Star Wars Episode IX The Rise of Skywalker 4K 2019 Ultra HD 2160p

The completion of the legendary Skywalker saga, which lasted several decades. By sacrificing himself, Luke helped the resistance to escape and defeat this battle. But the main battle is still ahead, and the main characters will have to face an unexpected evil in the old guise. Ray continues to explore the Force within himself, and it is in her hands that the fate of the Galaxy will be.

Star Wars Episode IX The Rise of Skywalker 4K Review
Some time has passed since the events of The Last Jedi: The Resistance somehow survives, and the Emperor (Ian McDermid), unexpectedly alive, sends his message throughout the universe: he is going to raise the old imperial fleet, where each ship is able to destroy the planet. Kylo Ren (Adam Driver) sees in him a threat to his power, but, having found Palpatine, adjoins him. Now Ray (Daisy Ridley), trying to learn how to fully control her abilities, has to find the secret refuge of the Emperor, find out the secret of her origin and permanently destroy the Sith.

Today, Skywalker. Sunrise ”is the final chapter of the new“ Disney ”Star Wars trilogy, a nostalgic carnival designed to do what George Lucas himself didn’t do at the turn of the century. To return to the screens the “same” distant, distant galaxy, mythical and wild, without tedious talk about trade embargoes and revelations about the frailty of sand. The Disney approach, led by industry veteran Kathleen Kennedy, too clearly focused on the reproduction and operation of old mechanics, almost immediately became the subject of fierce debate, but in at least one mouse megacorporation we weren’t deceived. She really managed to do something that Lucas failed to do, first turn away the devoted fans of the franchise from herself (many of them fell off in The Last Jedi), and then make Star Wars, a franchise with one of the most famous and recognizable names in the entire history of cinema, banally uninteresting to the viewer (their “Solo” failed with a roar at the box office, instantly resetting far-reaching plans for capturing large screens with spin-offs and solo albums).

The point here, of course, is not in the quality of the individual films - “Rogue One,” for example, was a really talented attempt to transfer the traditions of military action into the franchise, besides with an interesting study of the Force as a religious dogma. The problem, as is usually the case with large studio superprojects, is leadership. In this sense, the new Star Wars is generally a very important precedent: a vivid example of the fact that even the huge Disney, which has built up to the dull monolithic franchise MCU, has covered itself with focus groups and computer algorithms from head to toe, may not understand what it is , in fact, wants from his own films. And even more so - what does the viewer want from them.

No matter how much they scolded Lucas for his strange vision in the prequel trilogy, which suddenly focused on intergalactic politics and unpretentious melodrama, it was still a vision itself. Disney's Star Wars is a manifesto of its complete absence. This is a trilogy that argues with itself from film to film: the reminiscence sweet Awakening of Power is followed by The Last Jedi, suddenly revisionist, from the director, who wanted to spit on the sanctity of the canons - while all peers watched “New Hope”, he was interested in Annie Hall. And behind it - actually “Skywalker”, which rejects all the developments of Ryan Johnson and returns the franchise to the rails with a comfortable, but now no longer working nostalgia.

Johnson’s revisionism, of course, was also dubious - The Last Jedi outlined many interesting points, but not one of them really realized: the borderline state of the “second part” affected, not so much, in theory, as meaning-forming, as it were connecting meanings. They would entrust him to shoot all three films - you look, and you would get a complete rethinking, you would entrust everything to Abrams - three nice nostalgic trinkets would come out, which is also, in general, not bad. But for some reason they were connected by one story, and their symbiosis turned into an unconstructive dispute between two authors with completely opposite views.

Abrams, as if taking revenge for the way Johnson has dealt with the intrigues of his Awakening of Power, turns Skywalker. Sunrise ”in a retcon parade and cemetery of abandoned meanings. If Johnson in the Last Jedi loudly proclaimed: they say, Strength is not tied to the pedigree and can appear even with a kid-cleaner, then Abrams returns her the status of a genetic disease that does not go beyond a couple of famous families. Johnson zeroed out the intrigue around Ray's origin, saying that her parents were nobody, - Abrams inserts a ridiculously stupid amendment: they say, "it was they who became nobody, and so they wow ...". Johnson introduced a halftone into the franchise and showed the world of gray morality and victorious capitalism, where the First Order and Resistance buy weapons from exactly the same people - Abrams returned the confrontation to the framework of a fabulous struggle of absolute good and pitch evil, where you can be on one of the radical sides but not in the middle.

Generally “Skywalker. Sunrise "looks like one big apology for everything" The Last Jedi "allowed themselves, here even the declared heroes from the last film are either left deep on the periphery (like Rose, almost the main semantic center of Johnson’s picture), or completely forgotten, like a skilled thief Benicio Del Toro. And it would be okay, but instead of the destroyed theses, Abrams is not able to offer any new matter and therefore frantically clings to all the same comprehensive nostalgia that worked so well in The Awakening of Power. In the first film, it really made sense - as the new trilogy denoted its connection with the "same", the original "Star Wars". Here, at the end of the story, these constant looking at the elders are frankly annoying and do not look, sorry, features, but rather that a bug: the heroes ask the same moral questions and fight the same villain as 40 years ago (he seems to have even the set of replicas has not changed), on their way is another invincible armada that will be demolished in five minutes only with conditional losses in the form of flashy extras. And all - without a shadow of fantasy, pictorial or narrative (the only exception is the idea of ​​remote physical contact through the Force, which responded a couple of times with interesting solutions in action scenes), strictly according to the template, the corporate guide, “so that it would be like then”.

“Skywalker. Sunrise ”is too busy building up and proving its succession to the Lucas franchise to keep up with something interesting during the break: the arches of Poe and Finn were generally reduced here, the heroes themselves are simply thrown into Ray's appendage on her adventures. But a hundred times the film repeats - most often directly, verbally - that this is “the end of that very story”, the voices of the dead tell us that Ray is the quintessence of the very essence of the Jedi, that without it, Finn and Poe (and even Tinky-Winky) are meaningless there will be exploits of Luke with Han Solo. In theory, this should be an act of such infinite filial love, in fact, it rather devalues ​​the achievements of those films that Abrams seemed to love so much. If the Emperor is alive, then what was the point, for example, in the great sacrifice of Darth Vader, at the cost of his life putting an end to the tyranny of the Sith? However, judging by the fact that as early as in Awakening of Power, Kylo Ren was going to "continue" the work of his grandfather, which he himself refused, JJ did not very carefully watch "Return of the Jedi". Probably too often distracted by the Ewoks.

But worst of all is the film’s attempt to exploit the death of Carrie Fisher, to include in the fabric of history the emotions of people about the real death of a real person. When Ray says tearfully goodbye to Leah (although, in general, she just flies away on a mission, maybe she will return again), we, of course, should be obliged to understand that in this way Star Wars says goodbye to a person who is an important part of their heritage. There is only one question: if this is so important and sad for you, then why in The Last Jedi, a movie that came out decently after Fisher’s death, you did not hesitate to use her image and were not even going to say goodbye? And they came to their senses only now, three years after her death. I have no doubt in the sincerity of the feelings of the team that worked closely with the actress, but this decision does not look like a touching farewell gesture, but like cruel manipulation and outright cynicism.

Actually, the whole Skywalker looks the same. Sunrise ”is a film that, despite all efforts, is not felt as part of the world built by Lucas, but only as an arrogant amateur fan fiction, inventing, like all bad fan fiction, new rules for the universe and obsessed with McGuffin artifacts that mean nothing at all. This is by far the worst that has happened with Star Wars in modern history, and in history, probably in general.