Johnson understands that the most common kinds of OMG scenes in popular entertainment-big revelations or character deaths-are not the only way to make the audience gasp, though he does have plenty of those conventional shocks. Rogue One lavishly staged a story Star Wars fans had already heard, with one powerful-but perhaps inevitable-twist at the ending.īut The Last Jedi is a bolder leap, one that risks offending diehards with its swerves and subversions. Abrams, found novelty in casting, and packed in suspense about the nature of the new characters (who is Rey, really? will Kylo or won’t Kylo kill his dad?), but those characters mostly ran through a highly nostalgic obstacle course.
The Last Jedi does this-but the quantity and quality of that newness is, well, new.ĭisney’s Star Wars films to date succeeded by refurbishing the original trilogy’s feel, from the hand-worn sets to the story arcs about disabling a giant weapon and discovering the hero inside oneself.
They come to be told a certain kind of story, one that might squirrel newness into the specifics but still, in the end, feels like an updated version of an old model. Fans come to the Galaxy Far, Far Away not only to revisit the same locations and characters they love. But when it comes to a huge franchise like Star Wars, familiarity often wins out over shock.
Surprise and suspense are at the heart of great entertainment.
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