All week, rabid Star Wars fans have been debating the merits of the most recent entry into the Skywalker saga, Star Wars: The Last Jedi. Directed by Rian Johnson and starring Daisy Ridley, Adam Driver, John Boyega, Oscar Issac, Kelly Marie Tran, Carrie Fisher, and Luke Skywalker, The Last Jedi has proven to be the most polarizing entry in the Lucasfilm canon. To break down what they thought of the movie, Keith invited his DC TV Classics co-host Britney Monae.
To properly analyze Star Wars: The Last Jedi, you have to go beyond the trappings of fandom and look at the movie as a part of a larger product of Disney/Lucasfilm storytelling. Approaching this as anything other than a corporate juggernaut mainly concerned with moving merchandise and building the next generation of consumers will result in total anger, confusion, and regret. This might sound cynical and cold, but it’s only the acknowledgment that Hollywood cinema is big business and sometimes actual art will slip through the image factory despite their best efforts to curtail imagination and wonder.
I’m not saying The Last Jedi lacks imagination or wonder, but there’s definitely a middling corporate influence throughout the movie that simultaneously keeps the movie in an inoffensive zone of bland character moments while setting up Rian Jonhson’s long-term vision for the Star Wars franchise.
What makes The Last Jedi interesting, though, is that it deliberately erases the nostalgic underpinnings of the Star Wars saga being about the Skywalker clan. Now this is where you see a lot of online outrage regarding The Last Jedi (even when you remove the knee-jerk right-wing racist backlash to the movie being “too diverse“) with the main complaint is that it “feels different” than previous Star Wars films.
WARNING: SPOILERS BELOW
As is customary whenever a new Star Wars film is about to come out, Vanity Fair runs a special edition with gorgeous photographs by the renowned Annie Liebovitz. The Last Jedi is no exception since the magazine just released four special variant covers to this year’s Star Wars issue. They’re all great, but one photo definitely stands out the most for us nerds of color:
So recently Rose McGowan made headlines expressing outrage over the X-Men: Apocalypse billboard ad that showcases Ivan Ooze, I mean Apocalypse, choking Mystique, claiming that it promotes violence against women.
Fox has since issued an apology for the billboard. Which I think was the right call for the studio. Another right call would also be for Fox to apologize for the fustercluck that is X-Men: Apocalypse itself but I digress.
I swore I wouldn’t write a review for the film. Primarily because any review I penned would pale in comparison to the excellent piece penned by my buddy and fellow N.O.C. colleague, Valerie Complex.
Seriously if you haven’t read it, go do so now. Val snatched so many wigs and edges, you would’ve thought Director Bryan Singer and Fox were members of the Charles Xavier Cosplay Appreciation Society.
Don’t expect this movie to rely heavily on the source material. Director Bryan Singer presents a film that’s a hodge-podge of various stories made up by people who know nothing about the X-Men. Aside from Quicksilver (Evan Peters), Nightcrawler (Kodi Smit-McPhee), and Apocalypse (Oscar Issac, doing well with whatever the hell he is given) being mildly entertaining, they can’t save the film from imploding. Everyone else is either used as filler or bores you to death with their on-screen presence. Choppy action scenes are put in place to mask the uninteresting, underdeveloped characters, cheesy dialogue, Playstation 2-quality special effects, and makeup that looks like it was bought from the bargain bin at Chapel Hill Beauty Supply. The worst part is the newcomers don’t get their chance to shine like the trailer would have you believe. Particularly the characters of color.
Stormpilot: It’s the fandom pairing of the decade! And it just might come true.
“Girl, please,” you might be saying, but just listen to me! Not only could it happen, but if it does, it’ll change the game forever (and in a good way.) First let’s get into the timeline. Keep in mind: the timeline is intense. Let’s get into it:
You might not have known, but a little movie opens this weekend. It’s called Star Wars: The Force Awakens. Heard of it? Well, it’s already shattering box office records worldwide, and it’ll probably be the highest grossing movie of the year. And there’s only two more weeks left in the year.
Anyway, a bunch of the NOCs have already seen the movie and want to share their thoughts. We’ll be updating this Roundtable throughout the weekend as more of us head out to the multiplex. In the meantime, know that anything and everything after the jump are massive Star Wars spoilers. Be warned.
Originally posted on Ebony.com
Even a galaxy far, far away can feel the effects of racism and White paranoia. Over the weekend, a group of our less enlightened brethren got the hashtag #BoycottStarWarsVII to trend. Why would anyone want to boycott one of cinema’s most venerable franchises? Well, according to some, the new Star Wars film (to be released on December 18 and helmed by geek-favorite J.J. Abrams) promotes “White genocide.”
Yes, you read that correctly.
I saw Ex-Machina a few months ago at a special pre-screening here in Los Angeles. Now that it’s out on video, I’m going to jump right in and address some points critics have made against how women — specifically women of color — are treated in the film. I disagree with many of these views and this is why.
Also, SPOILERS — and expletives — ahead. Consider yourself warned.