Ano 2017 TĂtulo Original Star Wars The Last Jedi Dirigido por Rian Johson Avaliação â â â â â Excelente Definir qual Star Wars Ă© o melhor de todos os tempos Ă© bastante relativo e tambĂ©m uma experiĂȘncia bastante pessoal. Se Os Ăltimos Jedi Ă© ou estĂĄ entre os melhores, na verdade, Ă© o fator menos relevante ele Ă© um filme com toda a essĂȘncia da saga e que faz a ponte definitiva entre geraçÔes da sĂ©rie, seja em sua prĂłpria estĂłria como na relação com os fĂŁs. Se tem algo que O Despertar da Força â seu antecessor â possui Ă© uma relação mais estreita com a trilogia clĂĄssica em diversos aspectos, inclusive basicamente repetindo toda a fĂłrmula do capĂtulo IV Uma Nova Esperança, o que nĂŁo Ă© um ponto negativo, mas ainda demonstrava, talvez, receio por parte de seus criadores e produtores para se trilhar um novo caminho para Star Wars. Star Wars Os Ăltimos Jedi dĂĄ maior voz Ă nova geração de personagens da saga, que conduzirĂŁo o destino da franquia nos prĂłximos anos. Com uma trama direcionada neste sentido, tende a agradar gregos e troianos, fĂŁs antigos e novos, fechando o ciclo de alguns personagens e proporcionando maior empatia e profundidade Ă Rey, Finn e cia. O filme se passa diretamente apĂłs o capĂtulo VII, com a Primeira Ordem seguindo no encalço da Aliança Rebelde e Rey em busca de Luke, tentando convencĂȘ-lo a aliar-se a rebeliĂŁo e salvar a GalĂĄxia. Luke, no entanto, recusa-se a encarar tal empreitada, afirmando que seu ciclo â e os do Jedi â jĂĄ chegara ao fim. Dentre todos os capĂtulos de Star Wars, Os Ăltimos Jedi talvez seja um dos que melhor abordam o conflito espacial, proporcionando cenas Ă©picas de tirar o fĂŽlego e Ăłtimas reviravoltas, alĂ©m das batalhas incrĂveis. Ă tambĂ©m um filme sobre autodescoberta, onde, de certa forma, todos os personagens acabam compreendendo melhor seu papel na guerra e no universo. E, como nĂŁo poderia ser diferente, destaque para Rey e Kylo Ren, que aqui entram definitivamente para o hall dos personagens memorĂĄveis da saga. Se o longa possui algum ponto negativo, com muito esforço este talvez se encontre no nĂșmero de piadas, que em algum momento podem soar desnecessĂĄrias, mas incapazes de afetar a experiĂȘncia do filme. ExperiĂȘncia esta que se torna maravilhosa em uma enorme tela de cinema, dada a fotografia espetacular â uma das melhores jĂĄ vistas nas telonas e que, possivelmente, deve render uma indicação Ă Academia. Que a Força esteja com Star Wars por muitos e muitos anos! Confira outras resenhas de filmes aqui. Siga o Meta GalĂĄxia nas redes sociais!
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.
Writer/director Rian Johnsonâs âStar Wars The Last Jediâ is a sprawling, incident- and character-packed extravaganza that picks up at the end of âStar Wars Episode VII - The Force Awakensâ and guides the series into unfamiliar territory. Itâs everything a fan could want from a âStar Warsâ film and then some. Even the sorts of viewers who spend the entire running time of movies anticipating every plot twist and crowing âcalled it!â when they get one right are likely to come up short here. But the surprises usually donât violate the admittedly loose internal logic of the universe George Lucas invented, and when they seem to, itâs because the movie has expanded the mythology in a small but significant way, or imported a sliver of something from another variant of Lucasâ creation Genddy Tartakovskyâs magnificent TV series âClone Warsâ seems to have influenced the last act. The first part of âThe Last Jediâ cross-cuts between the remnants of our heroesâ ragtag fleet led by the late Carrie Fisherâs 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 guyâheâs too much of a standard-issue deep-voiced sadist, in a Marvel modeâbut he is quite the chess player, and so is Johnson. Iâm being vague here on purpose. Suffice to say that, despite being comprised of variations on things weâve been experiencing directly in âStar Warsâ films and indirectly in âStar Warsâ-inspired entertainment since 1977, âThe Last Jediâ 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 âThe Last Jediâ 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, donât 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 âThe Force Awakensâ enough screen time to showcase them at their best while also introducing compelling new faces including a heroic maintenance worker, Kelly Marie Tranâs Rose Tico; a serene and tough vice admiral in the Resistance, played by Laura Dern; a sort of âsafecrackerâ character played by Benicio Del Toro. âJediâ does a better job than most sequels of giving the audience both what it wants and what it didnât 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 Fisherâthank 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 oftenâthis 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. Reyâs anguish at not knowing who her parents are and Kylo Renâs 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 âThe Empire Strikes Backâ and "Return of the Jedi," Johnson lets these all-powerful characters telepathically âspeakâ 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. Thereâs a touch of âSpaceballsâ and âRobot Chickenâ to some of the jokes. Snoke orders Kylo to âtake off that ridiculous helmet,â Luke chastises an old friend for showing a nostalgic video by muttering âThat was a cheap move,â 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 âThe Force Awakensâ was often a stitch as well, especially when Han Solo, Chewbacca, BB-8 and John Boyegaâs 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 âThe Force Awakens,â 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 TVâs âBreaking Bad,â a playfully convoluted crime drama that approached each new installment with the street illusionistâs panache the source of delight was always in the hand you werenât 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 Dernâs Admiral Holdo and Oscar Isaacâs 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 âThe Last Jediâ does, in fact, know what itâs doing. This determination to split the difference between surprise and inevitability is encoded in âThe Last Jediâ 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 âunion matter.â Thereâs greater attention paid here to color and composition than in any entry since âThe Empire Strikes Back.â Particularly dazzling are Snokeâs 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 canât figure out how to get the characters to where it needs them to be and just sort of shrugs and says, âAnd then this happened, now letâs get on with it.â But there are fewer such moments than you might have gone in prepared to forgiveâand 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 nIaXkhD.