“Star Wars: The Rise of Skywalker” (2019) stands as one of the most highly anticipated films in recent cinematic history, given that it serves as the conclusion to a nine-film saga, collectively known as the Skywalker Saga, spanning over four decades. Directed by J.J. Abrams, who had previously helmed “The Force Awakens,” the movie was tasked with the daunting challenge of not only wrapping up the narrative arcs introduced in the sequel trilogy but also providing closure to a legacy that had been shaped by George Lucas since 1977. The expectations were massive, and for many fans, the film needed to deliver on multiple levels: narratively, emotionally, and visually. However, like most films bearing the “Star Wars” brand, “The Rise of Skywalker” has polarized audiences and critics alike, with some praising its action-packed spectacle and nostalgic elements while others criticize its rushed plot and perceived reliance on fan service.
From the opening crawl, the film sets a fast pace, with a surprise revelation that Emperor Palpatine, the Sith Lord presumed dead after the events of “Return of the Jedi,” has somehow returned and is now pulling the strings behind the First Order. This return was a controversial move for many, as it seemingly undermines the conclusion of the original trilogy, where Darth Vader redeemed himself by killing Palpatine. Nonetheless, this revelation drives the plot forward, as the Resistance, led by General Leia Organa, scrambles to find a way to defeat the resurgent Sith Lord and the fleet of Star Destroyers he has amassed. The inclusion of Palpatine adds an undeniable air of menace to the proceedings, but his return feels somewhat rushed and unexplained, with little build-up in the previous two films to justify such a significant narrative twist.
As Rey, the central character of the sequel trilogy, grapples with her own identity and the growing power of the dark side, the film explores her connection to Palpatine. The revelation that Rey is the granddaughter of Emperor Palpatine is one of the movie’s biggest twists, designed to shock the audience and provide a dramatic tension that ties her character arc to the larger mythos of the saga. However, this twist has been met with mixed reactions. While it provides a reason for Rey’s extraordinary strength in the Force, it also undercuts the message from “The Last Jedi” that anyone, regardless of lineage, can be powerful in the Force. This reversion to a more traditional view of “Star Wars” lineage can be seen as an attempt to appease fans who were dissatisfied with the bold narrative choices of the previous film, but it also feels like a retreat from the more innovative themes introduced in the sequel trilogy.
The dynamic between Rey and Kylo Ren remains one of the film’s strongest elements. Their bond, described as a “dyad in the Force,” provides some of the movie’s most compelling moments. The Force connection between the two characters allows for intense, emotionally charged encounters that transcend physical space, culminating in a redemption arc for Kylo Ren. Adam Driver delivers a nuanced performance, capturing Kylo’s inner turmoil as he wrestles with the legacy of his grandfather, Darth Vader, and the pull toward the light side. His eventual turn back to the light, abandoning the persona of Kylo Ren and embracing his identity as Ben Solo, offers a moment of catharsis for the character and his complex relationship with Rey. Their final confrontation with Palpatine in the Sith temple on Exegol brings the saga to a dramatic climax, though the rapid pacing and frenetic action can make it difficult to fully absorb the gravity of the situation.
One of the film’s most poignant aspects is the way it handles the character of Leia Organa, played by the late Carrie Fisher. Abrams faced the difficult task of including Leia in the film without relying on CGI or recasting, using previously unused footage from “The Force Awakens” to integrate her into the story. While this approach limits the scope of Leia’s role, her presence is still felt, and her scenes carry an emotional weight, particularly in her final moments as she reaches out to her son, Ben, through the Force. Leia’s death is handled with reverence, serving as a catalyst for Ben’s redemption and providing a sense of closure for one of the saga’s most beloved characters.
In terms of pacing, “The Rise of Skywalker” often feels rushed, as it attempts to juggle multiple storylines and tie up loose ends from not only the sequel trilogy but also the overarching Skywalker saga. The film jumps from one planet to another in quick succession, with little time for character development or reflection. While this breakneck pace ensures that the film is never dull, it also sacrifices depth in favor of spectacle. The introduction of new characters, such as Zorii Bliss and Jannah, adds little to the overall narrative, as they are given minimal screen time and development. These characters feel like missed opportunities, especially in a film that already struggles to balance its large ensemble cast.
Visually, “The Rise of Skywalker” is stunning, with impressive special effects, vibrant set pieces, and thrilling action sequences that are in keeping with the high standards of the franchise. The space battles are exhilarating, and the lightsaber duels between Rey and Kylo Ren are choreographed with precision and intensity. The final battle on Exegol, with the Resistance fleet facing off against Palpatine’s armada, is a visual spectacle that delivers the kind of epic scale fans have come to expect from a “Star Wars” finale. However, at times, the visual grandeur can feel overwhelming, with the constant barrage of action and effects detracting from the emotional core of the story.
The film’s reliance on nostalgia and fan service is another point of contention. “The Rise of Skywalker” is filled with callbacks to previous films in the saga, from familiar character cameos to iconic lines and visual motifs. While these moments are designed to evoke a sense of nostalgia and pay homage to the franchise’s rich history, they can also feel forced or overly contrived. For example, the return of Lando Calrissian, played by Billy Dee Williams, is a welcome nod to the original trilogy, but his role in the film is relatively minor, and his appearance seems more like a token gesture than a meaningful contribution to the plot. Similarly, the revelation of Rey’s lineage, while intended to connect her to the broader “Star Wars” mythos, feels like a deliberate attempt to mirror the original trilogy’s focus on family legacy, rather than a natural progression of her character arc.
John Williams’ score, as always, is a highlight of the film, with familiar themes woven into new compositions that elevate the emotional resonance of key scenes. The music enhances the sense of nostalgia that permeates the film, while also serving as a reminder of the saga’s long and storied history. Williams’ ability to evoke emotion through his music is unparalleled, and his contribution to “The Rise of Skywalker” reinforces the sense that this film is the end of an era.
Despite its flaws, “The Rise of Skywalker” succeeds in delivering an entertaining and action-packed conclusion to the sequel trilogy. For fans who have been invested in these characters and this universe for decades, the film offers moments of joy, sorrow, and excitement. The ending, with Rey adopting the Skywalker name and looking out at the twin suns of Tatooine, is a poignant and symbolic conclusion to a saga that has always been about hope, legacy, and the battle between good and evil.
However, the film’s shortcomings cannot be ignored. The rushed pacing, convoluted plot twists, and overreliance on fan service detract from what could have been a more satisfying and coherent conclusion. The decision to bring back Emperor Palpatine feels like a step backward, and the lack of a clear narrative direction throughout the sequel trilogy is evident in the way the film struggles to tie everything together. The tension between honoring the past and forging a new path for the future is palpable, and while “The Rise of Skywalker” leans heavily on the former, it does so at the expense of the latter.
