CAUTION: contains some major spoilers so only read on if you’ve seen the film.
If you were looking for the perfect film to put a capstone on the 2010’s, Star Wars Episode IX: The Rise of Skywalker arguably would be it.
Even with the blockbuster heavyweight of Avengers: Endgame concluding the first ten years of the Marvel Cinematic Universe, TROS—as we’ll call it for ease—was the most anticipated cinematic event of the year, given it doesn’t just serve as the third part of a trilogy but also the concluding chapter of a nine-part, four decade spanning saga within easily the biggest film franchise in movie history. This is about as epic as franchise filmmaking gets. Though Star Wars, the jewel in Disney’s all-dominating media crown, will of course continue into the 2020’s, this marks the end of the Skywalker Saga with which George Lucas changed the landscape of movie-making more than perhaps any director in the 20th century. The final conclusion to a story we thought had definitively ended twice before.
Going into The Rise of Skywalker, you may experience cautious optimism. Rian Johnson delivered a defiantly auteur-driven, insular examination of the core mystical and philosophical themes within Star Wars with 2017’s trilogy middle-part The Last Jedi, going in brave new directions from 2015’s vibrant trilogy opener The Force Awakens, in which JJ Abrams revived the franchise with a verve that spoke to Lucas’ original, Saturday adventure serial vision. With Abrams back at the helm, following the departure of original director Colin Trevorrow, there was every reason to believe TROS would recapture TFA’s spirit and top off Star Wars with a fulsome flourish. You may leave The Rise of Skywalker somewhat perplexed that that didn’t happen. That, in fact, Abrams has delivered the weakest Star Wars film since, quite possibly, fetid prequel Attack of the Clones.
For a myriad amount of reasons, The Rise of Skywalker feels like an argument, on screen, for why going into the next decade we need to rethink how we approach franchise filmmaking. It doesn’t just feel like a culmination of indulgent cinematic excess but a cautionary bulwark against it.…