The Ultimate Disappointment That Is Star Wars: The Last Jedi

The Good: The animals, The final third is watchable
The Bad: Direction/Editing, Painfully forced humor, Problematic time aspect, Whiny Luke Skywalker, Evil is stupid, Ridiculous set-up, Plot contrivances
The Basics: Star Wars: The Last Jedi might well be the worst of the Star Wars films.


Like most Alpha Geeks, tonight I rushed right out to the first possible showing of Star Wars: The Last Jedi that I could find. The best possible way I can describe how truly disappointing Star Wars: The Last Jedi was is by saying this; on the drive home, I prioritized what I was excited about doing upon returning home and the list came out: 1. See my wife, 2. Reheat the nachos from last night, 3. Clean out the cats' litter boxes, and 4. Consider and review The Last Jedi. Without any spoilers, the simplest explanation for my antipathy toward Star Wars: The Last Jedi would be summarized with the idea that it took an hour and a half into the two and a half hour film for there to be a scene that was exciting and watchable. I know this because the local theater I went to has glowing clocks near the exits near the screen and as I waited for something good to happen in The Last Jedi, my eyes frequently drifted there.

Right now, it seems impolitic to criticize Star Wars: The Last Jedi, but I feel like I am on pretty solid ground with this one (outside just how I feel). Remember how people's initial reaction to Attack Of The Clones (reviewed here!) was overwhelmingly positive at the time? Have you ever gone back to A New Hope (reviewed here!) and caught just how whiny and annoying Luke Skywalker actually is in the film? Remember the feeling you had at the end of The Empire Strikes Back (reviewed here!) where it seemed like there were a ton of compelling directions in which the franchise could go? Have you ever watched a Star Wars trailer and just gotten excited by how it presented information? Well, The Last Jedi is getting praise that is likely to collapse when people actually let the hype fade and consider the actual work, Luke Skywalker reverts to his pathetic and whiny adolescent-sounding self, the film concludes at a place that is almost entirely impossible to create a compelling continuation to the franchise, and director Rian Johnson and editor Bob Ducsay created a film that spends its first hour and a half (at least) cutting as if it were one long trailer. The comparatively quick cuts - especially for reaction shots - feel more like a commercial or a trailer than it does a cohesive film.

Star Wars: The Last Jedi begins with an absolutely ridiculous premise and it sets up a film that has such a muddied view of time that it is almost impossible to take the film seriously. Following the destruction of the Starkiller Base in The Force Awakens (reviewed here!), the First Order has become more powerful and consolidated its power throughout the galaxy in such a way that the Resistance is on the verge of utter destruction. All this in the time it took for Rey to get to Luke Skywalker's planet where he has been hiding for the past thirty years. And, much like George Lucas beat to death the "there's always a bigger fish" idea in The Phantom Menace, Johnson is obsessed with illustrating "there's always a bigger ship." I can completely get why Supreme Leader Snoke would not bring his massive ship into the field with any frequency, but when the Rebel base is being bombarded, it is by a dreadnaught and Poe Dameron notes that it is not the only one. So, one has to wonder why the hell the First Order didn't have a dreadnaught near the vastly less-mobile Starkiller base to prevent their super weapon from being menaced.

So, the First Order is on the verge of wiping out the Resistance and Poe Dameron makes a daring, unauthorized, attack on the First Order dreadnaught that has come to finish off the rebelling force. Dameron is able to cut down the heavy weapons on the dreadnaught, but the Resistance bombers are effectively attacked. While a daring sacrifice allows the Resistance to take out the dreadnaught, the Resistance fleet is all but wiped out and when it comes out of hyperspace, the leaders are horrified that the First Order fleet - including Supreme Leader Snoke's massive command ship - are right behind them, picking off their vessels and harassing their final remaining command ship. Finn comes out of his coma and immediately asks after Rey. Rey, of course, is with Luke Skywalker, who refuses to teach the young woman the ways of the Force.

With Leia wounded, Poe Dameron demoted, Rey watching Luke wander through his days, and the last three Resistance ships running out of fuel and unable to make the jump to hyperspace because the command ship can track them, Finn and the Resistance engineer Rose go on a mission to find a codebreaker who can get them onto the command ship to disable the First Order tracking device. And Rey and Kylo Ren suddenly find they have a psychic connection and communicate and they debate with one another the nature of the Force.

Much like Thor: Ragnarok (reviewed here!), where the plot set-up is that the end of an entire world is imminent, but the film throws out joke after joke after joke, Star Wars: The Last Jedi belabors the humor and most of the characters - save Poe Dameron - sound nothing like they did in prior installments of the Star Wars franchise because they are joking so much. So, the Resistance in the galaxy is almost wiped out, but people sure are taking it with an amazing sense of humor. Except Luke Skywalker. Skywalker has become introspective, sad, a liar, and whiny . . . so whiny.

And while the first major joke of Star Wars: The Last Jedi lands, it completely recharacterizes the First Order as a bunch of idiotic buffoons. Evil is seriously stupid in The Last Jedi. Every major villain in The Last Jedi is tragically wrong at key moments of the film and it guts their credibility; how they have created an empire based upon dominance and slavery is beyond the suspension of disbelief.

And the time aspect of The Last Jedi is painful. With only hours of fuel left in their capital ship and the Resistance on the verge of utter collapse, Rey spends days and nights training, leaves a planet so remote that Skywalker successfully hid there for years, boards Supreme Leader Snoke's ship, gets captured and has a climactic battle with Kylo Ren; how the hell does that work?! And, on the subject of Rey, Daisy Ridley plays Rey as angry in almost every scene, so it's hard to believe she would not be an agent of the Dark Side.

What works in The Last Jedi are the themes. While Rose is abruptly saddled with a ridiculous romantic subplot, she is given a decent amount of character. She loathes the rich who profit off weapons sales and she has a real love of animals. The Last Jedi takes a nice divergence to illustrate that cruelty toward people and animal cruelty are directly analogous.

But for most of Star Wars: The Last Jedi the film oscillates between being painfully boring and an utter mess. One character speaks normal until his last scene where he suddenly develops a stutter, Leia does an impressive impression of Mary Poppins, and the physics of how Paige gets the control pad needed to activate the bomber's doors are troubling. How the Resistance gets trapped in a building with only one exit and entrance and, after they are sealed in, manage to get an entire force of soldiers out into the trenches in front of that door is a mystery.

Ultimately, The Last Jedi is a film that even the appearance of new, super-armored AT-ATs cannot save.

For other works in the Star Wars franchise, please check out my reviews of:
Star Wars - Episode I: The Phantom Menace
The Clone Wars
Star Wars: The Clone Wars Volume 1
Star Wars: The Clone Wars Volume 2
Star Wars - Episode III: Revenge Of The Sith
Rogue One
Star Wars - Episode VI: Return Of The Jedi
Caravan Of Courage - An Ewok Adventure

3/10

For other movie reviews, please check out my Film Review Index Page for an organized listing!

© 2017 W.L. Swarts. May not be reprinted without permission.
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Glorify The Terrorism: Why Rogue One: A Star Wars Story Succeeds!

The Good: Performances, Plot development, Most of the special effects, Moments of character
The Bad: Pacing is a little off, CG Tarkin is a little off, Thinly created characters
The Basics: Rogue One: A Star Wars Story illustrates well the adult potential of stories set within the Star Wars universe!


At the end of all of the hype surrounding a film, there must be an actual work produced; a product that has to stand or fall on its own outside the massive publicity machine designed to make the opening weekend of a (potential) blockbuster film a success. Rogue One: A Star Wars Story is finally here and separated from all of the hype, the film is astonishingly good. Perhaps the highest kudos I could write about the film is this: I collect AT-ATs (toys, models, artwork, etc) and the trailer for Rogue One that included the variant AT-ATs on the Scarif beach got me jazzed for weeks. Rogue One: A Star Wars Story develops so well and is so engaging that by the time the AT-ACTs appear on screen, I had forgotten that they were even going to be in the film!

Rogue One: A Star Wars Story had amazing potential and a mountain of potential problems to overcome in order to be a storytelling success. Based on the second trailer for the film, I went into Rogue One: A Star Wars Story with a reasonable expectation that the film would finally create a credible story surrounding the massive technical fault in the Death Star - that was explored in my article The Burden Of Being Rogue One: A Star Wars Story here! But the potential of Rogue One: A Star Wars Story was much more massive that just creating a story to fix a prior storytelling gimmick and director Gareth Edwards clearly leapt upon that. Rogue One: A Star Wars Story transforms the Star Wars Universe from a mostly-white, mostly-male dominated setting into a truly diverse, collaborative Rebellion against the homogeneous and oppressive Empire.

But the conceptual genius of Rogue One: A Star Wars Story is simple: almost anything can happen. The basic plot of Rogue One: A Star Wars Story is simple; this is the story of how the Rebellion came into possession of the Death Star plans that Princess Leia was the custodian of at the outset of A New Hope (reviewed here!). But outside the very minor limitation that the viewer knows from the outset that the heroic team will accomplish their mission, there is very little that Rogue One: A Star Wars Story is bound by. None of the primary heroes are required to survive the mission (in fact, from a storytelling perspective, it is better that they don't, otherwise the key question the film would create is "Why were Bothans used to steal the plans for the second Death Star when there was a perfectly effective team available to do the espionage mission?!") and most of the villains can be created to be at least as menacing as Darth Vader as they would naturally be vying for the Emperor's good favor (and villains outside Darth Vader are not limited by either their religious belief in the Force or their desire to keep any family members alive) and could have quite the history of violence, cruelty or just plain military success that existed in a different corner of the Star Wars Universe.

Rogue One: A Star Wars Story lives up to those potentials.

Opening rather abruptly with Imperial officer Orson Krennic visiting the Erso homestead where he recovers Galen Erso, a former weapons designer who has been in hiding since leaving his Imperial post. Krennic dragoons Galen back into service and kills Lyra, but their daughter, Jyn manages to escape. Jyn is rescued by Saw Gerrera. Fifteen years later, on the Imperial-occupied moon of Jedha, a pilot (Bodhi Rook) defects from the Empire and claims to have a message for Gerrera from Galen Erso and his defection brings word to the Rebellion of the existence of the massive planet-destroying weapon being built by the Empire, the Death Star.

The rumors of the weapon and Galen Erso's message inspire the Rebellion to send Cassian Andor to Wobani (a planet with an Imperial labor camp) to break Jyn Erso out of Imperial custody. Jyn is taken to Yavin IV where she is generally uncooperative, bristling when Saw Gerrera is mentioned. For her freedom, Erso is given a mission by the Rebellion: to authenticate the existence of the Death Star and bring Galen Erso to the Imperial Senate to testify. To get to Galen, the Rebellion needs Jyn Erso to make contact with the more-extreme and militant Gerrera, while Andor is given the side mission of killing Galen Erso before the Death Star can be completed.

Jyn, Cassian, and their reprogrammed Imperial droid K-2SO head to Jedha, where the Stormtroopers are out in full force searching for Rook. On the crowded streets of Jedha, Erso is summoned by the blind devotee of the Force, Chirrut Imwe, who reveals that Jedha is being stripped of Kyber crystals to power the weapons of the Death Star. After meeting up with Gerrera, seeing the hologram of her father explaining why he helped work on the Death Star and witnessing the first test of the Death Star that destroys the capital of Jedha, the Rebellion is recoiling in terror. But to prove that her father truly made a plan to save the galaxy from his own weapon, Jyn, Cassian, Chirrut, Baze Malbus, Rook, and K-2SO must go rogue to one of the most heavily fortified military archives in the Empire to recover the Death Star plans and get them to the fracturing Alliance!

Rogue One: A Star Wars Story might well be second only to The Empire Strikes Back (reviewed here!) for quality Star Wars films and I write that with two caveats. The first is that the older I get, the less perfect The Empire Strikes Back seems - so much of the dialogue is hokey and the relationships are often forced, etc. Second, as I watched Rogue One: A Star Wars Story, knowing where it absolutely must go, I became more and more aware that I was waiting. My initial feeling was that there was a pacing issued within Rogue One, but the truth is, even as I watched the film the first time, I had a sense that Rogue One might well age better upon multiple viewings. The themes in the film are far less religious than those of The Empire Strikes Back and there were no lines that actually made me cringe (though the cameo of Dr. Evizan and Ponda Baba felt a little forced after the initial delight of it). So, as little as die-hard fans might want to hear it, Rogue One: A Star Wars Story could actually be the best of the Star Wars films, but the initial viewing of it does not blow one away so much that they forget the delight of the earlier works.

I suspect that Rogue One will be to Star Wars what Star Trek: Deep Space Nine (reviewed here!) is to fans of the Star Trek franchise. In other words, it is a slow burn that takes most people time to warm up to it and some never do. But as Rebel troops landed on Scarif and one shouted "For Jedha!" it was hard for me not to smile and think "For Cardassia!"

Outside the pacing, there are only two noticeable problems with Rogue One: A Star Wars Story. The first is the CGI Grand Moff Tarkin. I was thrilled by how much of a part Grand Moff Tarkin has in Rogue One: A Star Wars Story, but the computer generated face on the character does not move quite right when the character speaks. While this might not be a big issue on smaller screens, on theatrical screens it was troublingly noticeable. The other issue is that because Rogue One: A Star Wars Story is populated by so many characters, very few of them are actually developed well. Within the narrative, on screen, Director Krennic seems to be solely motivated by his desire to actually get a face to face meeting with The Emperor. Undoubtedly, hundreds of articles will follow the release of Rogue One trying to make the argument that Chirrut and Baze were a romantic couple and the ability to make that argument will come from the fact that the two supporting characters are so thinly defined that there is a lot of room for interpretation for their relationship.

Okay, there's a third issue and that is "why the hell does director Gareth Edwards believe a stick is an effective weapon against Stormtrooper armor?!" Were there seriously no accidents on set where Donnie Yen accidentally smacked a stuntperson in Stormtrooper armor with his staff and the stunt persons just said, "It's fine. The armor protected me. I'm not hurt." That's nitpicky, I know, but seriously even in the first viewing, I found myself asking how that was supposed to be working on a practical level!

That said, Rogue One: A Star Wars Story is dominated by Felicity Jones's Jyn Erso and Diego Luna's Cassian Andor and they both rise to the occasion and expertly characterize their characters through lines and implicitly through their actions. Andor is a Rebel who is the ultimate pragmatist in a very adult way. When he first appears on screen, he kills another Rebel who will either slow him down or easily crack under an Imperial interrogation. When the Rebels on Jedha attack an Imperial tank, Andor kills one of the Rebels to set off a grenade that will thus save Erso's life. Long before Andor combats Erso's assumptions on his part in the Rebellion, actor Diego Luna has made it abundantly clear that Andor is a man who has done uncomfortable things in the name of freedom and protecting the Rebellion. Luna does a masterful job of delivering his "you're not the only one who lost everything" speech to Jones's Erso, which could have been some of the film's cheesiest lines if he had stepped on them.

Felicity Jones is predictably incredible as Jyn Erso. Jones is the perfect actor to deliver an emotional performance opposite thin air and her reactions as Jyn to watching Galen's hologram is one of the most emotionally powerful moments of the entire film. Hopefully, there will be a director's cut of Rogue One: A Star Wars Story to illustrate just how Erso inspired so many people to follow her on her rebellious mission for the Alliance, but against the wishes of the Alliance Council (the much-teased line about rebels rebelling did not make the theatrical cut of the film). One suspects that more of Jones's Erso in Rogue One could only make it better.

Finally, Alan Tudyk's K-2SO is the best droid in the Star Wars franchise. Walking around like a cranky film critic, K-2SO manages to find the right addition of snarky humor to keep the slower portions of Rogue One moving delightfully well.

Gareth Edwards does not throw out the whole Star Wars playbook by creating a film with diverse characters - though he is not at all subtle about making all of the Imperial engineers old white men - but he does redefine effectively the potential of stories that can be told within the Star Wars Universe. In the original Star Wars Trilogy, the heroes were terrorists and religious zealots whose actions and philosophies were glossed over because their goals were clearly a greater good (i.e. destroying a planet-destroying weapon and rebelling against an oppressive government). In Rogue One, the heroes are flat-out terrorists and they fight for a higher set of principles even when some of their operatives have to do horrible things and participate willingly in acts of sacrifice to save the galaxy. Understanding the complexity of terrorists and patriots is both universal and timely and Rogue One: A Star Wars Story executes it in a way that is likely to weather well as time goes by.

For other works in the Star Wars franchise, please check out my reviews of:
Star Wars - Episode I: The Phantom Menace
Star Wars - Episode II: Attack Of The Clones
The Clone Wars
Star Wars: The Clone Wars Volume 1
Star Wars: The Clone Wars Volume 2
Star Wars - Episode III: Revenge Of The Sith
Star Wars - Episode VI: Return Of The Jedi
Caravan Of Courage - An Ewok Adventure
Star Wars - Episode VII: The Force Awakesn

9/10

For other movie reviews, please check out my Film Review Index Page for an organized listing!

© 2016 W.L. Swarts. May not be reprinted without permission.
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The Burden Of Being Rogue One: A Star Wars Story

The Basics: With the second trailer for Rogue One: A Star Wars Story, lifelong Star Wars fans are given hope that one of the biggest technical issues in the franchise will be fixed . . . leaving fans wondering if the "fix" will be worse than the problem!


Prequels have a tough balance to weigh when one looks at films from an artistic sensibility instead of a business model. After all, as a business model, prequels and sequels make perfect sense; there is a calculation that can be done to figure out the potential for any blockbuster work to draw in money from the same sources a second time by examining sales reports for the initial release and then the permanent home release (digital, DVD, Blu-Ray, rentals, etc.). But from an artistic sense, prequels are near-impossible to get right.

That said, easily the most anticipated film of the final months of 2016 is Rogue One: A Star Wars Story. With the final trailer to Rogue One: A Star Wars Story dropping, fans of the Star Wars franchise have almost every reason to be excited about the movie. Unfortunately, with the release of the final trailer for Rogue One: A Star Wars Story, Disney and Lucasfilm may well have given up too much information to keep the secrets they have desperately been clinging to and fans are already taking to the internet to explore every nook and cranny of the trailer.

It takes a lot for me to write about a film's trailer, as opposed to waiting for the film. In fact, I can only recall before writing about the problems posed to survivors of childhood crimes as an instant reaction to seeing the Rise Of The Guardians trailer (that article is here!) before now. But, the truth is, the Rogue One: A Star Wars Story had enough to get me to geek out and want to share in the joy of discussing the big concept alluded to in the Rogue One: A Star Wars Story trailer. It is worth noting that I have nothing to do with the film, so my theories and excitement can easily be undone by the film going in an entirely different way than the trailer made it appear.

The basic plot of Rogue One: A Star Wars Story has been known for a few months now. Rogue One: A Star Wars Story is the story of how a team of Rebel spies managed to acquire the plans for the Death Star that would be passed from Princess Leia to R2-D2 in A New Hope (reviewed here!). The Rogue One: A Star Wars Story trailer fleshed out that basic plot by finally revealing some of the character relationships for the first time. Fans now know that the film's protagonist, Jyn Erso, is the daughter of the man who apparently designed the Death Star (which ought to be enough to get fans asking "Was he old enough to be alive and designing weapons so sophisticated in the time period of Revenge Of The Sith, where the Death Star plans were first shown?) and that Galen Erso is captured by the Empire and used to design the Death Star's weapons' systems against his will. But, in revealing the relationship between Jyn and Galen with a voiceover that helps characterize Galen as a reluctant villain working to save his daughter's life, the marketing team for Rogue One: A Star Wars Story may have let slip the answer to many fans' hopes.

Is it possible that Rogue One: A Star Wars Story was entirely created (outside profit motive) to finally put to rest one of the agonizing technical problems with A New Hope?!

Those who love the Star Wars franchise have had to accept ribbing for decades with a pretty major plot hole in A New Hope. Virtually every major commentary and parody of A New Hope from movie scholars to Blue Harvest (reviewed here!) has made fun of the fact that the Death Star had a pretty glaring technical problem which allowed it to be destroyed with comparative ease. George Lucas needed a plot device to actually allow his heroes to succeed and within the past forty years some engineer had to point out that an engineer would make a heat vent based on efficiency without concern about the tactical implications of it - their priority would be on function for the problem being solved, not necessarily the drawback of it. If nothing else, the final trailer of Rogue One: A Star Wars Story seems to imply that the film will finally give a concrete reason as to why the Death Star had such a glaring technical issue with it.

For those who loathe fan theories or people who like to look at the way things fit together and make sense of evidence presented to them, which has the potential to spoil the power of the joy of revelation in the first viewing, this is the last chance to turn away! Yeah, there are dozens (I don't have huge readership, so anyone from Lucasfilm who might read this and get pissed about the spoiler - hey, don't put the relevant data in the trailer if you don't want perceptive people to figure it out! - it's not like I could ruin the first viewing of Rogue One: A Star Wars Story for millions of people!) of fans who might be affected by reading on, so blah blah potential spoiler alert.

Rogue One: A Star Wars Story might be the story of how the Death Star plans came to be in possession of the Rebellion, but it is potentially the story of exactly why the Death Star had a vent into which a proton torpedo or two could be shot, destabilizing the entire super weapon. If the final Rogue One: A Star Wars Story trailer is any indication, it was by design. The final Rogue One: A Star Wars Story trailer reveals that Galen Erso is working on the Death Star, apparently under Director Orson Krennic's direction, against his will. Galen loves his daughter Jyn Erso and appears to be mortgaging his freedom and technical skills for her life. But the opening line of the trailer declaring his love for his daughter and that all he does is for her makes viewers believe he has a conscience.

Amid all of the explosions, characters glaring and shots that remind fans just how awesome AT-ATs are, the Rogue One: A Star Wars Story trailer leaves fans with the almost inescapable conclusion that Galen Erso purposely put in the technical fault which will allow the Death Star to be easily destroyed. A father, imprisoned by the forces of evil, wants to be able to prove to his daughter that he is not as far gone as it might appear on the surface, proves to her his heart is still good by revealing that as powerful as the Death Star may appear, it may be destroyed by materials the Rebellion already has.

And herein lies the problem with prequels and the concept of Rogue One: A Star Wars Story. How does one make an immediate prequel to A New Hope without causing more technical issues than one initially had? The trailer for Rogue One: A Star Wars Story shows Jyn and Captain Andor in Imperial uniforms infiltrating an Imperial facility . . . while this is a pleasant callback to A New Hope, it potentially creates a continuity problem for the same nitpicking fans who loathed the technical glitch in the Death Star. If Jyn's team infiltrates an Imperial facility (and, presumably, steals the Death Star plans or rescues a prisoner, as the trailer implies) and makes it out safely and Darth Vader at the outset of A New Hope knows the plans have been stolen, the burden on Rogue One: A Star Wars Story is to create a scenario by which subsequent security measures that were implemented would still allow Luke Skywalker's team in A New Hope to, essentially, do the same thing. In other words, if Jyn Erso infiltrates an Imperial facility, steals plans and/or rescues a prisoner, and Darth Vader learns about it, the only way to make the Empire truly seem villainous and efficient is for countermeasures to be made as soon as Vader finds out what happens to prevent the same type of theft or extraction. If viewers are not given that, the natural question viewers will have is, "How the hell did the Empire survive so long when it is so inept?!" So, the writers of Rogue One: A Star Wars Story, in playing the same basic technique for infiltration as seen in A New Hope are stuck with making it different enough from the infiltration already seen that it could be still believable that Luke Skywalker's team could do the same thing.

In making Rogue One: A Star Wars Story a vital tie-in to the original Star Wars Trilogy, the balance is a tough one to make credible. If the revelation that Galen placed a technical fault in the Death Star is not done by simple exposition - which it shouldn't be, not just because of the lack of dramatic intensity of it, because as die-hard geeks will note, in A New Hope, the plans have to be analyzed by the Rebels on Yavin to find the fault in the Death Star - it must happen in a way that is organic and ties in to the character elements that led to the creation of the technical fault.

Will Rogue One: A Star Wars Story go for utter camp? For sure, it could; "We looked at the plans of the Death Star and if you look closely, the lights for the Death Star spell out 'Jyn' in this sector . . . but there is a pixel missing from the 'y' and when we zoomed in on it, we discovered this exhaust port!" But the smart money is on there being a file name in the Death Star plans that has Jyn's name in it that highlights the exhaust port and what it connects to. After all, despite the lack of sophisticated graphics when A New Hope was created, the Death Star is an incredibly sophisticated piece of technology and finding the one weakness as fast as the exposition in A New Hope is hardly realistic - otherwise why wouldn't R2-D2, who had the plans stored in him for some time, have analyzed them and found the fault, so when he was recovered, simply revealed "Hey, look what I found?!" So, if Galen Erso created a fault in the Death Star that the Rebels could exploit, the burden on Rogue One: A Star Wars Story is to have a mechanism by which the Rebels on Yavin would be able to find that fault and - to be satisfying drama - it ought to tie in directly to Jyn.

The Star Wars universe is a huge, rich, place and fans have a lot of reason to hope that Rogue One: A Star Wars Story will flesh out that universe well, but if the implications of the trailer play out in their most logical way, the franchise runs the risk of creating something more ridiculous than the technical fault it seeks to justify! Hopefully, Disney and Lucasfilm has some die-hard fans on staff whose sole job it is to read scripts like that of Rogue One: A Star Wars Story and fix the potential problems long before the film goes into production.

For other articles about movies and television, please check out:
The 10 Essential Star Trek Experiences
The 10 Best Movies Of 2014
The Top 10 Episodes Of Frasier

For other movie reviews, please check out my Film Review Index Page for an organized listing!

© 2016 W.L. Swarts. May not be reprinted without permission.
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