STAR WARS: THE FORCE AWAKENS - FILM REVIEW

Running Time: 136 Minutes

Release date: December 17 2015

"Every generation has a legend..."

Thus were the words that ushered in an almost unfathomable era of hype and excitement back in the late 1990’s when the first trailer for Episode I: The Phantom Menace landed. Star Wars was back, and the world waited with bated breath; excited and eager to revisit that galaxy far, far away. The critical derision and mass fan disappointment that followed is well documented and known to all, and seems now almost a lifetime ago in movie-going terms. And yet now, a decade after George Lucas brought his tenure overseeing the Star Wars saga to a close with the somewhat more warmly received Revenge Of The Sith, those opening trailer words seem particularly relevant. For Star Warsas both a story and cultural entity has become exactly that - a generational hallmark, a modern day legend. There will be those for whom The Force Awakens (Episode ‘VII’ for those not paying attention) will be their theatrical foray into the ‘Wars universe, whereas equally excited will be those franchise veterans who will recall first seeing that iconic opening shot of the Star Destroyer looming into frame in A New Hope (at the time not given any episode prefix or title) in cinemas back in 1977.

It’s a concept and motif that isn’t lost on the creatives behind The Force Awakens - in fact the more cynical could accuse director J.J. Abrams, producer (and now President of LucasFilm) Kathleen Kennedy and scribes Lawrence Kasdan and Michael Arndt of shying away too cautiously from giving this first instalment of a new trilogy it’s own identity. Narrative themes, character tropes, and heck, even a good chunk of locales presented in the film are instantly reminiscent of what has come before, particularly in A New Hope. And yet, Star Wars has always been cyclical and thematic - as George Lucas now almost infamously quips in behind the scenes footage from the making of Episode I - ‘It’s like poetry, it rhymes’. 

"The more cynical could accuse director J. J. Abrams

of shying away too cautiously from giving this first

instalment of a new trilogy it's own identity."

Jedi Master Luke Skywalker has, as we learn from the outset, mysteriously vanished, and so Episode VII focuses initially on it’s trio of new young characters. It opens with an escaped droid (the already ubiquitous BB-8) that contains valuable information teaming up with a reluctant band of heroes to help a resistance (the offshoot of the original trilogy’s Rebel Alliance) in their fight against oppressive military regime The First Order (The Galactic Empire circa 2015). Young scavenger Rey (Daisy Ridley), former Stormtrooper turned-good-guy ‘Finn’ (John Boyega) and dashing resistance pilot Poe (Oscar Isaac) all play a part in the initial opening sequence, set on the desert planet of Tattooine... sorry, Jakku. From there, a thrilling, rip-roaring and characterful adventure proceeds which includes daring rescues, aerial dogfights, plenty of witty dialogue and verbal sparring, some mystical mumbo jumbo about some sort of ‘force’, a devastating super weapon that must be dealt with, and even a lightsaber clash or two. Sound familiar?

Yes, The Force Awakens is derivative, borderline imitative in it’s structure, and leans at times a little too heavily on its heritage than may perhaps be for it’s own individual good, and in truth it’s a criticism that has been lain at Abrams franchise door numerous times before (Star Trek: Into Darkness, anyone?). And yet, despite one having to at times almost Jedi mind trick ones self into not double taking with Déjà Vu, The Force Awakens is still nevertheless a resounding triumph. It is a thrilling reminder of everything the franchise should aspire to be, and the most confident, characterful and competent Star Wars has been since we left Luke, Leia, Han and friends in the company of a merry band of Ewoks.

Abrams, Kennedy and company should be particularly commended here for how faultlessly they have reignited the believable, tangible galaxy of the original trilogy without losing any of it’s charm or invention. It’s a huge achievement, particularly given the propensity for CG-laden messes that perpetuates contemporary franchise cinema, and that that practical, physical sets, costumes and designs formed such a pivotal ingredient in that original Star Wars magic. There is no prequel artifice here - bar a somewhat hokey and CG-laden alien attack sequence relatively early on which plays out more akin to an Alien or Prometheus satire than anything we’d expect from this particular franchise - everything looks, reads and feels real, believable, lived in.

You know, how it used to.

And despite the familiarity of some of its set pieces and story beats, and for all of it’s visual flurry and splendour, Force realises that at it’s heart, Star Wars is a morality fable. Characters old and new circle around a story that, when whittled down, is once more a personal struggle of good versus evil, light versus dark. In fact, despite ILM’s ever-stellar effects work, and Abrams’ direction/Daniel Mindel’s cinematography making this arguably the most visually stunning and exquisite entry in the saga, in many ways the grandiose and action-packed finale feels formulaic and perfunctory in comparison to the far more interesting personal conflicts and struggles raging amongst it. 

"Whilst on paper Ren himself could be another

copy-and-paste job, Driver's performance is too

engaging and raw, and his placement in the story

and amongst it's character's too interesting to

allow this to happen."

Case in point, new uber Villain Kylo Ren. Abrams and company knowingly draw parallels to the shadow of Darth Vader throughout Force, and whilst on paper Ren himself could be another copy-and-paste job, Driver’s performance is too engaging and raw, and his placement in the story and amongst it's characters too interesting to allow this to happen. Ren is undoubtedly this trilogy’s Vader, and yet all involved take that archetype and give it a fresh, compelling spin, offering a layered, engaging and extremely effective adversary who, dare it be said, in places cuts a far more intriguing and at times unhinged figure than even his A New Hope forebear. 

He’s certainly a cut above Domhnall Gleeson’s dastardly General Hux, for instance, who registers only a snivel or snide glance away from tiptoeing into panto territory. Game of Thrones’ Gwendoline Christie, meanwhile, plays the heavily marketed Captain Phasma, though in truth she ends up doing very little indeed, with her relative lack of screen time unexpectedly playing out comedically. Finally, Andy Serkis rounds out the line-up of villainy motion capturing (naturally) the mysterious Supreme Leader Snoke, a rather disappointingly Emperor Palpatine-esque character whom will hopefully be developed further in later episodes. At least here he gets a moment or two of fun visual trickery, and there are enough hints to link him even tangentially to some of the franchises key players.

Amongst the other new faces, and heading up team light side, Daisy Ridley offers up the closest we have to a new Luke with her Rey. She’s a strong, wilful and interesting addition to the roster of characters, not as wholesome or naive as Luke, although it’s difficult to shake the impression that viewers will likely find themselves divided by Ridley’s performance. At times earnest, heartfelt and passionate, elsewhere she is momentarily wooden, forced or over-the-top. Still, if the original trilogy proved anything, it’s that it’s actors can develop alongside their characters, as Hamill and Fisher proved both, and there are plenty of interesting foundations laid out with the character to make her coming journey a promising one.

John Boyega, conversely, is consistently excellent throughout, bringing a terrific energy and conviction to the role of Finn. Whilst he isn’t overly integral to many of the relationships or plotlines, and his motivations bandy about almost schizophrenically in places, he proves a compelling, believable protagonist, with Boyega playing both the comedic and heroic moments with equal relish. Oscar Isaac, similarly, dips in and out of the story as Poe, ultimately overshadowed by the eventual return of Han Solo (more on whom later), but what we do see of him again sets him up as a enjoyable, likeable and charming new hero who gets some great sarcastic, self-aware moments that inject some modernity into the film's humour. 

"For those expecting labyrinthine exposition or all

answers neatly tied up in a Bantha bow - go into Force

reminded of the fact that this is just the first act... Vader

didn't take his big paternity test until Empire Strikes

Back, for instance."

Questions abound regarding the identities and backstories of it’s new leads in particular, but Force Awakens wisely keeps many of its aces unplayed. Expect plenty more twists, turns and development to come for Rey, Finn and company in Episodes VIII through IX, and a word of warning for those expecting labyrinthine exposition or all answers neatly tied up in a Bantha bow - go into Forcereminded of the fact that this is just the first act in a whole new trilogy. Vader didn’t take his big paternity test until Empire Strikes Back, for instance.

But what would a new trilogy be without some returning faces? Much has been made of Harrison Ford’s reprisal of his iconic role of Han Solo, with some parties hesitant after the misfire of his similar return to the Indiana Jones franchise in Kingdom of the Crystal Skull. Fortunately, from the offset, Ford allays any such fears, recapturing Solo’s roguish charm and swagger effortlessly, whilst allowing for a slightly more world-weary, heavy-hearted edge to Han to creep in as the film reveals more of what has happened to him, Chewie (Peter Mayhew) and indeed Leia (Carrie Fisher) over the preceding gap since the events of Return of the Jedi.

Fisher, too, slips back into the role of (now General) Leia Organa well, the story again handing the former princess some heavy emotional burdens to carry. And although Leia’s British accent seems to have vanished into the netherworld of the force, instead replaced with Fisher’s own American twang, and a couple of moments with the character feel driven more by the edit than her performance, it’s great to have Han, Leia and Chewie back on screen, with some of their trademark jibes, quips and exchanges some of the most nostalgia-inducing and crowd-pleasing moments of the whole film.

They’re accompanied, too, however fleetingly, by a slew of blink-and-you’ll-miss them cameo returns that ardent ‘Wars fans will enjoy. Anthony Daniels’ C-3PO and Kenny Baker’s R2-D2 fare better than most, though a personal highlight has to be Tim Rose’s Mon Calamari Admiral Ackbar, who mercifully does not suffer the indignity of being shoehorned his iconic ‘It’s a Trap!’ line.

They’re nods, winks and cherries on the top of an almost wholly satisfying Star Wars cake. Fans should not, however, go in expecting flawlessness or the second coming of cinema, as some have been touting it as. The Force Awakens, as has been the case with every film in the saga thus far, is not without its flaws. Pushing aside the chief offender of its over familiarity, Abrams also struggles to pull off a multi-stranded third act as neatly and smoothly as Lucas managed in both A New Hope and, in fairness, even The Phantom Menace (comparing it exclusively with the first acts). As mentioned, it is the smaller scale, intimate character clashes that really resonate here. The ‘Death Star run Mk III’ on the almost comically powerful new superweapon in Force, despite being somewhat humorously acknowledged as such ("So it's bigger!"), is a far choppier and less involving action sequence this time round, and it’s here in particular that Abrams and the film as a whole would likely have benefitted from some of Irvin Kirshner’s Empire Strikes Back focus and restraint.

Additionally, there are moments throughout where the dialogue slips into Lucas-isms and passes a trifle too on-the-nose (“I’m so conflicted!” a character unnecessarily elucidates) or even cheesy, particularly concerning some of the dark / light side commentary between Han and Leia. Still, if anything, the odd dialogue clunker here and there can always be said to be another case of The Force Awakens ticking off another staple on its Star Wars menu. 

"The Force Awakens recaptures everything that made

Star Wars great... a stunning, thrilling yearn which

moves at a brisk paces and does a particularly strong

job of recapturing the vibrant, tangible galaxy fans

fell in love with back in '77."

Anyone fearing a return to the dark times of The Phantom Menace, though, where entire swathes of the fan community and greater public alike dismayed at the bastardisation of their beloved franchise, can put their lightsabers and blasters down, and tell their Wookies there will be no Abrams arms in need of ripping out of their sockets. The Force Awakens recaptures everything that made Star Wars great, whilst taking measures to help bring the franchise up to modern sensibilities. It’s a stunning, thrilling yarn which moves at a brisk pace and does a particularly strong job of recapturing the vibrant, tangible galaxy fans fell in love with back in ’77. It takes familiar archetypes and tropes from what has come before, but reuses them with charm and flair. Take, for example, the smugglers hideout that is Maz Kanata’s (Lupita Nyong’o) castle - a more wretched, yet Earthy, detailed and believable hive of scum and villainy you will struggle to find. Maz herself, in some ways The Force Awakens' new Yoda, is nevertheless an enjoyable, distinctive character who handles much of the film’s more fantastical elements in a way which instantly reminds us of the magical, mystical power the force was before midichlorians or council chambers painted it sterile.

“It’s like poetry, it rhymes.”

Thank goodness Abrams knows how to handle his stanzas.

The Force Awakens is fun, funny yet also brimming with heart - the consummate Star Wars recipe - thanks mostly to it’s delightful cast of characters old and new who feature in a story which is unafraid to wear it’s heart on its sleeve. There are moments here in both character and storytelling as moving, personal and brave as anything the franchise has offered, and of course it’s all set to another sublime score from maestro John Williams. Moving all of that aside though, it’s simply exciting just to be back in that galaxy far, far away after an excellent Star Wars offering seems like such a long time ago.

An exciting first chapter of this next ‘generation’, helmed superbly by Abrams and one which lays very promising foundations for what lies ahead for the franchise, there’s no need to have a bad feeling about this. Star Wars is back, and the force is indeed strong with this one.

RATING - ★★★★★

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Press access to Star Wars: The Force Awakens was provided courtesy of Walt Disney Motion Picture Studios UK directly. The author gratefully acknowledges their generous invitation.