![]() ![]() Big consequential moments, be it character deaths or narrative revelations, are set up, only to be abandoned. It's too afraid to really commit to anything. The Rise of Skywalker ultimately plays it so safe that it makes you wonder if it was designed by committee - or a global forum of Star Wars fans who threw everything they love about Star Wars in a blender. And in turning inward rather than facing outward, it's not only a betrayal of what The Last Jedi had put forth, but a disservice to George Lucas' imagination with the franchise in the first place. It packs itself full of references, cameos, and flashbacks that are gratuitous to say the least. Instead, The Rise of Skywalker opts to collapse onto itself. Forget building on where the divisive yet brilliant The Last Jedi left the galaxy of Star Wars, Abrams and co-writer Chris Terrio (Argo, Justice League) choose to ignore the film altogether, be it its messaging or its characters. The Rise of Skywalker - out December 20 in cinemas in India and across the world - proves that Abrams clearly harbours too much love and respect for the original trilogy. The rest of the film confirms our worst fears. ![]() What route would The Force Awakens director take, having made an enjoyable rehash of A New Hope the first time around, but been dealt a subversive middle chapter by Rian Johnson in The Last Jedi? Would Abrams honour the values of its direct predecessor or would he return to dig into the nostalgia? The first trailer for The Rise of Skywalker hinted Abrams was tilting towards the latter, as one would expect, what with the reveal that Sith dark lord Palpatine, killed by Darth Vader over 30 years ago, would be involved in some manner. Abrams' hiring, there were immediate concerns. In the wake of behind-the-scenes turbulence on Star Wars: The Rise of Skywalker - the final chapter in the new Star Wars trilogy and the Skywalker saga on the whole - that led to J.J.
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