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[dropcap]Ε[/dropcap]ίχαμε την κριτική μας για την ταινία Star Wars: Rise Of Τhe Skywalker και μετά το score 57% στο Rotten Tomatoes παρακάτω θα μπορέσετε να δείτε τις αντίστοιχες κριτικές που συγκεντρώσαμε από την Αμερική κυρίως και είναι ως επί το πλείστον απογοητευτικές.
Darren Franich (Entertainment Weekly)
“The story concludes (sure!) the nine-part saga that famously began with a tax dispute on Naboo. The final act aims for tearjerkery with sincere appreciations of franchise lore. Don’t buy it. There’s always been a secret cynicism underpinning Abrams’ Star blockbusters, which adrenalize the pop-est culture of his youth and avoid anything requiring originality or imagination. Now he’s left grasping for source material he hasn’t already replicated — and one late montage even copies a sequence added into Return of the Jedi’s 1997 Special Edition. We need a new franchise designation for this stumbling, bloodless conglomeration of What Once Was. Rise of the Skywalker isn’t an ending, a sequel, a reboot, or a remix. It’s a zombie.”
A.O. Scott (The New York Times)
“Abrams is too slick and shallow a filmmaker to endow the dramas of repression and insurgency, of family fate and individual destiny, of solidarity and the will to power, with their full moral and metaphysical weight. At the same time, his pseudo-visionary self-importance won’t allow him to surrender to whimsy or mischief. The struggle of good against evil feels less like a cosmic battle than a longstanding sports rivalry between teams whose glory days are receding. The head coaches come and go, the uniforms are redesigned, certain key players are the subjects of trade rumors, and the fans keep showing up. Which is not entirely terrible. The Rise of Skywalker isn’t a great Star Wars movie, but that may be because there is no such thing. That seems to be the way we like it.”
Stephanie Zacharek (Time)
“Star Wars is for everybody. Star Wars is for the fans. If you’re confused about the correct answer, Star Wars: The Rise of Skywalker—also known as Episode IX, the final installment of the nine-part ‘Skywalker Saga’—isn’t likely to help. This overloaded finale, directed by J.J. Abrams, is for everybody and nobody, a movie that’s sometimes reasonably entertaining but that mostly feels reverse-engineered to ensure that the feathers of the Star Wars purists remain unruffled. In its anxiety not to offend, it comes off more like fanfiction than the creation of actual professional filmmakers. A bot would be able to pull off a more surprising movie.”
Kara Warner (People)
“Directed by J.J. Abrams (The Force Awakens), Skywalker is a love letter to Star Wars itself, though a crowded one. In addition to a lot of story told over the course of the film’s nearly two and a half-hour run time, there are Easter eggs upon Easter eggs, and major set pieces that have become touchstones of the franchise. While thrilling to see, there’s a blink-and-you-miss-it feel to all the action, because of all the ground the film covers.”
Owen Glieberman (Variety)
“Star Wars: The Rise of Skywalker might just brush the bad-faith squabbling away. It’s the ninth and final chapter of the saga that Lucas started, and though it’s likely to be a record-shattering hit, I can’t predict for sure if ‘the fans’ will embrace it. (The very notion that Star Wars fans are a definable demographic is, in a way, outmoded.) What I can say is that The Rise of Skywalker is, to me, the most elegant, emotionally rounded, and gratifying Star Wars adventure since the glory days of Star Wars and The Empire Strikes Back. (I mean that, but given the last eight films, the bar isn’t that high.)”
Alonso Duralde (The Wrap)
“In Spielberg’s best work, even when we know exactly what’s coming, or when we in the audience know we’re being played, there’s still a delight in having our buttons pushed so masterfully. Abrams certainly knows how to manipulate, but when he does it, you can see the strings. How much or little you enjoy The Rise of Skywalker will rely almost entirely on whether or not you mind that every laugh and tear and jolt feels like it’s coming right off a spreadsheet.”
Todd McCarthy (The Hollywood Reporter)
“To switch metaphors, he’s also a traffic cop; there’s more travel here than in Around the World in 80 Days, and it sure moves a lot faster, but half the time you don’t know either where the characters are or why they’re going somewhere else, which is virtually all the time. The dramatic structure owes more to a pinball machine than to a logically planned trip, but this doesn’t matter all that much, as most viewers will just be on board for a great ride and more than willing to go wherever the film takes them.”
Justin Chang (The Los Angeles Times)
“The more accurate way to describe it, I think, is as an epic failure of nerve. This Rise feels more like a retreat, a return to a zone of emotional and thematic safety from a filmmaker with a gift for packaging nostalgia as subversion. Still, let’s acknowledge Abrams for the proficient craftsman and genre-savvy showman he is. Like some of his other major pop-cultural contributions (two enjoyable Star Trek movies and the twisty TV series Lost among them), The Rise of Skywalker is a swift and vigorous entertainment, with a sense of forward momentum that keeps you watching despite several dubious plot turns and cheap narrative fakeouts.”
Richard Lawson (Vanity Fair)
“The movie is directed by J.J. Abrams, who kicked off this latest set of films with 2015’s zippily winning The Force Awakens, a retailoring of the Luke Skywalker story that had a pretty well-laid track to follow. Not so for Rise of Skywalker, which tasks itself with an exhausting double duty: tying up the strands of a scattered series in some satisfying fashion while also attending to fussier fans’ Last Jedi tantrums, an atoning for supposed sins. Abrams is a talent, but he’s no match for a corporate mandate that heavy—his sleek, Spielbergian whimsy isn’t enough to cut through all the tortured brand maintenance. But he thrashes away anyway, filling Rise of Skywalker with a million moving parts. It’s a turgid rush toward a conclusion I don’t think anyone wanted, not the people upset about whatever they’re upset about with The Last Jedi (I feel like it has something to do with Luke being depressed, and with women having any real agency in this story) nor any of the more chill franchise devotees who just want to see something engaging.”
David Edelstein (New York magazine)
“Under J.J. Abrams, The Rise of Skywalker hits its marks and bashes ahead, so speedy that no emotion sinks in too deeply. Abrams’s battle sequences (ship to ship, lightsaber to lightsaber) don’t have much spatial coherence or snap, but they look dazzlingly expensive, especially the lightsaber duel atop a sea that’s one titanic wall of water following another. The big battles end with infectious whoops and fist-pumps and back-slaps, our heroes throwing themselves on top of one another and crying. Lots of tears in this movie. Lots of feelings, wo-oh-oh feelings. If you hated the drily witty The Last Jedi, you’ll love The Rise of Skywalker as much as I loved The Last Jedi and hated The Rise of Skywalker.”
Mike Ryan (UPROXX)
“J.J. Abrams’ Star Wars: The Rise of Skywalker is the most convoluted of all the Star Wars movies. It feels like three full movies worth of plot crammed into one film. The stories in the other Star Wars movies, even the Prequels, have a way of bringing a viewer into that world. Star Wars: The Rise of Skywalker never lets us in. It, instead, keeps us at arms length so it can use almost its entire first half as exposition. Just character after character explaining things.”
Germain Lussier (io9)
“If there’s something you always wanted to see in a Star Wars movie, but haven’t yet, odds are it’s in Star Wars: The Rise of Skywalker. The film plays like a 150-minute checklist of cool stuff and surprises designed to please as many fans as possible. That may sound great, but in the process, that densely packed highlight reel fails to tell a story that’s narratively interesting, thematically cohesive, or that builds any impactful stakes. It’s a film designed to tantalize and delight in the hope those things cover up its many shortcomings.”
COMICBOOK.COM
“Missed opportunities for ambitious storylines aside, it’s hard to deny the effectiveness of much of the film. Whether it be Poe and Rey butting heads about the condition of the Millennium Falcon and Lando commenting on Chewbacca’s height putting a smile on your face, Leia’s attempts to instill wisdom on members of the Resistance igniting an emotional reaction due to the real-world loss of Fisher, or the conflict of following the path of who you want to be instead of being the person you’re told you are evoking philosophical questions, The Rise of Skywalker offers audiences a worthy and, at times exceptional, conclusion to the end of a 40-year journey, though the various missed opportunities will surely stick with some audiences longer than the film’s accomplishments.” — Patrick Cavanaugh
GAMESPOT
“In the end, it all feels simply empty. It should never be so clear to audiences that something in the filmmaking process has gone so terribly wrong–that the people who made the first film in a trilogy apparently didn’t bother to sketch out a plan for the second and third, and that the movies’ directors had visions for the series’ future that were so fundamentally at odds. Star Wars deserved better.” — Mike Rougeau
CNET
“After the audacious but divisive Last Jedi, Rise of Skywalker will probably be a litmus test for fans. The breathless rush to tick every box on the wish list will leave some cold and others in floods of tears from the moment the opening fanfare blares. Whether it works for you or not, what’s not in doubt is that this is an ending as huge as this momentous movie saga deserves.” — Richard Trenholm
EMPIRE MAGAZINE
“There are effective emotional punches before the end, as we say a final goodbye to Carrie Fisher and her generation of stars and as Kylo and Rey face their demons. Arguably the story more or less ends up in the right place, despite the threads left hanging. When it focuses on Rey and Kylo, this film usually works. Whatever the Dark Side says, we can make our own destiny, and we change the universe when we do.” — Helen O’Hara. Empire Magazine
THE AV CLUB
“By the end, everyone has fallen into their proper place in the grand mythology, like the holo-chess pieces on the Millennium Falcon. What’s the point in introducing so many interesting new characters and then pushing them through the blueprints of old adventures? It leaves you pining for a Star Wars movie that charts its own path, until you remember such a movie exists already, and it’s being all but retconned before your eyes. Save the sympathy for that billion-dollar blockbuster.” — A.A. Dowd
USA TODAY
“Abrams doesn’t stick to a template as much as he did with Force Awakens, but there are familiar turns that go down like comfort food. You want lightsaber tussles? There are plenty between Rey, who’s still wrestling with identity issues and her background, and First Order leader Kylo Ren (Adam Driver). Ridley and Driver fueled a lot of the emotion in those previous films, and they rise to the occasion again as the lifeblood of Skywalker.” — Brian Truitt, USA Today
THE NEW YORK TIMES
“The Rise of Skywalker isn’t a great Star Wars movie, but that may be because there is no such thing. That seems to be the way we like it.” — A.O. Scott
VULTURE
“Do you think back fondly on Lucas’s episodes one, two, and three, which were rigorous and uncompromising in telling the story of Anakin Skywalker’s corruption into Darth Vader but also clunky, tin-eared, and visually flat (dull tableaux livened only by relentless CGI)? Or do you prefer the formulaic, crowd-pleasing cartoons of J.J. Abrams? Tough call. I emerged from Lucas’s films with a measure of respect, though. At the end of The Rise of Skywalker, I could almost hear an announcer’s voice asking, ‘Now that you’ve defeated the Empire, Rey, what are you going to do?’ and then, ‘I’m going to Disney World!'” — David Edelstein
THE LOS ANGELES TIMES
“George Lucas may have a lot to answer for, including his mostly dreadful 1999-2003 prequel cycle, but it’s hard not to admire his stubborn adherence to his own bizarre vision, rather than to some fan-tested, committee-approved notion of what a Star Wars movie should be. More than anything — more even than the billions in box office dollars that surely await it — this series needs artists willing to flood its mythology with new life, rather than turning it into another endless replay of ‘The Skywalking Dead.'” — Justin Chang
CNN
“Like anything with a big, diverse constituency, there’s no pleasing everyone with a Star Wars movie at this point, and the naysayers have a way of wielding the loudest megaphones — occasionally in unpleasant ways that reflect a lack of perspective. While George Lucas’ creation is immersed in myth, it was never meant to become a religion all its own.”
Στην σκηνοθεσία είναι ο J.J. Abrams, ο οποίος γράφει το σενάριο μαζί με τον Chris Terrio, ενώ θα παίξουν οι Daisy Ridley, Adam Driver, John Boyega, Oscar Isaac, Lupita Nyong’o, Domhnall Gleeson, Kelly Marie Tran, Joonas Suotamo, Billie Lourd, Naomi Ackie, Richard E. Grant, Mark Hamill, Anthony Daniels, Billy Dee Williams. Για τον ρόλο της Leia Organa της εκλιπούσας Carrie Fisher, θα χρησιμοποιηθεί υλικό από την ταινία Star Wars: The Force Awakens, που δεν είχε κυκλοφορήσει.
Ο συνθέτης John Williams, που έχει γράψει τα soundtrack για όλες τις ταινίες Star Wars από το A New Hope του 1977 μέχρι σήμερα, θα είναι και σε αυτή την ταινία, ενώ παραγωγοί είναι οι Kathleen Kennedy, J.J. Abrams, Michelle Rejwan, Callum Greene, Jason McGatlin.
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