‘Star Wars:’ Here’s what the critics are saying about ‘Force Awakens’

22 Dec 2015 | Author: | No comments yet »

Here’s How You Can Avoid ‘Star Wars’ Spoilers.

If you’ve been able to make it this far without seeing any spoilers on the minefield that is the Internet, you can get through the next couple of days more easily with the Force Block Chrome extension. The director recently told CBS’s 60 Minutes that he’s experienced moments of “abject terror” while at the helm of Star Wars: The Force Awakens—the first Star Wars movie in a decade and the one that fans hope will right the wrongs of the universally loathed prequels.

Twitter reactions from celebrities and industry insiders at the Los Angeles premiere on Dec. 14 were extremely positive, but those are sometimes hard to trust. Google also obtained a shortlist sourced from people who have seen early screenings, which includes specific key phrases that have been input by a single engineer who spoiled the movie for himself to save you. Abrams’s biggest challenge was to honor the legacy of the original films—and understand what made them so beloved—while also forging a path of his own. Some reviewers have criticized the extension for being too sensitive, but considering Walmart and a Chinese “Force Awakens” trailer have already leaked plot details, it’s probably better to be safe than sorry. Despite the prerelease hype, it won’t save the world, not even Hollywood, but it seamlessly balances cozy favorites—Harrison Ford, ladies and gentlemen—and new kinetic wows along with some of the niceties that went missing as the series grew into a phenomenon, most crucially a scale and a sensibility that is rooted in the human.

It has the usual toy-store-ready gizmos and critters, but it also has appealingly imperfect men and women whose blunders and victories, decency and goofiness remind you that a pop mythology like “Star Wars” needs more than old gods to sustain it. Abrams and his screenwriters have returned us to the shaggy, tactile spirit of the beloved original trilogy, eschewing overabundant digital effects and boring policy debate for a visceral sense of adventure and wonder. In righting a listing starship, Abrams has done something masterful—he pays graceful homage to what has come before (the good stuff, anyway), while expanding the Star Wars mythology in bold and organic ways.

The film re-creates the world of Star Wars without reinventing it or veering too far into a nostalgia lane; it remembers that this is the start of its own series, and we’re going to need to care about Finn and Daisy and the gang as much as we care about our old friends. The Force Awakens never reaches the heights of escapism Lucas once did, mostly because its pleasures are echoes; by the time our posse walks into a saloon that’s just the cantina in a nicer neighborhood, the déjà vu factor begins to feel as much like a drawback as a benefit. But perhaps the strongest critique one could make of The Force Awakens—in the sense that it is completely accurate—is that it’s ensnared in its own nostalgia.

He has made an adoring copy of “Star Wars,” seeking to correct its perceived flaws, without understanding that nothing about that movie’s context or meaning or enormous cultural impact can be duplicated.

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