Star Wars: Die letzten Jedi
Star Wars: The Last Jedi
Star Wars: The Last Jedi
Star Wars: The Last Jedi
Regie:
Rian JohnsonDrehbuch:
Rian JohnsonKamera:
Steve YedlinMusik:
John WilliamsBesetzung:
Daisy Ridley, Adam Driver, Mark Hamill, Carrie Fisher, Oscar Isaac, John Boyega, Kelly Marie Tran, Domhnall Gleeson, Benicio Del Toro, Andy Serkis (mehr)Streaming (5)
Inhalte(1)
Auf faszinierende und unerwartete Weise setzt Star Wars: Die letzten Jedi die Handlung aus Star Wars: Das Erwachen der Macht fort. Im neuen epischen Abenteuer der Skywalker-Saga werden uralte Mysterien der Macht entschlüsselt und erschütternde Enthüllungen aus der Vergangenheit kommen ans Tageslicht. (Walt Disney Deutschland)
Kritiken (20)
Rogue One thrilled me because it took a bold detour, ditched the Force and showed war as something that hurts like hell. The Last Jedi, on the other hand, brings Star Wars back to its roots, to the legacy of the fifth episode. Whether it's the locations (the white planet), the Force is palpable here (unlike the Abrams film), the layout of the Force of Good and the Force of Evil overlap (the main characters doubt themselves and the meaning of the Force) and in general it's an massive improvement over the seventh episode. Whether it's the treatment of the characters (Kylo Ren is finally a charismatic badass and not a teenage brat from Hogwarts who looked like he just had his magic wand stolen as in Abrams’s film), the script, which is convoluted and interesting enough to make you look forward to every scene (I consider Rey's training and her search for herself on the desert island with Luke to be the best thing this franchise has ever offered), and finally, the humor that so graced the old trilogy. That’s how it should be! So to conclude: for me, after The Empire Strikes Back, this is clearly the best entry into the Star Wars universe.
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A few spoiler-ish remarks on the facts contributing to my opinion that The Last Jedi is the best episode of the Star Wars series (a hair better than The Empire Strikes Back, which this film – like other parts of the saga – in many ways mirrors or even boldly revises): 1) Both films interweave three central conflicts – intergenerational, class and between the light and dark sides of the force (all dialogue scenes between Kylo and Rey as well as the dialogue Rey carries on with herself). Eager young heroes make rash decisions, which generally end badly for them. If they had listened to their older and more experienced masters, they could have avoided some complications. However, generational change is unavoidable. Therefore, it is a matter of whether the young rebels entirely reject or take inspiration from the teachings of their predecessors. The ability to be an inspiration to the younger generation is decisive for the storyline with enslaved children on the planet Canto Bight. In order for the bourgeoisie to enjoy themselves, someone has to work. The final scene indicates that this exploitation may be the impetus for a class revolution. 2) Luke explains to his apprentice that the force does not come only from inside a Jedi, but is founded on balance with the world around him. An example of a person who has achieved harmony with nature is Luke himself, who can get by with the gifts that the island offers him (there is a good reason for the maligned milking scene; it serves as more than just a comical aside). Later, we twice witness how listening to nature saves the heroes’ lives – Finn and Rose escape from Canto Bight thanks to ungulates resembling a horse-llama hybrid, the last insurgents find their way out of the cave thanks to arctic (crystalline) foxes. 3) The film repeatedly and intentionally does not fulfil our expectations and does not build myths, but instead casts doubt on and demolishes them; it does not play according to the rules that the previous episodes followed, thanks to which it is a very stimulating viewing experience. The film does not allow us only to passively watch it and tick off “mandatory items”. Jedi training is terminated prematurely; the expedition to Canto Bight ends in fiasco (though the gifting of the ring to the boy will probably play out in a significant way in the next episode); the main nemesis dies much sooner than you would expect; with the exception of the initial action sequence, the good guys find themselves on the defensive, almost constantly running away from someone and trying to save lives, which is fully in accordance with the motto of the eighth episode – it does not make sense to fight what we hate, but to save what we love. 4) The whole thing looks incredibly good. It is obvious that the filmmakers cared deeply about the compositions, and put a lot of thought into the choice of lenses, the size of the shots and the colour contrasts (how they play with red and white at the end is breathtaking). In short, compared to other franchise genre movies, the camera work here not only fulfils a practical function, but it lays claim to an Oscar nomination with almost every shot. 5) The Last Jedi is truly funny and truly sombre (where neither aspect outweighs the other and the transitions between them are very natural) and, especially in the second half, one wonderful scene follows another, making the film an incredible emotional ride. 90%
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Johnson delivers on the premise for which he was hired at Disney, bombarding the saga from all sides, letting the rich history and modern hi-tech gadgetry take charge. It establishes its order right from the start in a monstrous action sequence, turning away from Abrams' dissolute geekiness to let the protagonists rather rant for nearly two hours, and tugs the threads of fatality to the edge of tolerability. Then, when the characters are sufficiently in control (Rey is more mysterious and Ben even more emotionally volatile), an action orgy breaks out that still makes it worth going to the movie theater to see big Hollywood blockbusters. This production treatment is far beyond what many other franchises can only dream of. It's no longer the primal feast for the eye that it was last time, but Johnson and Yedlin are more visually modest in order to then plant visual highlights exactly when their story, and especially their characters, demand it. Silent destruction and red salt are the cosmic symphonies of the image last brought to us by Interstellar. The only thing missing to complete perfection is the original 3-hour runtime. I really felt at times that there were a few moments that slipped through my fingers unnecessarily. Regardless, by the time the closing credits rolled I felt real physical exhaustion. An emotional experience like a festival indie soc-drama. PS: In the days ahead, nothing will be more entertaining than reading the words of conservatives over the age of 30 barking about the new generation of heroes and pining for the good old days.
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It’s the night after I saw it and I actually don’t know whether Disney’s shift of the saga is good or not. The first part of the new trilogy was great, there’s no denying that. The characters were interesting and the reference to the original story was obvious. Here, things are no different. The entire premise is actually centered around Luke Skywalker and it’s flawless. Also, the introduction of new worlds worked out perfect. At times, I was really enjoying the film’s cuteness when a new animal that hasn’t been seen yet made an appearance on the scene. Pretty much all those animals’ eyes were like Puss in Boots’ eyes in Shrek, so you can imagine how soft I was getting during every scene involving animals. On the other hand, I kept telling myself that it seemed a bit too childish. The reviews mentioned that this episode is much darker than the previous parts, but for me, darkness looks a bit different than this. I think I would liken it to episode 2. This episode is sort of cute, a little childish, full of action and war. All in all, it’s actually quite good, but for me to give it a five-star review, the film would need to be more epic in relation to the entire Star Wars universe.
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Well, it was good, but probably not essential. Rian Johnson goes in a slightly different direction than Episode VII and so far I like it. It's darker, more personal, and it's not nearly as easy to determine who's good and who's bad. It's a shame though that only a few characters get this interesting treatment, because then it's all the more obvious that there are a lot of other kinda extra characters. Their charisma and even their own little backstories aren't very interesting or important, and even this time around I didn't feel the same way about Star Wars that I did with the original trilogy. On the other hand, the effort to go a different route and the courage to be grittier and meaner towards the heroes pays off, because it shows that Star Wars could offer more than just spectacular and perfectly done blockbuster entertainment in the future. But it's probably still going to be a while.
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Noch bevor die unfruchtbare Debatte zum Thema "Disney versaut Star Wars" wieder entflammt, Hand aufs Herz, hat sich Lucas oftmals bei den wichtigsten Entscheidungen eher als geborener Geschäftsmann erwiesen, denn als hingebungsvoller und makelloser Autor eines geradezu kosmischen Werkes. Die süßen Stofftiere und galaktischen Rennen lege ich demnach beiseite. Sofern jemand Abrams beschuldigte, nicht den Mut gehabt zu haben, so könnte man dasselbe bei Rian Johnson wohl kaum behaupten. Dieser hat nämlich die wohl weitgefächertste Partitur für drei Stimmen zusammengestellt, wo jeder einen etwas anderen Bogen schlägt. Es geht hier um einen klassischen galaktischen Kampf, einen Fight zwischen Licht und Dunkelheit (welche in den Helden wütet) sowie auch um die "Heist"-Nebenlinie, die beiden dramatischen Verästelungen an Leichtigkeit verleihen soll. Die meisten Probleme gibt es am Ende mit ihr, denn als Booster fungiert sie nicht so ganz (sie startet etwas übereilt, die Aktion Dubrovnik erinnert in gewisser Hinsicht an die schwierigen Zeiten von Lucas Prequels, wobei alles erst dank dem exzellenten Auftritt von Benicio Del Toro in Fahrt kommt). Es geht hier weder um Codes noch um Infiltrationen. Es geht um Macht, die Verfluchung von Familien, die Einsamkeit und eine überraschende Bindung, welche die Grenzen einzelner sich gegenüberstehender Gruppierungen übersteigt. Adam Driver ist der Motor des Films, der komplexeste Bösewicht auf der Szene, den Johnson noch weiter ausgefeilt hat. Und natürlich auch Mark Hamill. Der Siebener war eine Soloaktion von Solo, der Achter ist wiederum eine Hommage an Luke und eine gewagte Erzählung über die Ideale der Jedi-Ritter. Rian Johnson hat im Vergleich zu Abrams für ikonische Momente eine glücklichere Hand, denn es gelingt ihm, Leinwände so zu bemalen, dass sich SW-Fans auf immer und ewig an diese Bilder erinnern. Er hat auch ein außergewöhnliches Talent dafür, mit den ursprünglichen SW wie mit der Heiligen Schrift umzugehen, deren einzelnen Abschnitten er neue und überraschende Akzente beifügt. Die letzten Jedi ist ein Film, der aus mehreren durchschnittlichen, einer ganzen Reihe guten und einigen außergewöhnlichen Szenen zusammengewoben ist und den vorausgehenden Anstoß in Richtung neue Generation an Helden und Geschichten vollends ausnutzt. Wenn nun jemand zu mir käme und mir sagte, ich habe gerade den besten SW-Film seit dem Imperium gesehen ... würde ich nicht mit ihm streiten. Und lieber auf die nächsten Filme warten. Es gibt hier nämlich verdammt viel zu entdecken! P.S. Zeitgleich handelt es sich um das beste Biopic von Slavoj Žižek sowohl in dieser Galaxie, als auch in den angrenzenden.
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Star Wars by Charles Dickens. It is a pity that every breathtaking oil painting scene (and there are quite a few of them) and every sequence aspiring for the very best of the whole universe (emotions, fate, choreography and ideas) has a story line that leads nowhere and just accumulates padding on the pile of other padding. A characters that is completely pointless or moments that serves purely as a merchandising insertion "go and buy". Plus, it doesn't work as part of the saga. It does not answer any (really none) of the questions from the previous part, it even ignores most of them. But purely as alone standing movie, the eight film is more than a solid popcorn blockbuster; but whether that is enough in the case of Star Wars is a completely different question.
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I tried it again and the Star Wars curse was not broken and once again I experienced 150 minutes of martyrdom. Jedi, First Order, The Force, Skywalker, Resistance, Obi-Wan, it takes a special dictionary to know and navigate all the terms. I didn't find it funny at all, the action is minimal and very uninteresting, the effects feel like something out of the 90's, the story is uninteresting and the pacing is plodding. Anyway, I suffered through this and I probably won't give the next part a chance. Star Wars is the only major film franchise that has completely passed me by and I still don't understand its interest. 20%
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I hesitated for a moment over how Rian Johnson's visual sensibilities don't even come close to those of J.J. Abrams, and how nostalgia is stronger than humor at first glance. But that was only the first half hour, which is just a prologue compared to everything that follows. Once the atmosphere on the island starts to thicken and some secrets finally open their arms, The Last Jedi finally becomes what it promised: an atmospheric spectacle loaded with fateful characters. The tension that flows from the screen every second of any interaction between Kylo and Rey took my breath away, and even though it attracts most of the attention and seemingly sidelines Finn, Poe, and even Leia herself, it's worth it. It is precisely the connection between these two halves of the only image, additionally spiced up by Luke in Mark Hamill's vivid portrayal, that is the gem that has already cemented the third trilogy of the famous saga as the best trilogy.
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Star Wars: The Last Jedi is good or even excellent in its constituent elements, very progressive in its concepts and ambitions in the context of the saga, but unbalanced, rushed and half-baked as a whole. If episode five illustrated how jumping between plans should look while building a single overarching atmosphere, it is in this respect that episode eight, which vehemently plunders the fifth instalment in terms of style and motifs, fails the most. And that’s a shame, because its storylines demystifying heroism and the canon of the series itself, with Jedi knights at the fore, have tremendous power. But the film never lets them fully develop, as it has to abruptly return to some other storyline or recall that, as Disney’s cash cow, it has to quickly lighten the atmosphere with a wisecrack. Added to that, there are paradoxically a number of needless underdeveloped elements that detract from the viewer’s immersion in the film and encourage doubt and ridicule, so rather than a coherent work, they make a great breeding ground for parodies and fanfiction (though that can be a means of working with the audience and the brand). While the preceding The Force Awakens was a well-oiled rollercoaster, The Last Jedi is a larger colossus, but it wobbles and rattles that much more and the wheels come off. Paradoxically, the new characters had much more space and more effectively got under the viewers’ skin in the preceding episode, whereas the eighth film, though in many ways fleshing out those characters and letting them go in their own, new direction, ends up putting them in an even greater shadow of the iconic characters of the series. Despite all of the positives and new things found in the eighth episode, nothing remains other than to keep an eye out for the ninth one, where, for example, the series could finally go in an utterly new direction, as the eighth film has already cleared out the motifs and iconic sets of the fifth and sixth episodes combined.
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Okay. That's right. I liked this episode better than the last one. It's biggest weakness is the jumping from one story to the next, from one character to the drama of the others, because it makes the film slightly less consistent and it can be rather challenging to watch for those viewers who only came to the cinema to eat popcorn. Still, it just enchanted me. Yes, it had weaknesses and things that didn't make sense and the physics didn't make sense, but that's just how Star Wars is, right? The transformation of Ben into Kylo Ren is just perfectly captured here, and it's so well done I couldn't believe it. And then of course like all the other perverts I started shipping him with Rey. I hope it will end like a fairy tale, since it's now coming from Disney... It was good. I’m satisfied. May the force be with you.
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Innovative Star Wars. Rian imprinted a stamp of originality on The Last of the Jedi, making it perhaps the most radical part in the whole history of the saga. If Abrams were accused of not having enough courage to make any changes, this is just the complete opposite. Whether it is the Monty Python-type humor or splashes of blood from shredded soldiers – it’s just plain different. Unfortunately, in places inconsistent. Certain passages drag on and on in others the plot is too simplistic (as if the movie should have lasted three hours, but the producers put their foot down to stop this nonsense), fortunately a memorable scene always comes along which makes it all worth it. We get just the right amount of answers, although conspirators will be a little disappointed. Skywalker is well presented and Hamill’s speeches finally make much more sense. I just hope that next time there will be more of Rey and young Solo. You are not a new Vader, you’re just a kid in a mask.
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Alternative Star Wars. Perhaps a welcoming direction for the modern viewer who craves a breath of fresh air and innovation, which have been somewhat lacking in the SW universe. How much of a good move this is, however, is highly questionable and depends on everyone's opinion. It certainly doesn’t surpass Episode III in its fatality and emotional impact. The Last Jedi is, of course, visually polished and has one great asset, Adam Driver, whose anger and rage is the most impressive thing in the film, far surpassing the likes of Hayden Christensen. Otherwise, it's still as bland and lacking in power as the previous episode, spin-off included.
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Ich bin sehr zufrieden. Kylo Ren und Rey sind tolle Figuren; ihre Geschichte und Beziehung sind interessant, dramatisch und ausgezeichnet dargestellt. Mark Hamill genießt die Rückkehr vom Lichtschwert. Mit brummiger Laune ist er super. Ich werde jetzt lieber nicht mehr schreiben, damit ich nicht ungewollt etwas andeute, womit man sich überraschen lassen sollte (von solchen Momenten gibt es in Star Wars: Die letzten Jedi erfreulicherweise viele). Ich sage vielleicht nur noch Folgendes: was die Anzahl von verschiedenen Geschöpfen und manche entspannte Momente betrifft, da sieht Star Wars: Die letzten Jedi der neuen Trilogie mehr als der vorige Teil ähnlich. Der Film überschreitet aber nie die Grenze, welche Spaß von Spott teilt, was gut ist. John Williams hat wieder eine tolle Musik komponiert und ich kann kaum den Soundtrack erwarten.
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An experience slightly short of expectations, but still very powerful and above all ..... unusual for SW! Johnson leads the characters much more assuredly than Abrams, and for perhaps the first time in the entire saga, I felt a sense of fatality not just in the crossing of the lightsabers of darkness and light, but also in the dialogue and the relationships between the various players (okay, probably for the first time since Empire). Related to this is the story, which this time is not lined with a thousand and one locations, hundreds of cutscenes and dozens of characters, but unfolds around three fixed lines that are motivationally interconnected and in the end beautifully escalate into an emotionally compelling finale. It's all the more disappointing that apart from Luke and to a certain extent Rey (for whom the effort of development is the most genuine and, also, I just have a soft spot for her) there is no really strong character and no really memorable moment that would cause goosebumps and would not have been anticipated. Still, satisfaction prevails over the expertly narrated piece (I didn't mind the runtime at all), which works well with deadlines, keeps the attention by constantly developing the relationship between the characters (Luke×Rey, Kylo×Rey, Finn×Rose, Luke×Kylo) and, of course, majestically stages the climactic action sequences, which had me drooling over my cup of Chewbacca. The last act is perhaps the sexiest of the SW universe, it's a pity they didn't go for a more substantial plot with a prominent MacGuffin, which would have catapulted Episode VIII to the position of the best episode ever. I’m really looking forward to the next instalment.
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Wenn ich nicht 90 Minuten Daisy anschauen müsste, wie sie auf einer vergessenen Insel buchstäblich nichts tut, dann würde ich sicher mit der Bewertung ganz nach oben gehen, doch wegen der fürchterlichen Langeweile, die ich erlebt habe, kann ich dies nicht. Das letzte Drittel macht das nicht wieder wett. Für das nächste Mal also: zusammenschneiden, zusammenschneiden, zusammenschneiden, überflüssige Figuren weglassen und sich auf das Wesentliche konzentrieren. Ich sehe dies aber skeptischerweise bei etwa 180 Minuten.
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A fandom fetish for children aged 4 to 110, which this time hides its substance in a surprisingly clumsy way. It makes perfect sense that every new Star Wars movie hits the screens 14 days before Christmas Eve, when its main cash cows are not just the audience but, more importantly, an artificial, hand-crafted sect of fans who, as soon as they leave the cinema, are greeted by endless assortments of action figures ranging from thousand-dollar Amazon ones to tiny Chinese baby-blood-smelling trolls in every fucking happy meal. I'm not naive enough to get reflexively upset about this cycle of capitalism (especially when it comes to LucasArts), but the latest Star Wars films are so soaked in it that it spoils what little remaining viewer experience this franchise still has. So many unnecessary scenes and shots of otherwise unimportant creatures simulate the ancient comedic crutch of the "funny shot of a dog" and serve no purpose other than as a blueprint for the 3D printer. It suffers monumentally from trying to immerse itself in some imaginary universe when nothing has anything to do with it and there’s nothing to discover, because everything is thrown in front of your face for even God to see. Plus, there are too many iconic characters, machines, ships, and spaces for the film to have time to work with it in any way beyond "just get it in there". The beloved giant four-legged walking robots are only there to walk forward, shoot, and then stop in one scene. No interaction, no real battle. Which is almost a crime, since the film occasionally gives us a hint of breathtaking effects sequences to keep us mindful of what we're missing. I consider the sequence where Star Wars tries to be politically relevant by simply declaring that everyone filthy rich must have gotten their money through some kind of subterfuge to be downright dangerous. By which they will then presumably justify running over those poor Oscar Schindlers and Nicholas Wintons with five-ton horses. If Star Wars wants to do politics, they first need to create some society, some history, and some active, not just reactive, ideas. With the social phenomenon that the franchise has become, firing any political/social meta-theses is diabolically irresponsible, and the creators should at least have the conscience to stay out of it. Ugh... in short, I'm tired of this fanboy bitching, which this year maybe Marvel has now managed to get a taste of and teach the viewer to adapt, while here I have to watch some horribly miscast retirees who if they hadn't been in some crazy sci-fi in the seventies (actually fantasy back then) they'd be drinking piña coladas in a retirement home somewhere in Baltimore, but instead they're here running around in a bunch of horrible nonsense looking like some Jehovah's Witness recruitment film talking to a ping-pong ball on a green screen like freaks.
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I gave a lower rating this time because I found the plot too confusing. My mind was full of questions after the film was over. Too bad I didn’t get any answers. The special effects were traditionally excellent, but I wasn’t impressed with the story at all. I feel like there are far too many Star Wars films. Maybe the creators could take their time and focus more on the quality.
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It lacks a little something to achieve perfection, but I was looking forward to Luke and I got him in a form I liked. His finale is breathtaking. Likewise, the film contains some excellent scenes and there is not much to fault in any of the space or personal fights. The script also surprises with new moments, as well as a desire to pay homage to past films from the series. I think the fans got what they deserved, and even a little more to boot.
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Complete satisfaction on my part, that just gets better over time. Yes, Disney turned Star Wars into a cash cow, so there are some things in the movie whose sole purpose was to get more money out of it, with practically no impact on the story, but that’s what Lucas did, too. Yes, it's basically another fairy tale for adults, mainly about hope, but that’s what Star Wars have always been. Frankly, it’s what I love about them. My main point is that you shouldn’t really expect an overly objective review from me, because I have nothing but respect for Star Wars. My expectations of the eighth episode were extremely high, and I think Rian Johnson under (strict) Disney supervision managed to make the most of it. Compared to the previous episode, the atmosphere is darker, it is much more action-packed, the story is more relevant, and there are two factors which play a huge role in this. The first one is Mark Hamill, who, despite all the critics, showed that he can deliver an excellent performance. It is absolutely amazing here and it only confirms Luke Skywalker’s legendary status. The second factor for which it deserves the highest of ratings are the confrontations between Rey and Kylo Ren. I liked the whole new generation of characters, but the two lead actors were chosen perfectly in my view. Their conversations between the light and dark side of the Force were great, as were their duels in terms of choreography as well as surprising moments and suspense. If I factor in the amazing action scenes both on the ground and in space, the traditionally perfect soundtrack and all those moments I’d been anticipating for years, there is no point in hesitating to give this the highest rating.
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