Star Wars: The Last Jedi (Blu-ray) (2017)

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General		Extras
Category	Sci-Fi Action	Audio Commentary-with Director Rian Johnson Featurette-Making Of-The Director and the Jedi (95:23) Featurette-Balance of the Force (10:17) Featurette-Behind The Scenes-Scene Breakdowns x3 Featurette-Andy Serkis Live! (One Night Only) (5:49) Deleted Scenes
Rating
Year Of Production	2017
Running Time	151:51
RSDL / Flipper	Dual Layered Dual Disc Set	Cast & Crew
Start Up	Language Select Then Menu
Region Coding	1,2,3,4,5,6	Directed By	Rian Johnson
Studio Distributor	Walt Disney Studios Home Ent.	Starring	Daisy Ridley Mark Hamill Adam Driver Oscar Isaac John Boyega Kelly Marie Tran Carrie Fisher Benicio Del Toro Laura Dern Domhnall Gleeson Peter Mayhew Anthony Daniels Gwendoline Christie
Case	Standard Blu-ray
RPI	$29.95	Music	John Williams

Video		Audio
Pan & Scan/Full Frame	None	English DTS HD Master Audio 7.1 French Dolby Digital 5.1 Spanish Dolby Digital 5.1 English Descriptive Audio Dolby Digital 2.0 English Audio Commentary Dolby Digital 2.0
Widescreen Aspect Ratio	2.40:1
16x9 Enhancement
Video Format	1080p
Original Aspect Ratio	2.40:1	Miscellaneous
Jacket Pictures	No
Subtitles	English for the Hearing Impaired French Spanish	Smoking	No
		Annoying Product Placement	No
		Action In or After Credits	No

    Despite its critical and commercial success, certain vocal armchair critics felt that 2015’s Star Wars: Episode VII - The Force Awakens played things too “safe,” and merely rehashed 1977’s Star Wars. Answering to that criticism is writer-director Rian Johnson’s Star Wars: Episode VIII - The Last Jedi, which takes this new trilogy in fresh and bold directions, defying the smug expectations of those who assumed they were just in for a remake of The Empire Strikes Back. In addition, whereas The Force Awakens was a fast-paced, escapist blockbuster, Johnson slams on the brakes to deal with story development and drama, opting for epic storytelling over constant thrills, and requiring patience. Indeed, The Force Awakens was more purely enjoyable, but this follow-up is the superior movie. Exquisitely polished, appropriately rousing and emotionally rich, The Last Jedi is another stalwart Star Wars adventure which proves that there is still plenty of life left in this long-running film series.

    The location of the Resistance base has been exposed, prompting General Leia Organa (Carrie Fisher) to evacuate as the First Order closes in under the leadership of Supreme Leader Snoke (Andy Serkis). But the Resistance fleet cannot escape the First Order and are critically short on fuel, not to mention their starfighter fleet has been obliterated. Unsure of their leadership, Finn (John Boyega) and ace pilot Poe Dameron (Oscar Isaac) go rogue in an attempt to save what’s left of the dwindling Resistance forces. To this end, Finn teams up with maintenance worker Rose (Kelly Marie Tran) to disable the tracking system of the First Order’s main Star Destroyer. Meanwhile, Rey (Daisy Ridley) and Chewbacca have tracked down Jedi Master Luke Skywalker (Mark Hamill) who now lives like a hermit on the isolated planet of Ahch-To, the location of the First Jedi Temple. Rey begs Luke to leave his self-imposed exile and join the fight against the First Order, but he’s haunted by his past failures. Even though Luke reluctantly agrees to teach Rey the ways of the Jedi, he fears that she will be seduced by the Dark Side, much like his nephew Kylo Ren/Ben Solo (Adam Driver).

    Picking up immediately after The Force Awakens, the narrative of The Last Jedi is unexpected, and its ultimate trajectory and plot surprises cannot be spoiled. Happily, aside from sharing a few tiny surface details, this is truly the furthest thing possible from a remake of The Empire Strikes Back. (It’s satisfying to see how confidently Johnson shuts down those who have spent the last two years arrogantly assuming they have “figured out” this new trilogy.) Johnson’s vision is dark, and he unearths astonishing depth and thematic density to create a more adult motion picture, which is a welcome surprise given that this is a Disney production. Whereas George Lucas built the original Star Wars trilogy around concepts such as Joseph Campbell’s hero’s journey, Luke is now fully aware that happy endings never last, and that becoming a legend is not necessarily a good thing. The characters here debate the merits of holding onto the past, not to mention the Jedi religion and its hubris is brutally deconstructed. One of the movie’s most powerful scenes involves the surprise return of an old character, who has much wisdom to impart. Other themes also crop up throughout The Last Jedi, including the business of war, as arms dealers sell to both sides of the conflict to earn their riches. The self-reflection is certainly welcome for a franchise that has just celebrated its 40th anniversary.

    The Last Jedi is certainly long, clocking in at 152 minutes which is the most substantial runtime of the saga to date, and it does feel its length. This particular story doesn’t exactly lend itself to a tidy three-act structure, and therefore what amounts to Act 2 feels incredibly beefy and is a bit too overcomplicated for its own good. Johnson also has a proclivity for defying expectations to surprise the audience, often stubbornly refusing to let the heroes win, but he pulls these types of tricks a bit too much, sacrificing a degree of narrative stability in the process. Working in the picture’s favour, however, is a pronounced sense of humour amid the armrest-clenching action sequences, suffusing the material with some much-needed humanity and levity. There is even a dialogue exchange in the opening minutes of the film, played for laughs, that’s unlike anything we have previously witnessed in the franchise’s history. Plus, in the casino on Canto Bight, a drunk space-leprechaun mistakes BB-8 for a slot machine. For all of the hoo-ha about the Porgs - small seabird-esque creatures which inhabit the planet of Ahch-To - their presence is insignificant, and they don’t immediately irritate in the same way as the Ewoks from 1983’s Return of the Jedi.

    In terms of tone, The Last Jedi is closer to something like Christopher Nolan’s Dunkirk, and in many ways feels more like a proper war film than 2016’s Rogue One. There are certain chaotic sequences in which the Resistance frantically scramble to survive, with a pervading sense of utter hopelessness, that we simply don’t see in major motion pictures very often. When Johnson does cut loose to deliver the type of thrilling action that Star Wars fans yearn, he does not disappoint. Lightsaber skirmishes visibly take influence from samurai pictures, while large-scale battles evoke classic war movies. The jaw-dropping extended conflict to close out the second act would be an exceptional climax in any other movie, but Johnson has even more up his sleeve for the actual climax, which packs a real punch. Furthermore, Crait’s distinctive red and white landscape makes the finale’s striking visuals look like something from an art-house film. This is Johnson’s biggest movie to date in terms of scope and budget, but it appears that his previous directorial endeavours properly prepared him for the world of Star Wars.

    For a movie of such a large budget (and considering that it spent the best part of 18 months in post-production), it’s disheartening that some of the digital effects are sloppy (particularly the crystal critters on Crait and the space horse stampede on Canto Bight), and a certain returning character in a surprise cameo looks slightly off. Outside of these slight imperfections, however, The Last Jedi is visually stunning, with rock-solid photography courtesy of Johnson’s regular cinematographer Steve Yedlin (Brick, Looper), who predominantly captured the action with a combination of 35mm and 65mm film stock to generate an aesthetic reminiscent of the original trilogy. It looks as if practical model ships were photographed as opposed to wall-to-wall CGI, as the realism and immediacy of the outer space battles is magnificent. It’s also a joy to behold real sets and locations. Meanwhile, the motion capture techniques used to bring Snoke to life are better than ever, looking astonishingly intricate and tangible. Perfectly complementing the visuals is the score by series veteran John Williams. His reliably majestic compositions actually have more presence than The Force Awakens, and recognisable beats from the original trilogy are incorporated during certain moments. Williams’ work is simply invaluable.

    Nobody back in 1977 could have predicted that Hamill would be capable of such a performance here, as he disappears into the role and submits the best acting work of his career. It’s a treat to see Hamill taking a bigger role this time around, while Fisher is likewise a more significant presence, which is a huge deal since this is the last time we will see Princess Leia. (Outside of the odd occasional Rogue One moment, if any of the spinoffs go that way.) Fisher endows her performance with authority, gravitas, wisdom and warmth, and seeing her play this iconic character just once more is both poignant and bittersweet. Fisher’s daughter Billie Lourd is also given a beefier role as an officer in the Resistance, and she’s a delight, not to mention it’s wonderful to see her acting alongside her mother. Out of the newcomers, Laura Dern is a notably brilliant addition as Vice Admiral Holdo, and Benicio Del Toro carves out a particularly memorable character. Meanwhile, after making such a positive impression in The Force Awakens, Ridley continues to impress, and is given the chance to really flex her acting muscles and show us what she’s made of. It’s a extraordinary performance, and of course she maintains her innate charisma throughout, making her easy to latch onto. Driver also has the chance to find more depth, and he’s consistently excellent, portraying a layered, conflicted antagonist. Isaac shines yet again in his role as Poe (his dress now looking a bit similar to Han Solo), showing the same type of spunk and boyish charm exhibited by Harrison Ford in the original Star Wars trilogy. Unfortunately, Tran is less successful as Rose - she lacks spark and charisma. At least Boyega places forth another terrific performance, proving yet again that he was an ideal pick for the role of Finn. Long-time fans should be wary that outside of Luke and Leia, the veteran characters do not have a great deal to do - in particular, R2-D2 is barely glimpsed.

    More than just a brainless fireworks reel, Star Wars: The Last Jedi emerges as one of the year’s most intelligent and compelling blockbusters, with Johnson extracting superlative performances across the board and pushing the boundaries of the Star Wars franchise. Of course, the movie does refuse to provide answers to all the burning questions that you may have (particularly in regards to the origins of Snoke, and Rey’s lineage), and there are imperfections, but The Last Jedi gets far more right than wrong, setting the stage for what has the potential to be one hell of a closing chapter. Johnson also eschews pure fan service as he finds his bold new vision, and as a result your mileage with the finished movie may vary depending on your willingness to watch it with an open mind. It is worth noting that, like its immediate predecessor, The Last Jedi not only stands up to repeat viewings but actually improves a second time around.

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Disc 1:

Audio Commentary with Director Rian Johnson

Disc 2:

The Director and the Jedi (HD; 95:23)

Balance of the Force (HD; 10:17)

Scene Breakdowns (HD; 33:00 total)

• Lighting the Spark: Creating the Space Battle (14:23) - Despite the singular use of "battle," this first breakdown concentrates on all of the battles seen in The Last Jedi. Johnson was inspired by old World War II fighter pilot footage, and he recognised the importance of seeing human characters as the sequences play out. Storyboards, previz, production design, sets, sound effects, and digital elements are all covered. We get to see footage of the actors in their cockpits, and of the hanger being destroyed (a practical explosion), plus a fair bit more.
  
• Snoke and Mirrors (5:40) - Another excellent if too short featurette, this segment concentrates on the creation of Supreme Leader Snoke. The digital creation of the character is covered in detail, including a moment when Johnson wanted Snoke's appearance to be subtly altered to make him more menacing. Snoke remains a true CG miracle.
  
• Showdown on Crait (12:56) - The extended climactic sequence on Crait. This covers most everything, from the live-action plates to the digital elements, as well as the design of the vehicles and the sound effects involved. The crystal critters are touched upon; they were completely digital, as the filmmakers weren't happy with the practical iterations. And of course, the featurette covers the Luke vs. Kylo action beat.
  

Andy Serkis Live! (One Night Only) (HD; 5:49)

Deleted Scenes (HD; 23:02 total)

• Introduction from Rian Johnson (00:49)
  
• Alternate Opening (1:32) - This was wisely trimmed. A bit more is shown before Poe jumps into his X-Wing and initiates the opening battle.
  
• Paige's Gun Jams (00:33)
  
• Luke Has a Moment (1:02) - This small moment should have made it into the final cut, without a doubt. After telling Rey to leave the island, he mourns the death of his friend, Han Solo. Hamill's acting is understated and brilliant here.
  
• Poe: Not Much of a Sewer (00:41)
  
• It's Kind of Weird that you Recorded That (00:53) - BB-8 shows Finn a recording of Rey saying farewell to his comatose body before she left. This is another nice, small moment that enhances the characters.
  
• The Caretaker Sizes Up Rey (00:37)
  
• Caretaker Village Sequence (2:52) - A more substantial sequence which sees Rey springing into action with a lightsaber on Ahch-To after Luke tells her false information. This ostensibly represents Rey's third lesson. Although this enhances the mythology, this was probably wisely cut, particularly since the humour doesn't quite work. It's apparent this was cut late into post-production, as special effects are virtually complete.
  
• Extended Fathier Chase (5:45) - The fathiers wreak even more havoc inside the casino as they stampede through. I'm not a fan of the fathier chase in the finished movie, and therefore this extended version is even more inessential.
  
• Mega Destroyer Incursion - Extended Version (3:49) - It's easy to see why this was cut, but this is still a fun inclusion to the disc. This sequence features Prince William, Prince Harry, Take That singer Gary Barlow, and Tom Hardy as Stormtroopers who get into an elevator with Finn, Rose and DJ. Hardy, with a thick southern accent, recognises Finn and begins to talk to him.
  
• Rose Bites the Hand that Taunts Her (1:05)
  
• Phasma Squealed Like a Whoop Hog (1:30) - Another sequence that I wish stayed in the final cut, this sees Phasma closing in on Finn with four Stormtroopers, but Finn humiliates her in front of the troops by revealing that she shut down Starkiller Base. This is a better send-off for Phasma (assuming she doesn't return).
  
• Rose & Finn Go To Where They Belong (00:26)
  
• Rey & Chewie in the Falcon (00:11)
  
• The Costumes and Creatures of Canto Bight (1:29) - Not really a deleted scene, this is just a montage of unused footage from the Canto Bight casino, showing various individuals and creatures.
  

    In terms of extras and even language options, our local disc is identical to the standard U.S. Blu-ray. However, in keeping with tradition, the Target exclusive edition in the United States comes with an additional featurette called "Meet the Porgs" which clocks in at 6 minutes. Although this edition is the ostensible winner, an expensive import for a 6-minute featurette on a DVD does seem a bit extreme. I'm calling it a draw.

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