dark, intense as with The Force Awakens, one of this film's core strengths is its solid casting. Adam Driver, Daisy Ridley, Oscar Isaac, and John Boyega are once again exciting to watch, as the new core group is broken apart. How Johnson is able to get a specific but unnamed in this review two of those four to talk to each other, in a sense, is not only very clever, but it has a great payoff. Tran, as the big new character Rose, is as charming to watch for the first time as Ridley and Boyega were two years ago. Through Rose, we see another overtly political argument seeded in the franchise, depicting the haves and have-nots in pointed and timely there's also a ton of action here, befitting both the larger franchise and Johnson's past work. One major fight scene heavily recalls a slow-motion setpiece from Johnson's 2012 science-fiction film Looper. Amidst the drama, the air and space battles grow in intensity. There's also a few lightsaber tete-a-tetes that rank among the more shocking moments in the that's the most exciting part of the very exciting The Last Jedi after 40 years, the Star Wars series knows how to be surprising. Rian Johnson slips so easily into writing and directing within this world that it's both thrilling to imagine more of his vision in this universe, and a little disappointing that he won't direct the conclusion. But he has at least helped bring The Last Jedi to fruition. It's not just a rollicking and entertaining follow-up to The Force Awakens; The Last Jedi is the best Star Wars film since The Empire Strikes Back, and is awful close to being its equal./Film Rating 9 out of 10