Well, Star Wars fans, here we are. After The Force Awakens, we all begged for Lucasfilm to make a more original movie that didn’t mimic the same story beats as the Original Trilogy. And now we have this movie to unpack, so let’s dig in. The 8th main installment of this epic space opera series was released worldwide on December 15th, 2017. Having already accumulated the second-biggest opening weekend of all time domestically, the film is well on its way to breaking the $2 billion mark given the time. While critics have given strong reviews to writer-director Rian Johnson’s new entry, fans have been more mixed in their opinions. Admittedly, there’s a lot of density here in terms of storytelling and themes. And don’t worry, there are absolutely no spoilers to be found in this review. Picking up right after The Force Awakens, the Resistance is on the run after striking a victory against the First Order. Meanwhile, the scavenger Rey goes to an island on a distant planet to learn the ways of the Force from the last living Jedi Master, Luke Skywalker. All of this is happening as the young Kylo Ren continues to struggle with his allegiance to either the Dark or Light Side and his mentor Supreme Leader Snoke is hounding his every move. Like I said, this movie doesn’t follow the beats of the Original Trilogy. Whereas The Force Awakens had to play it safe in order to properly set up the new characters and put the plot on a path, The Last Jedi tosses franchise conventions out of the damn window to go in new, uncharted territory. Some fans may hate it for that, and I understand why. But to me, the second installment of this sequel trilogy had to shake things up in order to propel this series forward. And not only did it shake things up, it took the established structure of a Star Wars movie and threw it in a blender. That’s a long analogy of saying… I freaking loved it all. Rarely has there been an entry in a blockbuster franchise, especially one so beloved and iconic as Star Wars, that has felt this fearless and ambitious. It has no qualms about pushing the boundaries for the characters and turning the wheels off the main road. In that, a lot of fans may not like this movie because of what it does to certain arcs. One story involving Finn and a new girl named Rose dragged in the middle act, but I don’t want to delve into that. As a huge fan of Rian Johnson’s previous film Looper, it was very exciting to see him abscond with $200~ million of Disney’s money to make his own movie with his own voice. And that voice has a lot to say. Virtually all of the cast members from the previous film return here and they have all grown comfortable. Daisy Ridley and Adam Driver are particularly great as Rey and Kylo Ren, by far my favorite arc in the entire movie. Their dynamic dances back and forth like a ballet, playing off of each other’s conflicts and desires. In her last-ever film role, Carrie Fisher is as witty and charming as she always was as Princess Leia Organa. Though she’s bright with hope and optimism, it was difficult watching her scenes knowing her real-life fate. But the scene-stealer here is undoubtedly Mark Hamill’s return as Luke Skywalker in easily his best performance to date. Gone is the idealistic farm boy from Tatooine who wants to get power converters from Toshi Station. This is a tired, embittered old man who wants nothing more to do with the conflict of good and evil. In many ways, Rey has swapped roles with him as he’s hesitant to pass down the torch of the Jedi Order. On the directing side of the camera, The Last Jedi sings its singular vision with spades. As always, the visuals are astounding, switching (mostly) seamlessly from practical to CGI effects in one scene. Johnson’s collaborating cinematographer Steve Yedlin also makes sure to use a wide color palette, particularly that of red. The red throne room of Snoke, the red Praetorian Guard, red salt from the planet Crait. They take what’s normally a symbol of evil or wrong and make it beautiful. Along with Bob Duscay’s slick editing job, we get some of the best action sequences in the franchise. The lightsaber battles have never looked more precise and elegant than here with wide shots and fluid movement. And thanks to Industrial Lights & Magic, all of the computer-animated characters look like tangible beings. In a career spanning over 6o years and over 100 film scores, the legendary John Williams brings out his finest soundtrack since at least Raiders. Though he does recycle leitmotifs such as “Rey’s Theme” or “The Force” multiple times, he brings a harsh yet controlled sound to layer on top. Of particular note is one of the final tracks, “The Spark,” which is essentially a heroic riff on the Imperial March. Williams’ trademark of piercing horns and buoyant percussion are all here. But it’s the new concertos of low-strings that help elevate this to some of his best work. More than ever, The Last Jedi is concerned with exploring the themes commonplace in Star Wars; good vs evil, living up to a legacy, the courage to become a hero. But what if that legacy was overly romanticized by the ages? What if your hero was falsely judged by history? These are the questions the movie’s interested in asking. Luke spends so much time running away from his own legend, that he leaves his admirer choking on deceit. At 2 hours and 32 minutes, it’s the longest in the series yet, taking its time to unfold these ideas gradually. But with the way the story progresses, time is virtually nonexistent to me and it just flies by. I want to go more in-depth but I’ll wait for you to see the movie yourself. Though it has some pacing issues and one arc that could have been tweaked, Star Wars Episode VIII: The Last Jedi is a boldly dense and deeply satisfying emotional adventure. By far the best Star Wars movie under the Disney banner, it’s also my favorite one since The Empire Strikes Back. Thematically rich and bursting with memorable characters, this is a movie I can’t wait to experience on the big screen again and again.