Star Wars Episodio IX: El ascenso de Skywalker

Como película de ciencia ficción sola es un éxito de taquilla de argumento mediocre sobre la batalla entre el bien y el mal, con alguna idea secundaria sólida y efectos de primera categoría. Sin embargo, como conclusión muy esperada de una nueva trilogía (o de una serie de las nueve películas), es una burla al público y demuestra un flagrante despiste creativo. Es obvio que no había un proyecto desde el principio sobre cómo se dirigiría la nueva trilogía de Star Wars, porque lo que se le permitió al rutinario y sobrevalorado J.J. Abrams y el sobrepagado Chris Terrio (guionista de entre otras Batman v. Superman: El amanecer de la Justicia, que habla por sí mismo) en esta película es francamente vergonzoso. No creo que ni los más optimistas fans de Star Wars puedan soportar esto. En comparación con el chapucero noveno episodio, incluso toda la maldita trilogía de precuelas de Lucas de los Episodios I a III, parece una obra completamente coherente y conceptualmente pensada. Voy a ignorar la tercera trilogía, y de hecho ya me he cansado de SW en general. ¡Gracias, Disney! Qué desesperante. (08.01.2020)

En el IMAX sería fantástica. El espectáculo espacial del año, con un ritmo trepidante, increíbles (digi)localizaciones, cámara delicada y nostalgia, apoyada por inesperadas apariciones de viejos personajes. En la confrontación final sentí la fuerza casi como el desafío final de Sauron. Y por último, me gustó Daisy Ridley. La revelación de las nuevas identidades de los antiguos personajes no tenía mucho sentido para mí, pero como no recuerdo exactamente lo que pasó en el episodio anterior, no me importó (no considero que esta trilogía forme parte de la querida STAR WARS, es solo es un parásito comercial). La segunda proyección en una pantalla mucho menor, donde era imposible no notar lo (des)honesto del trabajo con el espectador para contar una historia con sentido, devaluó mi impresión de la película. No es más que una elegante montaña rusa desechable, un reclamo para la nueva sección SW de Disneylandia. (24.12.2019)

The 4 billion acquisition must be great, but it's also the most expensive funeral in history for a pop culture icon who, in his eagerness to please everyone, has stagnated in place, and is pathetically floundering in the shit that zero dramaturgy and auteurist belligerence got him into. When I looked at my watch after an hour, the question of whether something was about to happen was inevitable. And then the floodgates of pathos, platitudes, and the easiest solutions were raised, where someone should have hit the table at the writing stage and shouted that nobody could take such a shit seriously. Instead, it ended up on the screen. Johnson may have disrespected the canon and boldly relativized all that this religion entails. Abrams respects nothing and the result is a ridiculous nothingness that lacks good characters and cool moments, making it look like a generic Marvel movie - obviously expensive, colorful, frilly - but lacking passion and any iconic monument for future generations. Burn in hell, Disney, and all of you who have anything to do with it! (19.12.2019)

About halfway through, it was an excellent, brisk fairytale that made sense and delivered a refreshing joke here and there. Without any irony, it was fine. But from the moment Rey's origins were revealed, it magically became a horribly stupid, bizarre, clichéd, clueless piece of idiocy that would have been beautifully parodied by Monty Python if they still were around. I suffered like an animal, hiding my head in my hands and counting the minutes until the end of the second half. When Finn says "I can feel it.", I had a fit of laughter; not joyful, but despairing, disbelieving at what I was seeing and hearing. I can't believe the pervasive pathos in the ending is the work of someone as clever as Abrams, didn't he maybe suddenly go on vacation and let Emmerich take control instead? I can totally see the brainstorming session of Disney executives gathered around the table, panicking about how best to blow it so as to avoid the miserable box office results of the eighth installment (an excellent one, by the way, I still stand by that). That one at least offered a bold detour, took things in its own way and unfortunately stumbled. So Disney has cowardly negated the whole thing, stood it on its head, nonsensically incorporated old themes and characters, and the result is the proverbial stew cooked by a dog and cat that makes your tummy hurt, and not even charcoal will help you. (21.12.2019)

Disney reap what they sow, and it's not a pretty sight. Episode VII bet on nostalgia, so I've forgiven the new boring protagonists. Episode VIII took a different direction, but the studio found they didn't like where it went. So in Episode IX they try to fix everything from the previous film and we're with Rey, Kylo Ren, Poe and Finn for the third time and they're actually still utterly boring and empty characters. And now, as a viewer, I am supposed to be interested to see how they turn out. I just don't give a shit. J.J. Abrams isn't actually wrapping up a trilogy here, his main job is to clean up the mess that came from not knowing what they wanted at Disney. He may have done the best job he could, but that doesn't change the fact that whenever there’s no action and Rise of Skywalker attempts some emotion and relationships, it's awfully boring and annoying. The movie has no foundation to build on in that regard and out of desperation even has to make up new rules for how the world works. And yet it fails to evoke any emotion other than a sense of giant disappointment. The ninth Star Wars did succeed at something I didn't think could ever be accomplished. They stifled my enthusiasm for the franchise. I sure as hell hope not forever. (19.12.2019)