Film Review: ‘Star Wars: The Rise of Skywalker’

A celebrated science fiction-fantasy saga comes to its conclusion… 

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The end of a saga nears in ‘Star Wars: The Rise of Skywalker’ (image credit: Lucasfilm/Walt Disney Pictures).

Spoiler-free review

Starring:  Carrie Fisher, Mark Hamill, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Anthony Daniels, Domhnall Gleeson, Richard E. Grant, Ian McDiarmid, Billy Dee Williams

Directed by:  J.J. Abrams / written by:  Chris Terrio & J.J. Abrams (story by Derek Connolly, Colin Trevorrow, Chris Terrio & J.J. Abrams) / 142 minutes

What’s it about?

As the final battle between the forces of good and evil approaches, Rey prepares to complete her training as a Jedi and Kylo Ren investigates the apparent return of Emperor Palpatine…

In review

Forty-two years after it began, the original Star Wars story reaches its conclusion with Star Wars: The Rise of Skywalker the final chapter (‘Episode IX’) of what is now known as ‘the Skywalker Saga’.  It’s an entertaining and nostalgic ride that’s undeniably flawed, falling victim to a lack of a cohesive vision and direction for this sequel trilogy which began with 2015’s smash hit The Force Awakens and tries very hard to please fans jaded by the risky creative choices made by writer/director Rian Johnson in the divisive previous entry, 2017’s The Last Jedi.

The story of The Rise of Skywalker picks up in the wake of the events of The Last Jedi and sees General Leia Organa’s diminished Resistance struggling to survive as they continue the fight against the relentless tyranny of the First Order, under the rageful leadership of Supreme Leader Kylo Ren.  As mysterious transmissions from the supposedly deceased Emperor Palpatine are heard throughout the galaxy, the paths of Ren and Jedi-in-training Rey are once again drawn together as the powerful Dark Side of the Force beckons and the final battle between good and evil looms.

Returning director and co-writer J.J. Abrams (replacing Jurassic World’s Colin Trevorrow, who departed the project following creative differences) repeats much of what he brought to The Force Awakens, producing an action packed, visually striking and emotional Star Wars adventure that’s saturated with fan service, inducing the film with heaps of nostalgia that’s enjoyable and pleasing to a certain extent, but this reliance on sentimentality can also prove burdensome to the already convoluted and messy plot.  Abrams certainly builds a series of energetic and exciting set-pieces with land speeder chases, lightsaber duels and explosive space battles all confidently and rightfully in place although the CGI effects-heavy finale makes for a slightly muddled third act (which much like The Force Awakens has a tendency to repeat plot points of previous films, specifically Return of the Jedi).

John Boyega, Daisy Ridley and Oscar Isaac in ‘Star Wars: The Rise of Skywalker’ (image credit: Lucasfilm/Walt Disney Pictures).

The cast of The Rise of Skywalker are all solid with standout performances from Daisey Ridley and Adam Driver as Rey and Kylo Ren, respectively, with the pair confidently driving the core narrative.  Oscar Isaac once again enjoys an increased presence as the fearless Poe Dameron, bolstered by the fun camaraderie he shares with John Boyega’s Finn.  Beloved classic characters Chewbacca, C-3PO and R2-D2 are also back (and in a smaller capacity, Mark Hamill’s Luke Skywalker) and the charismatic Billy Dee Williams makes a welcome return to the Star Wars universe as the ever-buoyant General Lando Calrissian.  As for the return of Emperor Palpatine (last seen plummeting to his presumed demise in Return of the Jedi), Ian McDiarmid is at his scenery-chewing best and provides a devilish and sinister threat, yet the character’s role largely feels like a retread of the past.

Of course, there needs to special mention of the late Carrie Fisher (who, honourably and fittingly, receives top billing) who via the use of unused footage is incorporated into The Rise of Skywalker.  Given the limitations of those cut scenes (particularly in terms of dialogue), Fisher’s appearances can come across as a little distracting at times yet Abrams and his team do well with what little was available to them and ensure that the sequences featuring Leia are both respectful and have an importance to them.

If there is one grand fault of the sequel trilogy it’s that it didn’t take enough time to bring the trio of Rey, Poe and Finn together more and sooner rather than later and although strides are made to correct that in The Rise of Skywalker it feels like it’s too little too late and the sense of unity and friendship between the three can’t hope to match the inseparable familial bond shared by original heroes Luke, Han and Leia.

Undoubtedly a reaction to the reception of The Last Jedi and an attempt to re-invoke much of the praise which greeted The Force Awakens, The Rise of Skywalker ultimately plays it safe and results in an entertaining if not wholly satisfying finale to a long running cinematic serial.  It’s still a superior effort in comparison to the maligned prequels but likely the weakest instalment of the modern Star Wars sequels.

The bottom line:  Visually stunning and boasting some great action sequences albeit encumbered by a problematic narrative and uninspired story choices, Star Wars: The Rise of Skywalker is a flawed but entertaining finale to the franchise’s original saga.

Star Wars: The Rise of Skywalker is in cinemas now.

Images used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Film Review: ‘Star Wars: The Last Jedi’

Disney whisks viewers off on another journey to a galaxy far, far away…

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Spoiler-free review

 

The ‘Star Wars’ saga continues with Rian Johnson’s visually astonishing ‘The Last Jedi’.

Starring:  Mark Hamill, Carrie Fisher, Daisy Ridley, Adam Driver, John Boyega, Oscar Isaac, Andy Serkis

Directed and written by:  Rian Johnson / 152 minutes

What’s it about?

As the Resistance fights for survival against the First Order, Rey seeks to learn the ways of the Force and draw Luke Skywalker out of exile in the hope of restoring peace to the galaxy…

In review

Following the colossal success of The Force Awakens and Rogue One, Disney unleash their latest cinematic Star Wars adventure with the ominously titled The Last Jedi, episode VIII of the main saga which focuses on the story and legacy of the Force-strong Skywalker family.  Helmed by Looper director Rian Johnson, the title of this latest chapter may imply that all is hopeless with nothing but darkness beyond, yet despite some desperate stakes and high drama there’s still an overriding sense of optimism and a good dose of fun and humour (albeit some of the latter at times feeling out of place) along with the requisite spectacle that’s an essential element of any Star Wars outing.

It’s not a perfect film though and The Last Jedi doesn’t always fulfil its ambitions, there are certainly some wisely employed creative risks and surprising twists but the plot becomes burdened by one sub plot too many and a pace that drags momentum from time to time.  There’s also some commercialism at play, where it seems clear that Disney have one eye on potential merchandising revenue.  That being said, The Last Jedi is at least as good as The Force Awakens, even outshining it some instances though ultimately, it doesn’t achieve the same lauded status of ‘masterpiece’ awarded to classic instalments A New Hope and The Empire Strikes Back.  Still, The Last Jedi, on the whole, is undeniably a good Star Wars film.

Picking up where The Force Awakens left off, General Leia’s Resistance faces annihilation by the First Order as Leia and her forces are relentlessly pursued by General Hux (a slightly cheesy but enjoyable Domhnall Gleeson) who seeks to eagerly prove himself to the sinister Supreme Leader Snoke (Andy Serkis).  Leia’s only hope is that Rey can convince Luke Skywalker to cease his self-imposed exile and help end the First Order’s tyranny once and for all.

There is a jumble of sub plots along the way as the story shifts between Rey’s time with Luke and her exploration of the Force, the plight of the dwindling Resistance fleet, Kylo Renn’s continued slide into darkness and Finn’s (now recovered from the injuries he sustained in The Force Awakens) secret mission to a Casino planet.  It all hangs together in the end but it does result in some uneven pacing.  Thankfully, viewers are rewarded with an exciting, emotionally charged and epic final act that can be considered amongst the greatest Star Wars moments ever.

Where The Last Jedi can sometimes stumble in keeping its narrative concise and properly focused, it excels in its characterisation, actor performances and visual appeal.  Firstly, Mark Hamill is superb in a surprisingly more tortured, less hopeful take on Luke Skywalker, here a grizzled, brooding recluse who sees himself as much more of a failure than the legend he is purported to be.  Hamill is given some of the best material to work with and it leads to one of the finest performances of his career.  Likewise, the late Carrie Fisher is captivating in her final screen role with a turn that’s poignant and enlightening and together with Hamill provide The Last Jedi with a strong, satisfying and nostalgic emotional core.  The newer generation of characters are once again a delight, Daisy Ridley and Adam Driver are the clear standouts but there’s, pleasingly, an increased function for Oscar Isaac’s fearless Poe Dameron who, beyond more daring feats in the cockpit of an X-Wing, gets to butt heads with Laura Dern’s Vice Admiral Holdo.  John Boyega, again, brings a neat balance of fun and seriousness to Finn and although his adventure to Canto Bight is one of the weaker and more unnecessary plot elements it facilitates the introduction of Kellie Mary Tran’s Rose and Benecio Del Toro’s shady convict ‘DJ’.  Andy Serkis turns in another fine motion capture performance as Snoke and is a decent enough villain but it doesn’t feel as though the character quite lives up to the bleak threat that seemed promised in his brief appearance from The Force Awakens.

Director Rian Johnson (who also writes) is a masterful storyteller, delivering some astonishing visuals.  The expected space battles, ground assaults and lightsabre duels are all there and executed with attention and skill but it’s in the quieter, more emotional character focused moments, tied together with some rather trippy Force-infused sequences, that give The Last Jedi its own unique voice and originality – there are things in this film that have never been seen in a Star Wars film before and The Last Jedi is all the better for it.

Anticipation for The Last Jedi has been feverishly high and it’s unlikely to please everyone but as it stands, it’s a strong entry in the Star Wars franchise that’s not without flaws but is a highly enjoyable if not instantly classic SF Fantasy adventure.

The bottom line:  The Last Jedi has its flaws but is without a doubt a good Star Wars film and a highly enjoyable blockbuster that is a worthy addition to the series.

Star Wars: The Last Jedi is in cinemas now.

Film Review: ‘Blade Runner 2049’

Director Denis Villeneuve returns to the bleak future envisioned in Ridley Scott’s seminal masterpiece…

Spoiler-free review 

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Ryan Gosling and Harrison Ford star in ‘Blade Runner 2049’, from Warner Bros. Pictures.

Starring:  Ryan Gosling, Harrison Ford, Jared Leto, Ana de Armis, Sylvia Hoeks, Robin Wright, Dave Bautista

Directed by: Denis Villeneuve / Written by: Hampton Fancher and Michael Green / 163 minutes

What’s it about?

‘Blade Runner’ Agent K’s investigation of a long-hidden secret leads him to former Agent Rick Deckard who hasn’t been seen in thirty years…

In review

It’s always tricky to follow up a classic, perhaps even more risky when the gap between films stretches across the decades.  Thirty-five years after the release of Ridley Scott’s celebrated science fiction detective noir, Blade Runner (based on the Philip K. Dick novel “Do Androids Dream of Electric Sheep?”) comes the forever mooted sequel from Arrival and Sicario director Denis Villeneuve – Blade Runner 2049.  Whilst it doesn’t surpass Scott’s original, Villeneuve’s film deftly captures the look and feel of Blade Runner without merely imitating it, the filmmaker adding his own elements that serve as a progression, or continuation, of the ideas envisioned by Scott back in 1982.  This is one of the most visually striking pieces of cinema to grace the screen in recent years, the expansive, sprawling future Los Angeles cityscapes, seedy side-streets and sand drenched wastelands presented on a hugely epic scale that begs to be viewed on the largest of cinema screens.

Taking place some thirty years after the events of the original Blade Runner, Blade Runner 2049 introduces us to Agent K (Ryan Gosling) who is in the same line of work as Harrison Ford’s Rick Deckard – a ‘Blade Runner’, assigned by the LAPD to hunt down and ‘retire’ (i.e. execute) renegade androids known as ‘Replicants’.  World-weary and asking questions of his place in the world of a rundown, hopeless future, K’s latest mission finds him drawn into a deep and dark mystery that poses a great threat to mankind.  To say much more would spoil the goods but the story ultimately leads to a meeting of the new and older generation of Blade Runners as K seeks out the elusive Deckard (Harrison Ford).

Ryan Gosling takes the centre stage in a nuanced and introspective performance that makes K feel like an uncanny yet natural successor to Deckard whilst making his own mark on the beaten-up and worn-down archetype of this dystopic detective story.  Heavily laden by the demands of his profession and his LAPD chief (Wonder Woman and House of Cards star Robin Wright), he’s consoled by his only companion, Joi (beautifully played by Ana de Armis) who is the only light in an otherwise bleak existence.  As for Harrison Ford, it takes a bit of time to get to him but it’s assuredly worth the wait and as much as he did in Star Wars: The Force Awakens, Ford slips comfortably back into another iconic role but certainly doesn’t rest on his laurels.  The meeting of K and Deckard is an anticipated moment and handled greatly.

There’s also Jared Leto (Suicide Squad’s Joker) who puts in a strong and carefully measured performance as blind corporate titan Niander Wallace, master of the newest generation of Replicants and the aspiring villain of the piece, his right-hand woman – an enforcer named ‘Luv’ (Sylvia Hoeks) – in place to deal with any potential threats from those who might try to interfere in Wallace’s goals in perfecting the “more human than human” design of his ’works’.

The running time of Blade Runner 2049 can be a little challenging given it’s protracted pace, but it does allow the viewer to become fully absorbed into the moody atmospherics and simply appreciate and be awed by those mesmerising and astonishing, Oscar worthy visuals by cinematographer Roger Deakins.  The screenplay from Hampton Fancher and Michael Green is suitably mysterious and fairly straight forward in the grand scheme of things but poses plenty of questions of existence and identity in a similar manner to the original Blade Runner and the dialogue is lean and purposeful.  At its core, Blade Runner 2049 is more of a thought-provoking, visually arresting piece of art-house cinema afforded the budget and scale of a $100+ million blockbuster than out-and-out popcorn action spectacle.  Where its action beats are called upon, Denis Villeneuve executes them with reserve and grace that, coupled with all of the film’s other elements make for a sequel should please both fans of Blade Runner and those who appreciate intelligently implemented cinema.

The bottom line:  Arresting, mysterious and delicately executed, Blade Runner 2049 is a worthy sequel to a revered science fiction classic.

Blade Runner 2049 is in cinemas now.

Film Review: ‘Rogue One: A Star Wars Story’ (spoiler free)

Starring:  Felicity Jones, Diego Luna, Alan Tudyk, Donnie Yen, Wen Jiang, Ben Mendelsohn, Forest Whitaker, Riz Ahmed, Mads Mikkelsen

Directed by:  Gareth Edwards / Written by:  Chris Wietz & Tony Gilroy (story by John Knoll & Gary Whitta) / 134 minutes

What’s it about?

Rescued from imprisonment, Jyn Erso is enlisted by the Rebel Alliance for a mission that will lead to the retrieval of the plans for the ‘Death Star’, the Empire’s new planet-killing weapon…

In review

Following the colossal success of The Force Awakens, Rogue One sees Disney/Lucasfilm unleash the first of their standalone ‘Star Wars Story’ anthology films to help sate the cravings of audiences whilst they await Episode VIII.  Such a project could easily be labelled as greedy and corporate minded, but luckily Rogue One proves its worth as a satisfying and engaging addition to the Star Wars universe.

Set prior to the opening events of 1977’s Star Wars – now retroactively known as Episode IV: A New Hope – Rogue One slots comfortably between the prequel trilogy and those much beloved and iconic original films without feeling contrived or unnecessary as it embellishes A New Hope by telling the story of the Rebel Alliance’s daring mission to retrieve the plans for the ‘Death Star’, the evil Empire’s new devastating, planet-killing weapon.  Felicity Jones (The Theory of Everything) is a strong and capable lead as convict-turned-Rebel ally Jyn Erso, daughter of Imperial Scientist Galen Erso (Mads Mikkelsen) who, together with Rebel Captain Cassian Andor (Diego Luna) assembles a rag-tag band of fighters including Chirrut Imwe (Donnie Yen), a blind man who is strong with the force, his companion Baze Malbus (Wen Jiang) and defecting Imperial pilot Bodhi Rook (Riz Ahmed) to battle against Ben Medelsohn’s Orson Krennic and the forces of the Galactic Empire.

Whilst Jones and Luna are clear standouts and best served by the screenplay’s characterisation, it’s reprogrammed Imperial droid K-2SO – voiced by Firefly’s Alan Tudyk – that often steals the show with a snarky and cantankerous attitude that provides much of the film’s dark humour and even some of its heart and soul.  Mads Mikkelsen (most recently providing the villainy in Marvel’s Doctor Strange) makes the most of his limited screen time but at least gets to make more of an impression than Forest Whitaker who is criminally underused as the gruff Rebel fighter Saw Gerrera, a face from the Erso’s past who would’ve warranted further development along with Jyn’s earlier years to further flesh out her ‘rebellious’ backstory.  Small quibbles aside, despite a slightly sluggish start Rogue One jumps to hyperspace once we get to the central plot, sending the viewer on an epic, action-packed ride that makes amends for any earlier narrative shortfalls and pacing issues.

This is most definitely still a Star Wars film yet one that is more grounded in the nitty gritty of warfare (with subtle shades of Saving Private Ryan and Platoon) and doesn’t shy away from the grey areas of ‘good vs evil’, the more mystical elements of the franchise mostly restricted to Imwe’s sporadic ramblings concerning the force.  It’s certainly all in the favour of Rogue One, mining some largely unexplored territory that enriches it all the more.

Director Gareth Edwards (Godzilla) stages some incredibly exciting and visually impressive set pieces that easily rival the action of The Force Awakens, much like what J.J. Abrams achieved there’s a real sense of heft and physicality to the film’s elaborate space battles as well as its ground focused combat as Rebel soldiers take on the Empire’s Stormtroopers and X-Wings swoop in to tackle Imperial walkers.

Rogue One not only looks great but also via its production design and costumes faithfully replicates the era of A New Hope as it was created by George Lucas and his team back in 1977.  Yes, it can still be taken as a standalone story but for fans of Star Wars, it’s actually Rogue One’s connectivity to the overall universe and saga – complemented by numerous easter eggs and lashings of fan service (some more pleasing than others, with the inclusion of Darth Vader handled particularly well) – that is perhaps one of its greatest appeals.

The bottom line:  The Star Wars franchise continues confidently with the highly enjoyable and epically realised Rogue One, providing plenty of excitement for fans and casual viewers alike.

Rogue One: A Star Wars Story is in cinemas now.

Jyn Erso (Felicity Jones) leads a rebellious bunch against the Empire in Disney/Lucasfilm’s ‘Rogue One: A Star Wars Story’.

Film Review: ‘X-Men: Apocalypse’ (spoiler-free)

The end is nigh…

Starring:  James McAvoy, Michael Fassbender, Jennifer Lawrence, Nicholas Hoult, Oscar Isaac, Rose Byrne, Sophie Turner, Tye Sheridan, Kodi Smit-McPhee, Ben Hardy, Alexandra Shipp

Directed by:  Bryan Singer / Written by:  Simon Kinberg (story by Bryan Singer, Simon Kinberg, Michael Dougherty & Dan Harris) / 147 minutes

What’s it about?

Professor Charles Xavier unites a new generation of X-Men to battle against the ancient and mighty mutant known as Apocalypse…

In review

Following the huge critical and commercial success of X-Men: Days of Future Past, director Bryan Singer returns once again to helm the latest chapter in 20^th Century Fox’s long running X-Men film series, based on the lucrative and ever popular Marvel Comics property.  Given that Singer’s original foray into the Marvel mutant universe was with 2000’s X-Men (the success of which is credited with launching the modern superhero film craze that we enjoy today), you would be forgiven for thinking that he would not have anything further to give to the franchise – yet it feels that Singer channels just as much passion and energy into X-Men: Apocalypse as he did on the rather excellent Days of Future Past.

The story for this X-Men outing centres on the emergence of the all-mighty and powerful being known as Apocalypse, believed to be the world’s first mutant.  Ruling over the denizens of ancient Egypt, he is betrayed and left for dead until revived in the film’s setting of the early 1980s.  Needless to say, Apocalypse soon plots revenge against humanity and seeks to use his powers to reshape the world as he sees fit.  It’s this threat that sees Charles Xavier unite fresh blood with some familiar faces to build a new team of ‘X-Men’ and prevent the annihilation of the human race.

The threat is a familiar one for comic book superhero films but world-ending scenarios coupled with epic action and jaw dropping special effects is what the audiences for these films have come to expect and it makes proceedings all the more entertaining.  Like Days of Future Past and Marvel Studios’ recent smash Captain America: Civil War, Apocalypse features a large roster of characters yet never feels as though it falters under its own weight.  Whilst future X-Men Storm, Angel and Psylocke (Olivia Munn) feature in largely introductory roles the story of Apocalypse focuses more significantly on younger versions of Cyclops, Jean Grey and Nightcrawler who under the guidance of Xavier, Hank McCoy (aka X-Man ‘Beast’) and Raven (aka the shape-shifting Mystique) learn to use their abilities ‘for the cause’.  The new cast fit their parts well and complement each other nicely with plenty of room to further develop their characters in future instalments.

McAvoy and Fassbender are as great as they always have been as Professor Xavier and Erik Lehnsherr/Magneto respectively, the latter served with some really great dramatic elements to chew on, it’s just a shame that Fassbender’s part feels diminished in the film’s later acts as he falls under the control of Apocalypse.  it’s also a little disappointing that although the two actors are (rightfully) given an appreciable amount of screentime, there is actually little that they share together, as the chemistry between them has been such a key part to the success of their previous X-Men outings.

But what of Evan Peters, who stole the show as Peter Maximoff – aka the speedster called Quicksilver – in Days of Future Past?  Well, the good news is that he does so again and this time he enjoys a much larger role and Singer and his team outdo what they did in Days of Future Past to deliver one of the film’s greatest and most pleasing sequences.  As the titular antagonist of the film’s subtitle, Oscar Isaac (crack pilot Poe Dameron in Star Wars: The Force Awakens) imbues Apocalypse with a – for the most part – subtle intensity, the make-up design allowing him to express and emote with an appropriate mix of intellect and sinister snarl.

The finale of Apocalypse facilitates the requisite spectacle as the triumphant unison of this new team of heroes plays out against peril and large scale destruction on a level that exceeds that of Days of Future Past and with a few surprises and fan pleasing in-jokes thrown in for good measure, X-Men: Apocalypse is another successful entry for the franchise.

The bottom line:  With the same level of fun and excitement as Days of Future Past, X-Men: Apocalypse is a pleasing addition to the long running series, featuring some promising new cast members amongst beloved familiar faces.

X-Men: Apocalypse is in cinemas across the UK now and opens in U.S. theatres and other territories on 27^th May.

Oscar Isaac prepares to wreak havok in 20th Century Fox’s ‘X-Men: Apocalypse’.

Film Review: ‘Star Wars: The Force Awakens’ (spoiler free)

The Force is strong once more…

Starring:  Harrison Ford, Mark Hamill, Carrie Fisher, Daisy Ridley, John Boyega, Adam Driver, Oscar Isaac

Directed by:  J.J. Abrams / Written by:  Lawrence Kasdan, J.J. Abrams and Michael Arndt / 135 minutes

What’s it about?

As the evil First Order rises, young defector ‘Finn’ crosses paths with Rey, a scavenger who comes into possession of a star map that will lead them to the mythical last Jedi, Luke Skywalker…

In review

Unarguably the most anticipated cinema release of this year, perhaps even this decade, The Force Awakens – Episode VII of the Star Wars saga – is unleashed upon global audiences on a wave of positive buzz and record breaking opening box office numbers.

The Force Awakens is an important film not only to entertainment goliath Disney, following their $4.5 billion purchase of Lucasfilm, but also legions of Star Wars fans eager to see the beloved science fiction film franchise return to its former glories.  Turning to director J.J. Abrams seemed a wise move, not only a great filmmaker whose reputation was solidified when he refreshed Star Trek for a new generation with epic big screen reboots Star Trek (2009) and Star Trek Into Darkness (2013), but more significantly a life-long fan of Star Wars himself.

With The Force Awakens, Abrams and his production team have delivered a pleasing new entry in the Star Wars saga that restores much of the magic diluted by George Lucas’ overly polished, CGI littered ‘Prequel Trilogy’.  Whilst it’s all a touch familiar with several plot elements repeated from earlier instalments (mainly A New Hope) and some heavy doses of fan service, The Force Awakens reigns triumphant thanks to a rich mix of engaging characters, edge of the seat drama (peppered with a smattering of humour) and thrilling battles, bound by Abrams’ skilled direction and the quality craftsmanship on display.

Set some 30 years or so after the events of Return of the Jedi (1983), The Force Awakens presents the heightening threat of the First Order which has risen from the ashes of the Galactic Empire and seeks to continue its plans to dominate the galaxy, far, far away.  Luckily the Rebellion, which has now become known as the ‘Resistance’ survives to fight the forces of evil and it’s this conflict and the search for last Jedi Luke Skywalker that serves to reunite old heroes as well as introduce new ones.  Of the returning cast of the Original Star Wars Trilogy, Harrison Ford’s Han Solo (together with pal Chewbecca, with Peter Mayhew once again donning the fur) that is given most prominence – it’s great to see him in action once more – yet The Force Awakens really belongs to its new cast of heroes – lead by Rey (Daisy Ridley) and defecting Stormtrooper ‘Finn’ (Attack the Block’s John Boyega) together with daring Resistance pilot Poe Dameron (Oscar Isaac, villain of the forthcoming X-Men: Apocalypse) and his faithful (and adorable) droid BB8.  Feeling the draw of the mystical Force, the new generation are thrown into the path of the First Order and central villains Kylo Ren (Adam Driver), who has been seduced by the Force’s ‘Dark Side’, Stormtrooper commandant Captain Phasma (Gwendoline Christie) and General Hux (Domnhall Gleeson), their quest for galactic domination lead by Supreme Leader Snoke (a creepy CGI motion capture creation brought to life by Andy Serkis).

The new cast is great and it will be exciting to see their characters develop over the course of this ‘Sequel Trilogy’ much in the same vein as we saw the likes of Luke Skywalker, Han Solo and Princess Leia grow.  It’s true that some characters are given more time in the limelight than others but it’s obvious that The Force Awakens is merely the beginning and we’ll no doubt see more of them in the next instalment.

The Force Awakens is a well-crafted visual feast with J.J. Abrams leading the charge of melding CGI with practical filmmaking, the elaborate physical production design complemented by computer generated elements rather than overwhelming it.  With the era of practical miniatures largely surpassed by CGI, Abrams brings a real, weighty feeling to the requisite spaceship battles and stages some truly thrilling action sequences that will please and wow fans as well as casual viewers, from X-Wing dogfights to the Millennium Falcon’s hyperspace jumps to lightsabre duals – it’s all here and offset nicely against John Williams’ music score.  There’s also some beautiful imagery from director of photography Dan Mindel, enhanced by Abrams’ insistence on the use of physical 35 and 65mm film (the latter for the film’s IMAX sequences) with the blistering deserts of the planet Jakku being a particular highlight.

Overall, The Force Awakens is only hindered by that slight touch of familiarity (and to an extent it’s dangling threads reserved for Episode VIII), yet it was never intended to reinvent the wheel and J.J. Abrams and his cast and crew have delivered the Star Wars sequel many were hoping for, whilst not quite the masterpiece that A New Hope and The Empire Strikes Back are, it’s at least as good as Return of the Jedi and superior to the controversial prequels and a great new start for an enduring franchise.

The bottom line:  The Force Awakens is a triumphant, if at times familiar, new entry in the Star Wars saga that will please and thrill both fans and novices alike.

Star Wars: The Force Awakens is in cinemas now.

Director J.J. Abrams stages some thrilling action in ‘Star Wars: The Force Awakens’.