StarWars: The Last Jedi (2017) iLK21 LayarKaca21PG-13 Genre: Action, Adventure, Fantasy, Science FictionYear: 2017 Duration: 152 Min. 3155 votes, average 7.2 out of 10. Rey develops her newly discovered abilities with the guidance of Luke Skywalker, who is unsettled by the strength of her powers. Meanwhile, the Resistance prepares to do battle KomentarArtikel : *Berpotensi SPOILER!!!! Prolog Star Wars adalah salah satu franchise fiksi tertua di dunia (sudah > 40 tahun), seharusnya franchise ini Komentar Artikel : Resensi Film | ''Star Wars : The Last Jedi'', Kebangkitan ''First Order'' - Kompasiana.com Tapikalau dilihat lebih dalam, The Last Jedi mampu meng-establish karakter dengan lebih tajam dan mampu memanfaatkan 2,5 jam untuk menunjukkan storytelling yang sangat bagus, emosi yang terbangun, dan membuat saya sendiri percaya bahwa perdamaian bisa tercipta karena harapan akan selalu ada. Kudos to everyone who makes Star Wars happen. Sebagaifilm paling cerdas dalam waralaba Star Wars, The Last Jedi bisa dipandang sebagai versi opera ruang angkasa dari film western revisionis Clint Eastwood, Unforgiven. Film ini mencemooh SinopsisStar Wars the Last Jedi: Dugaan Skenario. Menyoal synopsis ini, sayangnya jika kita melihat plot dari Star War the Force Awakens maka akan terdapat sebuah kesimpulan seperti ini: "Petualangan lebih jauh dari seorang Luke Skywalker (Mark Hamill), Leia (Carrie Fisher) dan Rey (Daisy Ridley)" Tentu saja kesimpulan itu masih terlalu umum. LgBw. LIVRE 152 minutos DireçãoTítulo originalStar Wars The Last Jedi Gênero Ano2017País de origemEUACríticaLeitoresOnde AssistirSinopseApós encontrar o mítico e recluso Luke Skywalker em uma ilha isolada, a jovem Rey busca entender o balanço da Força a partir dos ensinamentos do mestre Jedi. Paralelamente, o Primeiro Império de Kylo Ren se reorganiza para enfrentar a Aliança mundo de Star Wars, nessa mitologia criada por George Lucas, as coisas sempre foram bastante dicotômicas, vide a centralidade da luta entre a luz e o lado negro da Força. Portanto, é, antes de tudo, passível de celebração a abordagem do cineasta Rian Johnson, também autor do roteiro de Star Wars Os Últimos Jedi, justamente porque a partir deste capítulo os arranjos tendem a não ser mais como antes, pois é instaurada uma bem-vinda área cinzenta. Tal guinada alinha uma das franquias mais importantes do cinema aos novos tempos, dando sequência ao trabalho bem feito por J. J. Abrams e companhia em Star Wars O Despertar da Força 2015, ampliando a sensação de sincronia com as demandas do agora. Aliás, outro indício disso é a pluralidade étnica presente entre os pilotos da Resistência que se lançam num ataque praticamente suicida para evitar a aniquilação pela nefasta Primeira Ordem, isso no começo do filme. É uma cena de ação que carrega dramaticidade, um desespero cenário é desolador. A galáxia está praticamente tomada pela horda de Snoke Andy Serkis. Os rebeldes comandados pela General Leia Organa Carrie Fisher estão irremediavelmente encurralados, a mercê do poderio encabeçado no campo de batalha pelo General Hux Domhnall Gleeson e pela figura cada vez mais imponente e poderosa de Kylo Ren Adam Driver. Star Wars Os Últimos Jedi, se desenvolve, na maior parte do tempo, em diversas frentes. Fazendo alusão a um expediente clássico da franquia, há uma missão de invasão, de sucesso improvável. O realizador, porém, consegue ressaltar a bravura de quem arrisca a própria vida em função do ideal. Finn John Boyega ganha uma parceria carismática e tão corajosa quanto ele. Rose Kelly Marie Tran tem seus motivos para ir à luta e encontra no ex-stormtrooper um companheiro valoroso, com quem sua personalidade casa bem. Embora represente o elo frágil da narrativa, o encargo deles é imprescindível para o êxito de planeta sagrado dos Jedi, Rey Daisy Ridley tenta extrair do lendário Luke Skywalker Mark Hamill os ensinamentos acerca da Força, querendo aprender os passos para se tornar uma guerreira apta a tentar obliterar o lado sombrio representado pelo colérico filho do falecido Han Solo. Aliás, Rian Johnson investe numa ligação curiosa entre o líder da ordem de Ren e a novata em busca de orientação. É inteligente a maneira como o filme, em numerosos momentos, nos leva a acreditar na proximidade da verdade acerca da origem de Rey, num jogo cujo verdadeiro propósito é, exatamente, estabelecer uma ponte entre a luz e a escuridão, criando um espaço intermediário, ideal para a instituição de uma densidade psicológica e emocional pouco vista na Saga Star Wars. Luke também faz parte dessa ciranda, deixando expostas as suas fraquezas, depondo a si próprio do pedestal que a História da galáxia reservou a ele. Star Wars Os Últimos Jedi atinge um fino equilíbrio entre ação e drama, algo raro em meio à tragédia anunciada, com a Resistência acossada, Rian Johnson abre espaço para brechas cômicas, bem assentadas no todo. Além disso, a reverência ao legado de Star Wars está presente em vários instantes, como no reaparecimento emblemático de alguém importante – atentem para a forma assumida por esse personagem tão querido – e alusões menores a episódios marcantes de filmes anteriores. Perguntas formuladas desde Star Wars Episódio IV – Uma Nova Esperança 1977 são finalmente respondidas, reviravoltas impressionantes criam a possibilidade de novos e empolgantes cenários, além da haver despedidas de gente cara aos fãs da cinessérie. Star Wars Os Últimos Jedi é, em certa medida, um filme de atores, haja vista a coesão do elenco. Mas, Daisy Ridley e Adam Driver sobressaem, provando que podem, muito bem, assumir a dianteira da Saga Star Wars, sem prejuízos, pelo contrário, apontando ao novo, mas reverenciando as duas abas seguintes alteram o conteúdo PostsJornalista, crítico de cinema e membro da ABRACCINE Associação Brasileira de Críticos de Cinema,. Ministra cursos na Escola de Cinema Darcy Ribeiro/RJ e no Sesc/RJ. Participou como autor dos livros "100 Melhores Filmes Brasileiros" 2016, "Documentários Brasileiros – 100 filmes Essenciais" 2017 e "Animação Brasileira – 100 Filmes Essenciais" 2018. Editor do Papo de crítica Writer/director Rian Johnson’s “Star Wars The Last Jedi” is a sprawling, incident- and character-packed extravaganza that picks up at the end of “Star Wars Episode VII - The Force Awakens” and guides the series into unfamiliar territory. It’s everything a fan could want from a “Star Wars” film and then some. Even the sorts of viewers who spend the entire running time of movies anticipating every plot twist and crowing “called it!” when they get one right are likely to come up short here. But the surprises usually don’t violate the admittedly loose internal logic of the universe George Lucas invented, and when they seem to, it’s because the movie has expanded the mythology in a small but significant way, or imported a sliver of something from another variant of Lucas’ creation Genddy Tartakovsky’s magnificent TV series “Clone Wars” seems to have influenced the last act. The first part of “The Last Jedi” cross-cuts between the remnants of our heroes’ ragtag fleet led by the late Carrie Fisher’s Leia running away from the First Order, aka the next-generation version of the Empire; and Rey Daisy Ridley on the aquatic planet Ahch-To gesundheit! trying to convince the self-exiled Jedi master Luke Skywalker Mark Hamill, whose sandblasted face becomes truly iconic in close-ups to overcome his grief at failing a group of young Jedi trainees and rejoin the Resistance. The New Order's Supreme Leader Snoke Andy Serkis plus CGI has grand plans for both Rey and his Darth Vader-obsessed apprentice Kylo Ren Adam Driver. The leathery old coot may not be a great bad guy—he’s too much of a standard-issue deep-voiced sadist, in a Marvel mode—but he is quite the chess player, and so is Johnson. I’m being vague here on purpose. Suffice to say that, despite being comprised of variations on things we’ve been experiencing directly in “Star Wars” films and indirectly in “Star Wars”-inspired entertainment since 1977, “The Last Jedi” still manages to maneuver in unexpected ways, starting with the decision to build a whole film around a retreat where the goal is not to win but to avoid being wiped out. Along that narrative backbone “The Last Jedi” strings what amount to several tight, often hastily devised mini-missions, each of which either moves the heroes or villains closer to their goals or blows up in their faces. The story resolves in lengthy, consecutive climaxes which, refreshingly, don’t play like a cynical attempt to pad things out. Old business is resolved, new business introduced. And from scene to scene, Johnson gives veteran characters Chewbacca and R2-D2 especially and those who debuted in “The Force Awakens” enough screen time to showcase them at their best while also introducing compelling new faces including a heroic maintenance worker, Kelly Marie Tran’s Rose Tico; a serene and tough vice admiral in the Resistance, played by Laura Dern; a sort of “safecracker” character played by Benicio Del Toro. “Jedi” does a better job than most sequels of giving the audience both what it wants and what it didn’t know it wanted. The movie leans hard into sentiment, most of it planted in the previous installment, some related to the unexpected passing of one of its leads Fisher—thank goodness they gave her a lot of screen time here, and thrilling things to do. But whenever it allows a character to cry or invites us to the catharsis feels earned. It happens rather often—this being a film preoccupied with grieving for the past and transcending it, populated by hounded and broken people who are afraid hope will be snuffed out. Rey’s anguish at not knowing who her parents are and Kylo Ren’s trauma at killing his own father to advance toward his "destiny" literally as well as figuratively mirror each other. Lifting a bit of business glimpsed briefly in “The Empire Strikes Back” and "Return of the Jedi," Johnson lets these all-powerful characters telepathically “speak” to each other across space as easily as you or I might Skype with a friend. This gimmick offers so much potential for drama and wry humor that you might wonder why nobody did it earlier. Sometimes "The Last Jedi" violates our expectations in a cheeky way that stops short of telling super-fans to get over themselves. There’s a touch of “Spaceballs” and “Robot Chicken” to some of the jokes. Snoke orders Kylo to “take off that ridiculous helmet,” Luke chastises an old friend for showing a nostalgic video by muttering “That was a cheap move,” and an early gag finds one of the heroes calling the bridge of a star destroyer and pretending to be stuck on hold. This aspect adds a much-needed dash of self-deprecating humor “The Force Awakens” was often a stitch as well, especially when Han Solo, Chewbacca, BB-8 and John Boyega’s James Garner-like hero/coward Finn were onscreen, but without going so meta that "The Last Jedi" turns into a smart-alecky thesis paper on itself. The movie works equally well as an earnest adventure full of passionate heroes and villains and a meditation on sequels and franchise properties. Like “The Force Awakens,” only more so, this one is preoccupied with questions of legacy, legitimacy and succession, and includes multiple debates over whether one should replicate or reject the stories and symbols of the past. Among its many valuable lessons is that objects have no worth save for the feelings we invest in them, and that no individual is greater than a noble idea. Johnson has made some very good theatrical features, but the storytelling here owes the most to his work on TV’s “Breaking Bad,” a playfully convoluted crime drama that approached each new installment with the street illusionist’s panache the source of delight was always in the hand you weren’t looking at. There are points where the film appears to have miscalculated or made an outright lame choice this becomes worrisome in the middle, when Dern’s Admiral Holdo and Oscar Isaac’s hotshot pilot Poe Dameron are at loggerheads, but then you realize that it was a setup for another payoff that lands harder because you briefly doubted that “The Last Jedi” does, in fact, know what it’s doing. This determination to split the difference between surprise and inevitability is encoded in “The Last Jedi” down to the level of scenes and shots. How many Star Destroyers, TIE fighters, Imperial walkers, lightsabers, escape pods, and discussions of the nature of The Force have we seen by now? Oodles. But Johnson manages to find a way to present the technology, mythology and imagery in a way that makes it feel new, or at least new-ish, starting with a shot of Star Destroyers materializing from hyperspace in the sky over a planet as seen from ground level and continuing through images of Rebel ships being raked apart by Imperial cannon fire like cans on a shooting range and, hilariously, a blurry video conference in which the goggle-eyed warrior-philosopher Maz Kanata voiced by Lupita Nyong'o delivers important information while engaging in a shootout with unseen foes. She calls it a “union matter.” There’s greater attention paid here to color and composition than in any entry since “The Empire Strikes Back.” Particularly dazzling are Snoke’s throne room, with its Dario Argento-red walls and red-armored guards, and the final battle, set on a salt planet whose flat white surfaces get ripped up to reveal shades of crimson. Seen from a distance, the battlefield itself seems to be bleeding. The architecture of the action sequences is something to behold. A self-enclosed setpiece in the opening space battle is more emotionally powerful than any action sequence in any blockbuster this year, save the "No Man's Land" sequence of "Wonder Woman," and it's centered on a character we just met. There are spots where the film can’t figure out how to get the characters to where it needs them to be and just sort of shrugs and says, “And then this happened, now let’s get on with it.” But there are fewer such moments than you might have gone in prepared to forgive—and really, if that sort of thing were a cinematic crime, Howard Hawks would have gotten the chair. Most importantly, the damned thing moves, both in a plot sense and in the sense of a skilled choreographer-dancer who has visualized every millisecond of his routine and practiced it to the point where grace seems to come as easily as breathing. Or skywalking. Matt Zoller Seitz Matt Zoller Seitz is the Editor at Large of TV critic for New York Magazine and and a finalist for the Pulitzer Prize in criticism. Now playing Film Credits Star Wars The Last Jedi 2017 Rated PG-13 for sequences of sci-fi action and violence. 152 minutes Latest blog posts about 4 hours ago about 7 hours ago about 8 hours ago 1 day ago Comments

resensi film star wars the last jedi