It’s a direct parallel to the fight between Obi-Wan Kenobi and Anakin Skywalker on Mustafar at the end of Revenge of the Sith. When Kylo Ren finds Rey on the wreckage of the Death Star, the two battle it out over crashing waves. So Palpatine sends Kylo Ren to find Rey, telling him to kill her but knowing that he will only lead her to him on the Sith planet Exegol. This will allow him to inhabit her, since all the past Sith will enter her like a vessel-which also explains why he wanted Luke to strike him down in Return of the Jedi. Yes, we discover that Rey is the granddaughter of the Emperor who is hunting her down so that he can have her take his place as the leader of the Sith. The parallels I’m speaking of center mostly around Kylo Ren and Rey Palpatine. But rather than simply mirror those films, these parallels tie each of them together in really exciting ways. There are parallels in Rise to both Revenge of the Sith and Return of the Jedi, the films that ended the first two trilogies. When critics argue that Rise is beholden to the past or not risky enough, they’re asking for something that would defy everything about Star Wars up to this point.
Anyone who complains that there are too many similarities between the new films and the original trilogy must have missed how this same storytelling device was used in the prequel trilogies. I would argue that Star Wars has always been about repeating forms. Isn’t it odd that critics seem to claim that The Last Jedi both subverted everything about Star Wars and encapsulated everything about Star Wars that makes it great? If familiarity and nostalgia are bad, what exactly does make Star Wars Star Wars?
IN THE STAR WARS MOVIE THE LAST JEDI WAS DARK VADER THERE FULL
Far from bland, dull and forgettable, it was constantly exciting, edge-of-your-seat entertainment and full of what makes Star Wars great. I want to go back and watch it again right away. The Rise Of Skywalker, on the other hand, has me itching for more. The stuff I really liked only composed maybe half the movie and the rest felt like wasted space.
After seeing it in theaters, once the initial glow had faded, I realized something: I didn’t want to go see it again. While I’m by no means a huge detractor of The Last Jedi I find myself never rewatching the film. A little subversion goes a long way-we don’t need to abandon everything that makes Star Wars what it is in order to appease critics. Familiarity, nostalgia-these become bad words in many critiques of the movie, as though fans should only ever have their expectations subverted. The argument also relies on something very strange: The idea that giving fans the movie they want is somehow a bad thing. And it only works on top of that if you believe that Abrams really does “wrap fans in a cozy blanket of familiarity” and that in doing so, undermines The Last Jedi. This, as a critique, only works if you believe that Johnson truly subverted expectations as much as we gave him credit for in 2017. Abrams returned to wrap the fans in a cozy blanket of familiarity, throwing in everything but the kitchen sink to remind nostalgic fans of the classic films they loved as children.” This caused controversy, however, and the whole “Not My Luke” movement (which I found to be the weakest critique of the film) and so with Rise, Lucas writes, “director J.J. From The Front Row’s Matthew Lucas describes The Last Jedi as “a film that boldly reinvented Star Wars mythology in new and exciting ways, and laid the groundwork for exploring uncharted territory within the Star Wars universe.” Critics who loved The Last Jedi seem to think the same thing. Detractors of The Last Jedi are gleeful over Rise because they see it as a renunciation of Johnson’s Star Wars. This was no simple task, and there was no way every Star Wars fan and critic would be pleased in the end, but Abrams pulled off something remarkable here-and he did it without ruining the legacy of The Last Jedi, despite many fans and critics alike thinking otherwise. Still, Abrams did a terrific job not only at tying the new trilogy together and landing a satisfying ending, he managed to weave together themes and events from the entire nine-film series. Alas, for reasons we shall never understand, this was not the case. As a side-note, I think all three films can work together as a cohesive whole but it’s certainly apparent that things would have been smoother and more coherent had the new trilogy’s creators come up with a three-movie plot from the get-go and everyone had been onboard with the major details.
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