star wars the rise of skywalker movie review

Log in or sign up for Rotten Tomatoes

Trouble logging in?

By continuing, you agree to the Privacy Policy and the Terms and Policies , and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes.

Email not verified

Let's keep in touch.

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

Upcoming Movies and TV shows
Trivia & Rotten Tomatoes Podcast
Media News + More

By clicking "Sign Me Up," you are agreeing to receive occasional emails and communications from Fandango Media (Fandango, Vudu, and Rotten Tomatoes) and consenting to Fandango's Privacy Policy and Terms and Policies . Please allow 10 business days for your account to reflect your preferences.

OK, got it!

Movies / TV

No results found.

What's the Tomatometer®?
Login/signup

star wars the rise of skywalker movie review

Movies in theaters

Opening this week
Top box office
Coming soon to theaters
Certified fresh movies

Movies at home

Fandango at Home
Netflix streaming
Prime Video
Most popular streaming movies
What to Watch New

Certified fresh picks

Challengers Link to Challengers
I Saw the TV Glow Link to I Saw the TV Glow
Música Link to Música

New TV Tonight

The Veil: Season 1
Hacks: Season 3
The Tattooist of Auschwitz: Season 1
A Man in Full: Season 1
Acapulco: Season 3
Welcome to Wrexham: Season 3
John Mulaney Presents: Everybody's in LA: Season 1
Star Wars: Tales of the Empire: Season 1
My Next Guest Needs No Introduction With David Letterman: Season 4.2
Shardlake: Season 1

Star Wars: The Rise of Skywalker

Where to watch.

Watch Star Wars: The Rise of Skywalker with a subscription on Disney+, rent on Prime Video, Apple TV, or buy on Fandango at Home, Prime Video, Apple TV.

What to Know

Star Wars: The Rise of Skywalker suffers from a frustrating lack of imagination, but concludes this beloved saga with fan-focused devotion.

For Star Wars fans unhappy with the previous sequel, Rise of Skywalker concludes this phase of the franchise on a relative high note.

Audience Reviews

Cast & crew.

J.J. Abrams

Carrie Fisher

Leia Organa

Mark Hamill

Luke Skywalker

Adam Driver

Daisy Ridley

John Boyega

Movie Clips

More like this, movie news & guides, this movie is featured in the following articles., critics reviews.

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, star wars: the rise of skywalker.

Now streaming on:

“If this mission fails, it was all for nothing. What we’ve done. All this time.”

This may just be another inspirational line of dialogue from “Star Wars: The Rise of Skywalker,” but I couldn’t help thinking it defined the production of the film, too. After the divisive response to “Star Wars: The Last Jedi” and the firing of original director Colin Trevorrow , J.J. Abrams swooped back in to make sure the “mission” of this franchise was for something. And you can feel that weight of history and obligation, especially in the first hour of “Skywalker,” as Abrams delivers a movie that practically lifts off directly from “Star Wars: Episode VII - The Force Awakens,” using that film’s combination of action and fan service as a storytelling template way more than the previous movie. However, the inherent rush that came in revisiting this world four years ago is naturally lessened, replaced by something closer to desperation. Whatever one thinks of “The Last Jedi,” if that film was trying to build a new house on familiar land, this one tears it down and goes back to an old blueprint. Some of the action is well-executed, there are strong performances throughout, and one almost has to admire the brazenness of the weaponized nostalgia for the original trilogy, but feelings like joy and wonder are smothered by a movie that so desperately wants to please a fractured fanbase that it doesn’t bother with an identity of its own.

“The dead speak!” This is the opening line of the crawl of the last “ Star Wars ” movie in the new trilogy, and such an appropriate overture to a film that relies on your knowledge of dead characters to appreciate it. The “dead” in this case is Emperor Palpatine ( Ian McDiarmid ), who is revealed in the prologue to still be alive, planning a return of the Sith and the Empire. He’s been underground on a distant, untrackable planet, where he reportedly created Snoke, waiting for the heir to his throne to lead the resurrection of the Sith in the form of something new called the Final Order. Kylo Ren ( Adam Driver ) finds Palpatine, who instructs him to go find Rey ( Daisy Ridley ). A lot of “Rise of Skywalker” is about finding things or people, especially for the first half.

Rey is with the Resistance, still led by General Leia Organa ( Carrie Fisher ), and including Poe ( Oscar Isaac ), Finn ( John Boyega ), Rose ( Kelly Marie Tran ), Chewbacca ( Joonas Suotamo ), C-3PO ( Anthony Daniels ), and more, but their numbers and hopes are dwindling. The news that Palpatine is back and leading a fleet of ships strong enough to destroy planets means that they need to act quickly or risk total annihilation. Rey learns that she must find something called a Sith Wayfinder to get to Palpatine’s location, and the gang sets off on an adventure to find it.

The midsection of the movie is its most effective. After a clunky first act that’s filled with way too many scenes of people talking about who they are, where they need to go, and what they need to do when they get there, the film finally settles into a groove with an excellent chase scene that somehow both echoes “ Return of the Jedi ” and “ Mad Max: Fury Road .” There is a nice subplot with an old acquaintance of Poe’s named Zorii Bliss ( Keri Russell ), and a fantastic, water-soaked lightsaber battle between Rey and Kylo. These scenes don’t have the weight of course-correcting that drags the first hour or the desperate need to please of the final half-hour. When “Rise of Skywalker” can just be its own fun, sci-fi adventure, it succeeds.

And, to be fair, the craft of “Skywalker” is incredibly high. Abrams knows how to design a major blockbuster like this one, and there are some remarkable set-pieces. He also is an underrated director when it comes to performers and gets the best one that Ridley has delivered to date. She’s the center of this film in many ways, and arguably the best thing about it. (Driver is very good too, for the record. Don't @ me, Kylo fans.) There are sequences and character beats in “Rise of the Skywalker” that truly work, especially when it doesn’t feel like it’s trying so hard to complete its “mission.” One just wishes they were embedded in a better film overall.

What’s telling about “The Rise of Skywalker” is how much I would have rather just learned more about Poe’s background, or the story behind Zorii, than experience the numbing overkill of the final act of this trilogy. For those who get a chill down their spine at a familiar John Williams composition in just the right place or even locations that this film returns to that you probably never thought you’d see again, “The Rise of Skywalker” offers just enough to make them happy. It’s not unlike a rollercoaster ride in that it has just enough thrills to satisfy fans, but you can also see exactly where the ride begins and ends before you strap in. Real movie magic comes with surprises and risk-taking, and those are undeniably absent here—I believe for the reason that people thought there was too much of both in the last film. I wanted more of Zorii because she’s one of the few characters or plot threads here that feels like it has potential to surprise. Almost everything else has been workshopped, focus-grouped, and even twitter hive-minded to a fine paste. It’s easy to digest, but not that filling or memorable.

Perhaps the best in-movie self-criticism is in the fact that Kylo Ren rebuilds his destroyed mask. Some fans of the series believe that “The Last Jedi” destroyed their favorite franchise, and here’s J.J. Abrams literally picking up the broken pieces and putting them back together. And yet, as he's told, you can still see the cracks, meant as a criticism of Kylo's uncertainty but reflective of the movie too. Sometimes you can’t just put things back together, and revisit history in a way that doesn’t feel craven and desperate. People will see the cracks.

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

Now playing

Godzilla x Kong: The New Empire

Matt zoller seitz.

Dusk for a Hitman

Robert daniels.

Nowhere Special

Unsung Hero

Christy lemire.

Lousy Carter

Clint worthington, film credits.

Star Wars: The Rise of Skywalker movie poster

Star Wars: The Rise of Skywalker (2019)

Rated PG-13 for sci-fi violence and action.

141 minutes

Daisy Ridley as Rey

Adam Driver as Kylo Ren

John Boyega as Finn

Oscar Isaac as Poe Dameron

Carrie Fisher as General Leia Organa

Mark Hamill as Luke Skywalker

Anthony Daniels as C-3PO

Naomi Ackie as Jannah

Domhnall Gleeson as General Hux

Richard E. Grant as Allegiant General Pryde

Lupita Nyong'o as Maz Kanata

Keri Russell as Zorii Bliss

Joonas Suotamo as Chewbacca

Kelly Marie Tran as Rose Tico

Ian McDiarmid as Darth Sidious / Palpatine

Billy Dee Williams as Lando Calrissian

J.J. Abrams

Writer (based on characters created by)

George Lucas

Writer (story by)

Derek Connolly
Colin Trevorrow
Chris Terrio

Cinematographer

Maryann Brandon
Stefan Grube
John Williams

Latest blog posts

Speed Kills: On the 25th Anniversary of Go

Joanna Arnow Made Her BDSM Comedy for You

The Movies That Underwent Major Changes After Their Festival Premiere

Netflix's Dead Boy Detectives Is A Spinoff Stuck In Limbo

an image, when javascript is unavailable

‘Star Wars: The Rise of Skywalker’: Film Review

No "Star Wars" film can fully recapture the thrill of 40 years ago, but as directed by J.J. Abrams, the ninth and final chapter in the saga that George Lucas created may come closer than any "Star Wars" movie since.

By Owen Gleiberman

Owen Gleiberman

Chief Film Critic

‘Humane’ Review: Caitlin Cronenberg’s First Feature Is a Searing Domestic Thriller About Crimes of the Not-So-Distant Future 17 hours ago
‘Boy Kills World’ Review: Bill Skarsgård Is a Deaf-Mute Avenger in an Action Film So Ultraviolent It’s Like ‘John Wick’ Gone ‘Clockwork Orange’ 2 days ago
‘Uncropped’ Review: An Enticing Portrait of James Hamilton Makes You Wonder: Is He the Greatest New York Photographer Ever? 5 days ago

Rey (Daisy Ridley) in STAR WARS: THE RISE OF SKYWALKER.

In “ Star Wars: The Rise of Skywalker ,” there’s a lightsaber duel that’s pretty fantastic — not because of any unprecedented whirling-action whoa! factor (we have, after all, been through one or two of these my-sword-of-electric-fire-is-mightier-than-your-sword-of-electric-fire duels in our “Star Wars” lifetimes), but because of the emotions it channels. Visually, it’s a splendid fight. Rey ( Daisy Ridley ), the Jedi Knight who’s in the midst of trying to figure out, you know, who she is , and Kylo Ren ( Adam Driver ), the First Order commander who’s certain that he’s figured out the Dark Side badass he is, face off outdoors, standing atop the ruins of the Death Star, a wasteland of corroded metal that looks like the aftermath of some intergalactic 9/11.

As stormy black ocean waves crash and churn around them, like something out of “Wuthering Heights,” Ren uses his red Sith lightsaber, with the cross-handle that makes it look like a pulsating version of Excalibur; Rey uses her trusty blue Jedi lightsaber. After much fateful combat, a saber is plunged, and there’s a clear victor — but then something quite unexpected happens. It’s game-changing, it’s powerful and moving, and at that moment it’s everything you want from a “Star Wars” film.

In 1977 and 1980, “Star Wars” and “The Empire Strikes Back” were two movies that the whole wide world agreed on (to put it in fanboy terms: that they were the greatest things ever). And that’s part of why they changed the world. The universality of the adoration for “Star Wars” became one of the cornerstones of its aesthetic. In the 40 years since, there has been less to agree on about “Star Wars,” which may be one reason why this distended-through-the-decades space-opera odyssey now feels, by turns, inspiring and dispiriting. Most agree, at least, that the George Lucas prequels were an eye-popping but empty experiment in technologically driven brand enhancement. Yet that isn’t exactly a consensus to take heart in.

And the last two films? Fans fell hard for “The Force Awakens,” until they woke up and realized that they’d been seduced by a kind of painstakingly well-traced “Star Wars” simulacrum. “The Last Jedi” was admired by some and disliked by many, with the divide often carrying an ugly subtext: a resentment at the film’s diversity casting, while others leapt to its defense for that very reason, turning what was supposed to be a piece of escapism into an ideological turf war as messy and overblown as some of us thought the movie itself was.

“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.)

It’s a puckish and engrossing movie, fulsome but light on its rocket feet. At two hours and 28 minutes, is it too long? Yes. Does it feature several dead characters coming all too conveniently back to life? Yes. (Actual dialogue: “Somehow, Palpatine returned.” “Wait, do we believe this?” And no, that’s not a spoiler. It’s revealed in the opening 20 minutes.) If you look past its foibles, though, “The Rise of Skywalker” has been directed, by J.J. Abrams (the script is by Abrams and Chris Terrio), with much the same neo-classic-Lucas precision and crispness and verve that he brought to “The Force Awakens,” though in this case with less of the lockstep nostalgia that made that film such a direct clone of the first “Star Wars” that the thrill of going back to 1977 was mitigated by the fact that the entire thing had been transparently engineered to give you that feeling. It was like a pharmaceutical drug called Starzac.

That said, maybe there’s no escaping that the final entry of this series, coming 42 years after the original “Star Wars,” is — at best — going to be less a brilliant piece of stand-alone escapism than a kind of exquisitely executed self-referential package. “The Rise of Skywalker” has rousingly edited battles, like the opening dogfight, with Poe (Oscar Isaac) and Finn (John Boyega) trading quips as they race the Millennium Falcon back from an intel mission. It has the irresistible presence of old friends, like Gen. Leia Organa (the late Carrie Fisher ), still guiding the Resistance and mentoring Rey, and an older and wiser but feisty-as-ever Gen. Lando Calrissian (Billy Dee Williams, in his first part in the series since “Return of the Jedi,” wrapping his velvet baritone around lines like “I’ve got a bad feeling about this”), plus one or two other returning icons you might not expect.

The story, abetted by trademark John Williams music cues that always manage to drop in at the perfect moment, is a digressive but satisfyingly forward-hurtling MacGuffin that stays on course. It follows Rey and her team as they bop from one planet to the next, all in order to locate the wayfinder crystal that will lead them to Exogol, the hidden land of the Siths where Palpatine, bent on domination of the galaxy, has set up his stone-throned, dark-shadowed supervillain hell cave. They find a dagger inscripted with the information they need — except that it’s written in the forbidden runes of the Sith, which C-3PO (Anthony Daniels) is programmed not to translate. So they have to travel to a renegade planet to find a black-market droid tech, who has to erase C-3PO’s memory.

This may sound like a fancy form of time-killing, except that Isaac’s Han-lite renegade Poe, Boyega’s loyal cut-up Finn, and the usual nattering gang of rubbery cute beasts have now gotten into enough of a groove to evoke the “Guardians of the Galaxy” crew (who, of course, were a knockoff of the “Star Wars” team). “The Rise of Skywalker” also features what is far and away Daisy Ridley’s most accomplished performance as Rey. After all her Jedi training, Rey now has powers so advanced they’re dangerous (she detonates a spaceship with her grasping hand — and, it appears, blows up one of her comrades). Ridley wears Rey’s mission with furious charisma, bringing a possessed quality to the character, never more so than when she learns who she is . What makes her performance so much more than “diversity” casting is that “The Rise of Skywalker” pointedly completes the “Star Wars” saga as a myth embracing the rise of women.

What no contemporary “Star Wars” movie can have, no matter how slavishly it imitates the template that Lucas invented, is the primal awe of the original films’ space battles. At the time, the gritty-yet-frictionless, zipping-through-the-canyons joystick stuff was miraculous. It anticipated the digital era, and the only place you could see it — could live it — was at a “Star Wars” film. But “Star Wars” turned Hollywood into an industry devoted to space-race fantasy and action candy. So the only real dimension of “Star Wars” that’s defining anymore is…the cosmology. No wonder the thrill isn’t there the way it was.

“The Rise of Skywalker” has to deal some of with the anti-Lucas curveballs that director Rian Johnson introduced into “The Last Jedi,” and it may actually be a better movie for it. Rey and Ren, locked in mortal combat, commune through the cosmos, as if both were linked up to some advanced communication system called ForceTime. Ren’s murky moral ambivalence has been clarified — he now presides over the First Order in a mask modeled on his grandfather Darth Vader’s, though this one has glowing red cracks and a chrome grill that make it look like something off a ’70s album cover. And where, in “The Last Jedi,” Mark Hamill’s Luke was practically a doomsday nihilist, inviting the eradication of the Jedi (which was a bit loopy), Abrams draws his movie back from that ledge.

He also does not send his characters on too many disparate missions, the way “The Last Jedi” did. For all its sprawl, “The Rise of Skywalker” is all of a piece. Palpatine is indeed alive, with Ian McDiarmid returning to play him, looking more like a rotting monk than ever. His desire to squash what’s left of the Resistance, and to establish a reign of total terror, may seem standard issue, but now, for the first time, it has a jolting topical resonance. The villainous forces of “Star Wars” were always a sci-fi variation on 20th-century fascism, and that made them, at the time, seem ominous but historically distant. But in “The Rise of Skywalker,” the fascism looms, for the first time, as something more real; it’s what we’re now facing. The film keeps repeating that though the forces of the First Order are actually outnumbered, those forces work to make the Resistance fighters feel isolated and alone, as if they had no power. And you’d better believe that’s a pointed and timely statement. In its way, it’s also a tip of the hat to George Lucas, who in the “Star Wars” saga drew on the pop culture of the past to create a revolutionary new pop culture, and in doing so foresaw the future. Maybe more than he knew.

Reviewed at SVA Theater, New York, Dec. 17, 2019. MPAA Rating: PG-13. Running time: 142 MIN.

Production: A Walt Disney Studios Motion Pictures release of a Bad Robot, Lucasfilm Ltd. production. Producers: Kathleen Kennedy, J.J. Abrams, Michelle Rejwan. Executive producers: Tommy Gormley, Callum Greene, Jason D. McGatlin.
Crew: Director: J.J. Abrams. Screenplay: Chris Terrio, J.J. Abrams. Camera (color, widescreen): Dan Mindel. Editors: Maryann Brandon, Stefan Grube. Music: John Williams.
With: Daisy Ridley, Adam Driver, Carrie Fisher, Mark Hamill, Billy Dee Williams , Ian McDiarmid, Oscar Isaac, John Boyega, Anthony Daniels, Jimmy Vee, David Chapman, Brian Herring, Joonas Suotamo, Domhnall Gleason, Richard E. Grant, Lupita Nyong’o, Naomi Ackie, Kelly Marie Tran, Keri Russell.

More From Our Brands

Nicole kidman becomes first australian to earn afi lifetime achievement award, inside a $3.3 million one-bedroom condo in l.a.’s famed sierra towers, messi’s road show shatters another attendance record, be tough on dirt but gentle on your body with the best soaps for sensitive skin, survivor’s sonja christopher, the first contestant ever voted off, dead at 87, verify it's you, please log in.

The Definitive Voice of Entertainment News

Subscribe for full access to The Hollywood Reporter

site categories

‘star wars: the rise of skywalker’: film review.

Director J.J. Abrams and co-writer Chris Terrio close the book on the core origin story of George Lucas' space saga as the torch of intergalactic control is passed from one generation to the next in 'Star Wars: The Rise of Skywalker.'

By Todd McCarthy

Todd McCarthy

Share this article on Facebook
Share this article on Twitter
Share this article on Flipboard
Share this article on Email
Show additional share options
Share this article on Linkedin
Share this article on Pinit
Share this article on Reddit
Share this article on Tumblr
Share this article on Whatsapp
Share this article on Print
Share this article on Comment

How many film franchises have lasted for 42 years? Who will be surprised if Disney, the adoptive parent of George Lucas ‘ remarkable baby, doesn’t keep siring new offspring for the seemingly inexhaustible intergalactic mother ship known as Star Wars for longer than anyone connected with the original series is still alive? Will movie theaters still exist when the children, biological or otherwise, of Rey or Poe or Finn are old enough to fly? Has the property now become too Disneyfied? Will even more of the core fan base that angrily turned on The Last Jedi continue and amplify their vendetta in the wake of the new entry?

These are some of the questions swirling around Star Wars: The Rise of Skywalker , which eventfully, if not exactly satisfactorily, closes the book on the core origin story of this indelible world. On a popular level, it succeeds in a way that good escapist fiction always has, by transporting you completely to a fabulous foreign realm unvisitable by any other means. No one who has seen the preceding VIII chapters will dare miss this concluding installment, which means that the vast majority of the known moviegoing world will turn up. And in theaters, no less. But there are nagging problems that, while evident in the previous two entries, have become more pronounced now.

Release date: Dec 20, 2019

With J.J. Abrams back at the helm after having efficiently relaunched the franchise four years ago with The Force Awakens , there was little doubt that the serious business of keeping Disney’s most valuable acquisition well-tended would be responsibly managed by the man who previously relaunched Star Trek on the big screen. If anything, the director has overcompensated, practically tripping over himself in a mad-dash effort to deliver the expected goods and then some. It’s easy to conjure up the image of him as a beleaguered chef in a large kitchen preparing a huge banquet, trying to satisfy lots of customers in the ways that count and not goof up anything too important.

In the most obvious ways he has largely succeeded, even if the more-is-more approach ultimately leaves one both bloated from too many courses and uncertain about some of the ingredients. 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.

The core dynamic at play in the script by Chris Terrio ( Argo, Batman v Superman: Dawn of Justice, Justice League ) and Abrams, from a story by Derek Connolly ( Safety Not Guaranteed , Jurassic World, Monster Trucks ), is, appropriately enough given the franchise’s jump from Fox to Disney, the passing of the torch of intergalactic control from one generation to the next. Courtesy of a rather significant amount of previously unused footage, the late Carrie Fisher ‘s Leia Organa is on hand to participate in the transfer of power. The sense of continuity is furthered by the liberation from self-imposed hermitude of Mark Hamill ‘s Luke Skywalker and the big-screen re-emergence, after 34 years and numerous gigs as the character on TV and in video games, of Billy Dee Williams’ Lando Calrissian.

At the outset, the universe is at a point where domination by the First Order once again seems a possibility. You would think that the utter and repeated obliteration suffered by the dark side in the past would be enough for peace and quiet to prevail at least for a few lifetimes. But, no, somehow old Palpatine (Ian McDiarmid) is still hanging in there and a massive generation of young stormtroopers is at the ready to attack once heir presumptive Kylo Ren ( Adam Driver ) sheds his Hamlet-like indecision and decides to seize his opportunity to rule the world.

The main thing giving him pause is his keen attraction to Rey ( Daisy Ridley ). Despite his predilection for wearing his own, red-veined version of a Darth Vader mask, for the longest time he remains hung up on a fantasy that he and Rey can become the ruling couple of the universe. But she’s no more prone to entertain this notion than she’s ever been, preferring to hone her skills as a badass warrior, a vocation furthered when Leia bestows her personal lightsaber on the intensely focused younger woman.

For quite a long time, the film jumps all over the place, making as many stops as a local subway train. Rey and ace pilot Poe Dameron ( Oscar Isaac ) remain at odds about most things, but the main demand on the latter’s time is jerry-rigging his rickety used spacecrafts and otherwise wrestling with physical jeopardy, which happens all the time as the small band of Resistance fighters fly hither and yon looking for the Emperor’s gathering forces. Never does a mechanical problem remain unsolved by Poe for more than a minute or two.

So agreeable are most of the performers and so busy are the characters tending to urgent matters that the why and wherefore of what’s happening onscreen becomes increasingly obscure: Where does everyone stand in relation to one another? Where is so-and-so going and why? What’s at stake in this particular confrontation? (Of course, there has to be at least a mini-crisis every few minutes.) Not everything can represent the same urgent importance, nor should the fate of the universe be at stake every 10 minutes. Yes, it was so in 1930s serials like Flash Gordon, which is what inspired Lucas to create Star Wars in the first place, and very occasionally, such as in Raiders of the Lost Ark, a modern director has been able to pull off a highly episodic adventure like this.

Here, though, the massive jumble of standoffs, near-misses, tense confrontations, narrow escapes and slick victories, while momentarily exciting, can lack plausible motivation and credibility. More often than not, one wonders not so much what just happened but why, and what was at stake. A plot like this, featuring so many characters, locations and story dynamics, can by nature be confusing; so relentless is the pileup of incident that, at a certain point, one can be excused for checking out on the particulars of what’s going on at a given moment and why in favor of just going along for the amusement park ride.

There are directors who are content with such ambitions, just as there are large audiences for same. Abrams has a foot in one camp and the other foot in another, hoping to have it both ways, which he manages for the reason that The Rise of Skywalker has a good sense of forward movement that keeps the pic, and the viewer, keyed up for well over two hours. It might not be easy to confidently say what’s actually going on at any given moment and why, but the filmmakers’ practiced hands, along with the deep investment on the part of fans, will likely keep the majority of viewers happily on board despite the checkered nature of the storytelling.

Still, an increasingly vexing issue that serves to hold one’s enthusiasm in check are the main characters and cast of episodes VII to IX. The simultaneous onscreen presence here of Fisher, Hamill, Williams and a fun, unbilled appearance by another franchise favorite creates a wave of sentimental affection and goodwill that the younger leads have never generated across three films. Isaac has loosened up a bit to become more engaging as the series has progressed, but the same can’t be said for Ridley, whose portrait of Rey runs the gamut between determined and grim. As Kylo Ren, Driver is, for the most part, broodingly recessive in a not particularly intriguing way; his character an uninterestingly conflicted, not to mention inarticulate, Hamlet.

It almost goes without saying that, from a physical production point of view, The Rise of Skywalker is stupendous, enough reason by itself to see and even enjoy the film. Clearly no expense has been spared in making almost every scene spectacular, and cinematographer Dan Mindel has here surpassed his work on The Force Awakens and numerous other special effects extravaganzas with his often striking images (some eye-popping settings, particularly in Jordan and along a stormy seacoast that makes the one in Ryan’s Daughter look like a wading pool, don’t hurt). Production designers Rick Carter and Kevin Jenkins and costume designer Michael Kaplan aced their jobs as well, as have, in spades, the visual and special effects teams.

John Williams, 87 years young, has composed yet another rambunctious, melodious, propulsive score for a very big film; you wouldn’t want anyone else on the job.

THR Newsletters

More from The Hollywood Reporter

Meryl streep was “traumatized” watching nicole kidman’s emotional scenes in ‘big little lies’: “never seen anything like that in my life”, ray chan, art director and production designer for marvel films, dies at 56, box office: zendaya’s ‘challengers’ hits target with $15m opening for no. 1 finish, pauly shore says he “was up all night crying” after richard simmons blasted biopic, ethan hawke shares denzel washington’s advice on winning an oscar, ‘kraven the hunter,’ ‘karate kid’ pushed back by sony.

Search Please fill out this field.
Newsletters
Sweepstakes
Movie Reviews

Star Wars: The Rise of Skywalker is the Force ghost version of a movie: Review

“I’m doing what you did,” says Rey ( Daisy Ridley ). Who’s she talking to? Does it matter? In Star Wars: The Rise of Skywalker , newer characters go through old familiar motions, and so do old familiar characters, who won’t die even when they’re dead. Director J.J. Abrams imitates anything from the original trilogy he didn’t already xerox into 2015’s The Force Awakens . Did you see Return of the Jedi ‘s second Death Star in the trailer? If you think that’s the only superweapon in this movie, then Abrams has a thousand bridges in Brooklyn to sell you.

“The dead speak!” proclaims the opening crawl. The voice of Emperor Palpatine (Ian McDiarmid) is mysteriously broadcasting across the galaxy. The Emperor expired long ago, so it would be just stupid to assume he is still alive. But what uninspired hack could be resurrecting his image, and to what purpose?

It’s a surprisingly meta concept, since General Leia is still quite prominent. She’s played by Carrie Fisher , despite the performer’s untimely death long before production started. I don’t really know how Fisher’s appearance was created. It looks like a very high-tech combination of unused footage, digital effects, and terrible writing. Her presence plus the Emperor’s shadowy appearance multiplied by other ghosts from the past equals yet another Disney-branded Star Wars looking ever backward, never forward.

The nostalgia festival proves one final kneecap-slice for the heroes of this sequel trilogy. Rey still suffers from a nasty case of flashbackitis, always almost remembering her parents. Her mysterious past is her entire arc now, and Ridley has to spend another adventure staring with pensive urgency, dutifully waiting to find out what character she’s playing.

Along with her friends Finn ( John Boyega ) and Poe ( Oscar Isaac ), Rey’s stuck in one of those fetch-quest plots you tend to get from later Pirates of the Caribbean s. Our heroes need to [ deep breath ] find a green glowing rock on one planet, and the location of that rock is etched onto a special dagger on another planet, but the coordinates are written in a language that can only be translated on another planet.

Keri Russell appears, briefly and awesomely, as a behelmeted old friend. Naomie Ackie plays a new ally who explains her backstory in her only extended dialogue scene, before blastjumping ensues. Isaac gives Poe a new pranksterish edge, which is fun. Finn keeps yelling Rey’s name loudly, which isn’t.

The best thing I can say about Rise of Skywalker is that it is sometimes incoherent on purpose. The Millennium Falcon escapes TIE Fighters by “lightspeed skipping” between locations in short bursts: hyperspace, crazy planet with tentacles, hyperspace, asteroid field, hyperspace, etc.

It’s an offense to whatever spatial reality George Lucas demanded from fighter jets screaming in outer space, and a few scenes in Skywalker represent chaos cinema unbounded from all logic. Rey still sees Kylo Ren ( Adam Driver ) in galaxy-crossed tele-conversations, a contrivance that develops goofy new dimensions. Sacrifices get un-sacrificed, and superpowers become super-DUPER-powers. In a sacred moment of apex silliness, Resistance fighters ride starbeasts of burden across the surface of a low-flying Star Destroyer. If I understand gravity correctly, the evil pilots could defeat the rebel cavalry by just slightly dipping the ship’s port side.

Abrams co-wrote the screenplay with Chris Terrio, who also worked on on Batman v Superman and Justice League , poor guy. Those smash-ups had their own weird fixation on resurrecting dead flesh, but you have to credit Abrams for Rise of Skywalker ’s top-speed pointlessness. He’s always been an excessive filmmaker, and excess is all he has left for his second Star Wars : huge fleets, bigger stormtrooper squads, the most droid pals ever.

Every character suffers, squeezed between action scenes and runscream hyper-emotionality. Kylo Ren’s turn toward counterculture anarchy was the best part of 2017’s The Last Jedi , and now this sequel rewinds him toward another internal Dark-Light thumbwar. I didn’t love Last Jedi , but it’s notable that director Rian Johnson was fascinated by Driver’s face, letting the idiosyncratic actor play simmering rage and melancholy. Abrams’ camera prefers Driver’s towering frame, shooting upward to emphasize his room-filling physicality. Rise of Skywalker ragdolls all its humans. Rey, Poe, and Finn keep crashing, tumbling, and jumping between ships. Just once, couldn’t someone in this sequel trilogy chill out?

If you enjoyed The Last Jedi , you’ll be disappointed by the walkback qualities of this follow-up. Rose Tico (Kelly Marie Tran) gets demoted to screenstaring at the command center. (She can’t join the main adventure because she has to “study the specs of old Destroyers,” now come on.) Another key Last Jedi personality returns with their whole philosophy pointed in an opposite direction. Johnson was anxious about the franchise’s influence, and not shy about suggesting that it would be weird to inherit somebody else’s saga. Abrams is the franchise era incarnate, producing Star Trek s and Mission: Impossible s when he isn’t Cloverfield ing stray ideas into new spin-offs. Unsurprising, maybe, that his tale requires rigid focus on inheritance and legacy. “I will earn your brother’s saber,” Rey tells Leia, still obsessed with another man’s weapon.

There is one exciting planetscape, where greatwall waves crash skyscraper-high. A couple rando stormtroopers jetpack skyward off speeder bikes. “They fly now?” asks Finn. “They fly now!” says Poe. It’s way cool; they never fly again. Unlike the graytech sci-fi of the other recent Star Wars entries, Rise of the Skywalker embraces the operatic possibilities of spaced-out fantasy: hidden planets, forbidden deserts, a dark pyramid. C-3PO (Anthony Daniels) has a moving speech that dissipates into plotstuff. One nefarious character announces the First Order’s intention to “harvest more of the galaxy’s young,” a rather reflexive sub-subplot for a Disney movie. Domhnall Gleeson is off in his own mad farce as officious snarlfart General Hux, who gets the best line in the film.

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. Grade: C

Star Wars: Episode IX - The Rise of Skywalker

Anthony Daniels, Carrie Fisher, Billy Dee Williams, Keri Russell, J.J. Abrams, Lynn Robertson Bruce, Hassan Taj, Oscar Isaac, Brian Herring, Jimmy Vee, Dave Chapman, Adam Driver, John Boyega, Kelly Marie Tran, Robin Guiver, Daisy Ridley, Lee Towersey, Joonas Suotamo, and Naomi Ackie in Star Wars: Episode IX - The Rise of Skywalker (2019)

The surviving Resistance faces the First Order once again in the conclusion of the Skywalker saga. The surviving Resistance faces the First Order once again in the conclusion of the Skywalker saga. The surviving Resistance faces the First Order once again in the conclusion of the Skywalker saga.

J.J. Abrams
Chris Terrio
Derek Connolly
Daisy Ridley
John Boyega
Oscar Isaac
7.8K User reviews
541 Critic reviews
53 Metascore
21 wins & 55 nominations total

Poe Dameron

Leia Organa
(archive footage)

Luke Skywalker
(as Patrick Williams)

General Hux

General Pryde

Zorii Bliss

Emperor Palpatine

Lando Calrissian

Snap Wexley

All cast & crew
Production, box office & more at IMDbPro

Here's Your Cheat Sheet for the 'Star Wars' Saga

More like this

Did you know

Trivia Unused footage of Carrie Fisher shot for Star Wars: Episode VII - The Force Awakens (2015) was incorporated by digitally removing the background and superimposing it elsewhere. Visual effects were used to change her wardrobe and add gray to her hair so the footage would match her appearance in Star Wars: Episode VIII - The Last Jedi (2017) .
Goofs On Kef Bir, the Millennium Falcon is landed by sideways ramming it into a hill, leaving a trail of destruction, due to the landing gear being defective. The Falcon however always had vertical take-off and landing capabilities, so this harsh landing is unnecessary.

Obi Wan Kenobi : These are you final steps, Rey. Rise and take them.

Anakin Skywalker : Rey.

Ahsoka Tano : Rey.

Kanan Jarrus : Rey.

Anakin Skywalker : Bring back the balance, Rey, as I did.

Luminara Unduli : In the night, find the light, Rey.

Mace Windu : You're not alone, Rey.

Yoda : Alone, never have you been.

Qui-Gon Jinn : Every Jedi who ever lived, lives in you.

Anakin Skywalker : The force surrounds you, Rey.

Aayla Secura : Let it guide you.

Ahsoka Tano : As it guided us.

Mace Windu : Feel the force feeling through you, Rey.

Anakin Skywalker : Let it lift you.

Adi Gallia : Rise, Rey.

Qui-Gon Jinn : We stand behind you, Rey.

Connections Featured in WatchMojo: Star Wars Episode IX: The Rise of Skywalker Trailer Breakdown (2019)
Soundtracks Lido Hey Written by Lin-Manuel Miranda and J.J. Abrams Produced and Performed by Shag F. Kava

User reviews 7.8K

TheLittleSongbird
Jan 5, 2020

Lovable Creatures: Our Favorite Screen Pals

How long is Star Wars: Episode IX - The Rise of Skywalker? Powered by Alexa
How did Palpatine build thousands and thousands of giant battleships, and recruit millions of soldiers without a single person knowing?
How can the team fall through quicksand and end up falling into a cave? Shouldn't the sand fall through the cave as well?
How can Rey suddenly learn how to force heal while Darth Vader, being strong in the force and with many years of training, can't do it?
December 20, 2019 (United States)
United States
Official Facebook
Official Hotstar
Star Wars: The Rise of Skywalker
Wadi Rum Desert, Jordan (planet Pasaana)
Walt Disney Pictures
See more company credits at IMDbPro
$275,000,000 (estimated)
$515,202,542
$177,383,864
Dec 22, 2019
$1,077,022,372

Technical specs

Runtime 2 hours 21 minutes
Dolby Atmos
Dolby Digital
IMAX 6-Track
Dolby Surround 7.1
12-Track Digital Sound

More to explore

Star Wars: The Rise of Skywalker review – a thrilling, fun-filled, light-speed finale

Flying stormtroopers, lightsaber duels and a resurrected evil lord … the hugely entertaining final episode in the nine-film saga brims with euphoric energy

S o the ninth and last (we think) movie in the Star Wars saga arrives, and there’s only one thing on our minds. When will Darth Vader’s disturbing grandson, Kylo Ren ( Adam Driver ), and Rey ( Daisy Ridley ) do something about their outrageously obvious telepathic sexual tension and just get a room already? When will they do something about the symbolism of these lightsaber duels of theirs, secure a furtive daytime booking at some intergalactic Premier Inn and give us the most rock’n’roll sex scene – come to think of it, the only sex scene – in Star Wars history? Surely the suits at Disney would be OK with it? Well, oddly, the symbolism of Romeo and Juliet (as well as Dunkirk) might just occur to you in the course of this crazily but very entertainingly grandiloquent adventure.

Now, The Rise of Skywalker has been rather coolly received in some quarters, and I certainly think it isn’t quite as strong as The Last Jedi , around which critical consensus has gathered. (In this trilogy of trilogies, incidentally, it is the second film in each trio – The Empire Strikes Back, Attack of the Clones and The Last Jedi – that has been the strongest episode, though Clones did not have much competition.) There is, I admit, some excessive MacGuffinism (the use of arbitrary objects to drive the story), especially when everyone conceives a great desire to get hold of a supernaturally potent glass tetrahedron, which is then smashed before someone miraculously comes across another mystically significant glass tetrahedron, murmuring: “Oh, there were two!”

The gang’s all here … Oscar Isaac as Poe Dameron.

Which brings us to the second flaw in episode nine: a habit of nullifying jeopardy by perpetually bringing dead people or things back to life. People are forever dying and then returning to the screen, either as poignant memories, or quasi-ghosts, or horribly unnatural resurrections. Partly, I think this is an over-writing flaw, with director JJ Abrams (having taken over from Colin Trevorrow over “creative differences”) working with co-writer Chris Terrio and perhaps over-zealously trying to correct what fans saw as the fault with The Last Jedi and to cover as much ground and as many alternative realities as possible, in the service of a resounding finality. In fact, the ending is no cop-out. There is real sacrifice.

And, to some degree, the dying-not-dying motif was forced on Abrams and Terrio by the fact that Carrie Fisher , who plays General Leia Organa died after the last film, and her marginal presence here has been fabricated with a piece of unused footage in which Fisher is making general-purpose observations that have been ingeniously sewn into dialogue scenes.

The situation now is that Emperor Palpatine ( Ian McDiarmid ) has returned, after we all thought we’d heard the last of him. He has been resurrected in an almost satanic procedure as the artificially galvanised undead Sith lord, wired up to some source of daemonic Sith energy. From here, Palpatine plans to embark on a new insurgency of evil from the First Order, in which General Hux ( Domhnall Gleeson ) and Allegiant General Pryde ( Richard E Grant ) will be complicit and which involves the agonised, almost tragic figure of Kylo Ren, the Order’s leader. And Driver’s performance is genuinely excellent – he brings an absolute commitment to the role, distinguishing it from the tongue-in-cheek black comedy of Gleeson, and, however absurd it sounds, there is subtlety and even delicacy in his vocal range.

Riders in the storm … John Boyega and Naomi Ackie.

What this means is a gallant fightback from the Resistance and the old gang springing into action: Rey, Finn ( John Boyega ), Poe ( Oscar Isaac ), Chewie (Joonas Suotamo) and C-3PO (Anthony Daniels). There is great chemistry and ésprit de corps between them all as they helter-skelter anarchically and almost plotlessly from exotic planet location to exotic planet location, going into full Indiana Jones mode as they barrel about – incidentally discovering, to their enormous chagrin, that stormtroopers can fly these days.

Of course, just as with The Last Jedi and The Force Awakens , very familiar tropes and plotlines are being revived, and maybe the distinctive theme of this trilogy is this fan-fiction-style tribute to the first films. But, however preposterous, The Rise of Skywalker is socked over with such energy, such euphoric certainty. And it’s such fun: full of the rackety exuberance of the now forgotten Saturday morning movie serials that were an influence on George Lucas . Comedy was, incidentally, the keynote of Ron Howard’s excellent and very underrated non-Skywalker-saga Solo: A Star Wars Story . It’s right now for the saga to end, or at any rate to lie fallow, and to leave us with such an exhilarating flourish.

Star Wars: The Rise of Skywalker is released in the UK and Australia on 19 December and in the US on 20 December.

Star Wars: The Rise of Skywalker
Science fiction and fantasy films
Drama films
Daisy Ridley
Oscar Isaac

Comments (…)

Notice: All forms on this website are temporarily down for maintenance. You will not be able to complete a form to request information or a resource. We apologize for any inconvenience and will reactivate the forms as soon as possible.

DVD & Streaming

Star Wars: The Rise of Skywalker

Action/Adventure , Drama , Sci-Fi/Fantasy

Content Caution

In Theaters

December 20, 2019
Daisy Ridley as Rey; Adam Driver as Kylo Ren; John Boyega as Finn; Oscar Isaac as Poe Dameron; Anthony Daniels as C-3PO; Joonas Suotamo as Chewbacca; Billy Dee Williams as Lando Calrissian; Kelly Marie Tran as Rose Tico; Ian McDiarmid as Palpatine; Carrie Fisher as Leia Organa

Home Release Date

March 17, 2020
J.J. Abrams

Distributor

Movie review.

Death Stars are so lame.

Oh, the Galactic Empire gave the concept a go—twice, actually. Both literally blew up in their faces. The upstart First Order figured they’d improved on the concept by getting back to the basics: What’s the point in building a whole new Death Star when you can just stick a gigantic laser cannon in a planet? As we saw in The Force Awakens , that didn’t go so hot, either.

So (spoiler warning, though you learn about this next point in both the trailers and the second sentence of the movie’s opening crawl) Emperor Palpatine—recently dead but, through the miracles of galactic science and evil, still capable of a nefarious plot or two—has hatched a shiny new plan. And both First Order Supreme Leader Kylo Ren and wanna-be Jedi Rey figure prominently in it. The first will be Palpatine’s younger, more mobile avatar in the galaxy, the Emperor hopes; his spiritual son, if you will. The second will be—if all goes well—dead.

But as we’ve seen, Kylo Ren tends to have somewhat violent relationships with his would-be father figures. And honestly, Kylo’s not quite sure he wants Rey dead. She could be a powerful ally, he believes, if Rey could somehow be turned to the Dark Side. Together, they’d be unstoppable.

But Rey has no intention of joining the Dark Side. She’s got other things on her mind: finishing her Jedi training, protecting her friends and, oh yeah, saving the galaxy, too.

Death Stars may be a little passe in this new galactic era. But the Jedi … well, despite always seemingly on the edge of extinction, the old order still has life in it yet.

Positive Elements

For most of the movie, Rey stands as a worthy inheritor of the Jedi order’s lofty, altruistic goals. She’s the film’s primary hero, doing all manner of heroic things and risking her life in all manner of ways. She’s willing to sacrifice herself for her friends and for the galaxy, of course, but that’s old news: The ultimate sacrifice for her involves something a little more complex, and she shows a willingness to make it if she must.

But perhaps the thing most resonant about Rey’s story is that she’s more than just a warrior here: She’s a healer , and her kindness and willingness to help even threats pays dividends.

Of course, all of Rey’s associates—Poe and Finn and Leia and Chewbacca and many, many others—show off their own forms of heroism and sacrifice. Indeed, even droids sacrifice for their cause, and in strangely poignant ways.

Spiritual Elements

The Force is still (ahem) a force in Rise of Skywalker . Though Star Wars: Episode I – The Phantom Menace offered a naturalistic explanation for it (midichlorians, as you recall), it acts and feels much more spiritual, and leaning heavily into an Eastern understanding of spirituality—a near-Taoist yin-yang sense of the cosmos. The Light and Dark sides of the Force are locked in eternal conflict, and we hear at least one reference to the Force needing to be brought “in balance.” (In practice, of course, the Light Side Jedi have always seemed pretty interested in conquering the Dark Side, which leads to a certain spiritual dissonance in worldview messaging, but we move on.)

That Force gives its users, both Light and Dark, a variety of impressive powers: The ability to levitate objects, fire off lightning bolts and, for the first time that I’m aware of, the ability to magically heal others. When those who are strong in the Force die, their corporeal selves sometimes vanish peacefully. They also have the power to return in a more ghostly form, offering advice and such.

We see Rey levitating with her legs crossed while meditating.

[ Spoiler Warning ] The Rise of Skywalker offers one more new twist here, however: We learn that all the Jedi (and all the Sith over on the Dark Side) who’ve previously lived and died somehow live within their still-living representatives. While meditating, Rey seeks to establish a connection with deceased Jedi in two scenes, repeating the phrase “Be with me.” She subsequently hears the encouraging Jedi voices of some who’ve gone before her from within her psyche—an idea that this film plays out in ways that previous installments have not.

Sexual Content

Two primary characters share a kiss. Poe Dameron renews acquaintences which someone who appears to be an old flame; at one point, he looks at her and flicks his head toward a more secluded spot—a silent invitation, the movie suggests, to engage in a more intimate encounter. The old flame shakes her head no. One female character wears a low-cut top.

Back-to-back scenes during a crowded celebratory sequence show a gay female couple kiss and hold hands.

Violent Content

If you count up all the planets and Death Stars destroyed, the Star Wars movies have always had an obscenely high body count. Rise of Skywalker has that, too, but the violence here can feel more intimate and visceral than we’ve seen before. We see a couple of people (and creatures) sport some bloody wounds. In the aftermath of one battle in which Kylo Ren slays many opponents, we see bodies and a dismembered arm lying next to a corpse.

Kylo shows little hesitation in killing aliens and people alike—in the opening moments hacking through dozens of non-humans in a harsh battle sequence. He performs a Darth Vader-esque chokehold on one of his underlings—more violently than we’ve seen Vader do, though not necessarily as lethal. Countless storm troopers, rebels and extras fall to light saber slashes, blaster fire, magic lightning, crashes and explosions.

People fall, or nearly fall, from some pretty lofty heights. Characters get sucked into a quicksand-like trap. The life force is sucked out of a few folks, one way or another. The head of a sentient alien being is tossed on a table.

We see lots and lots of firefights and saber battles. Someone expresses a longing to see Poe’s “brains in the snow.” Our main characters encounter a pile of bones. “Never a good sign,” says C-3PO.

Crude or Profane Language

Three uses of the word “h—,” two of “d–n” and one of “a–.” We hear bit of name-calling here and there as well.

Drug and Alcohol Content

We hear that Poe was once a “spice runner.” Though the movie doesn’t explain exactly what “spice” is, the extended Star Wars canon makes it clear that it’s an illegal substance that forms the foundation of a recreational drug. (It’s perhaps a nod to the addictive spice found in another seminal sci-fi series, Dune . )

Palpatine’s cadaverous new life seems augmented by a phalanx of chemical components, and the guy’s body is attached to some sort of technological tether that, presumably, pumps him full of whatever he needs to keep his constitution in order.

Other Negative Elements

Characters bicker a bit, and they engage the help of a couple of shady characters at times. They use subterfuge to gain access to a First Order ship as well.

It’s the end. Only not really.

The Star Wars universe will continue well past Rise of Skywalker —on TV, in video games, in fan fiction, in toys, in shiny new movies. But certainly, this episode— Episode IX —closes the book on the core Skywalker saga that launched the whole universe and has been running for, oh, 42 years now.

I need not reiterate, really, that the franchise has been perhaps the most influential pop-culture force in the last half-century. The original movie redefined what it meant to be a “blockbuster,” and it’s largely responsible for the cinematic world we live in today: Sprawling, multi-movie storylines; special-effects spectacles; obscenely passionate fans. Without Star Wars, it seems unlikely we’d have the Marvel Cinematic Universe or the Harry Potter saga or much of anything that routinely lands on the top of the box-office charts. Star Wars , in many respects, changed the world, and so this film truly marks the end of an era.

So does it end that era well ?

The final trilogy— The Force Awakens , The Last Jedi and now The Rise of Skywalker —seem as though it’s become progressively more problematic. The violence, while largely bloodless, can feel more visceral and even grisly than it did in some earlier segments (though, admittedly, even the earliest allowed our heroes to spill the ropelike guts of a tauntaun in The Empire Strikes Back ).

While the original Star Wars movie featured only a single swear word—and some, I think, steered clear of profanity altogether— The Rise of Skywalker peppers the dialogue with about a half-dozen profanities. In a first for the Star Wars cinematic universe, we very briefly see a same-sex couple onscreen. It’s a content concern that families have not been forced to address in this franchise, but one that will now require intentional thought if younger eyes notice this brief scene.

And, of course, parents will have to navigate with the issue they’ve always had to deal with in this franchise: the ever-present, all-powerful Force.

Aesthetically, there’s plenty to pick at, too. This movie requires even a greater level of suspended disbelief than in the past.

But for fans of this franchise, The Rise of Skywalker works: not necessarily logically, but emotionally. And it works well.

Rey, Kylo, Finn and Poe have never been more engaging. Some of the action sequences might make you want to jump out of your seat and cheer. The film ties up the saga powerfully and sometimes beautifully, if not cogently. And for those inclined to learn and teach some lessons through the magic of film, this one has plenty to choose from: how love triumphs over hatred. How courage trumps fear. How our choices, not our backgrounds or lot in life, define who we are. How it’s worth fighting for what’s good and right, even when the odds against triumph seem so very long.

Star Wars: The Rise of Skywalker —and really, all the Star Wars movies—have always leaned into emotion. These are movies you feel , and that you don’t necessarily want to think about too much.

But on some level, that’s unfair to these movies. They do want us to think, to think about the heroism, sacrifice and friendship we see. Those are thoughts worth having here. And these themes—heroism, sacrifice, friendship and love—are why (along with some cool light saber battles) I embraced the series from the very beginning, when I was 7 years old. And why, even today, hearing the opening orchestral fanfare makes me grin like I’m 7 again.

Paul Asay has been part of the Plugged In staff since 2007, watching and reviewing roughly 15 quintillion movies and television shows. He’s written for a number of other publications, too, including Time, The Washington Post and Christianity Today. The author of several books, Paul loves to find spirituality in unexpected places, including popular entertainment, and he loves all things superhero. His vices include James Bond films, Mountain Dew and terrible B-grade movies. He’s married, has two children and a neurotic dog, runs marathons on occasion and hopes to someday own his own tuxedo. Feel free to follow him on Twitter @AsayPaul.

Latest Reviews

Unsung Hero

Challengers

Boy Kills World

Weekly reviews straight to your inbox.

Star Wars: The Rise Of Skywalker Review

19 Dec 2019

Star Wars Episode IX: The Rise Of Skywalker

For the third time in many adults' lifetimes, a conclusion of the Skywalker saga. Once again, a trilogy has built to this finale; once again, the fate of the galaxy hangs in the balance. This one features no Sarlaac pit, nor is it as much of a step up from its predecessor as Revenge Of The Sith . But it does feel like a conclusion to the story that director JJ Abrams began in The Force Awakens , for better and sometimes for worse.

Although The Last Jedi split fan opinion, it unquestionably caused the biggest shake up in Star Wars lore since that revelation in The Empire Strikes Back . That opened up the story’s universe to exciting new possibilities: to characters beyond the small Skywalker group and to injustices and shortcomings in the Resistance as well as the Empire. Yet Abrams almost entirely ignores the doors it opened and goes back to his first instinct, sticking close to elements established in The Force Awakens . So abandoned ideas like the Knights of Ren are back, and the conversation about Rey's parentage that Johnson seemed to lay to rest is reborn like the Emperor. Perhaps it should feel like a relief after Last Jedi ’s shocks, but instead the effect is to make this story feel like a step backwards at times rather than a great leap forward, and to make the whole trilogy feel disjointed instead of just one film in it.

Still, some elements are wonderful. Daisy Ridley 's Rey is training now under Leia ( Carrie Fisher ) and has become more confident in her power, if not in her capacity to resist the Dark Side. She is still linked, bound even, to Adam Driver 's Kylo Ren, and their clashes gives the film most of its best emotional scenes. Their strange connection has outlasted Snoke and grown stronger; they can duel no matter where they are in the galaxy, and taunt each other with visions of the future that support their own beliefs. And Ridley’s terrific, tormented by the idea that it is her destiny to go to the Dark Side and afraid of her own power.

She and Kylo are therefore strangely well matched. Rey is passionately invested in her friendships and her cause; he is passionately cynical and suspicious of everyone. Rey is convinced by Finn that she doesn’t have to do everything alone here; Kylo still has terrible impulse control and flits off after her instead of Supreme Lead-ing the First Order whenever possible. But don’t worry, he leaves Domnhall Gleeson 's Hux and Richard E. Grant 's Allegiant General Pryde in charge, both sneering competitively and delightfully at, well, the entire universe but neither seeming entirely reliable.

The story more or less ends up in the right place, despite the threads left hanging.

Meanwhile Finn ( John Boyega ) now travels with Poe ( Oscar Isaac ) and Chewie (Jonas Suotamo) harvesting information from spies for Leia. Poe – in full Indiana Jones mode – is loads of fun here, though these capers bear little relation to his learning curve last time. Boyega is strangely underserved: he gets more screentime than before but less forward motion. While Finn’s bond with Rey is repeatedly said to be important to both, they get no room to actually develop it. He's too busy being introduced to new rebel Jannah ( Naomi Ackie ), a charismatic actress without much to do. It might have been more economical storytelling to just let Finn shack up with Poe – or to give Rose Tico ( Kelly Marie Tran ) more than a few lines. Keri Russell 's Zorii Bliss is another interesting figure who’s ultimately mostly there to flirt with Poe. Does he really need another love interest when he can generate heat with literally anyone? Alongside other newcomers like Babu Frik (Shirley Henderson) and droid D-0, and the glorious return of Lando ( Billy Dee Williams ) and others, there’s a whole lot of distraction on our heroes’ journey. Sometimes it’s fan service, but too often it feels more like pandering.

That journey, too, is more complicated than normal. To defeat the Emperor, our heroes face a quest straight from high fantasy or average gaming: find the thing that points to the other thing to do the next thing, with a couple of bonus rescues along the way. The trail leads to the storm-battered remnants of the second Death Star, the "Forbidden Desert of Pasaana" and the snow-flecked world of Kijimi. The level of craft and design in these films remains extraordinary; visually they’re all gorgeous, particularly the towering waves of that world in the Endor system.

As they search, destiny keeps calling. Rey and Kylo must face one another again; the Emperor must be defeated without the victor simply taking his place on the Sith Throne. And Emperor Palpatine is back, terribly changed but still potent, more machine now than man. Whether that is a good thing for Star Wars storytelling is less clear.

That’s because, for all the visual panache, pleasing cameos and interesting newcomers here, for all that Ridley and Driver pour into their stand-offs, the Emperor's presence shows a disturbing lack of faith at the heart of Rise Of Skywalker . The fan backlash last time has been taken on-board too well; the storytelling here sputters whenever it approaches any similar chance to turn away from narrative convention and do something truly unexpected. You wish that this galaxy didn't feel so small and scared of stepping away from George Lucas ' shadow.

Maybe it won’t matter to fans. 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.

Movies | 25 04 2024

Movies | 08 04 2024

TV Series | 08 04 2024

Movies | 13 02 2024

Movies | 07 08 2023

TV Series | 21 07 2023

Movies | 12 05 2023

Movies | 04 05 2023

Supported by

‘Star Wars: The Rise of Skywalker’ Review: Revolution No. 9

Resistance is futile. Rey, Finn and Poe are back; so is Kylo Ren. No spoilers here.

Share full article

By A.O. Scott

Not that anybody has asked, but if I had to come up with a definitive ranking of all the “Star Wars” episodes — leaving out sidebars like the animated “Clone Wars,” the young Han Solo movie and the latest “Mandalorian” Baby Yoda memes — the result could only be a nine-way tie for fourth place.

You know I’m right, even if you insist on making a case for “The Empire Strikes Back” or “ The Last Jedi ,” to name the two installments that are usually cited as the best individual movies. (Please do not insist.) At least since “The Return of the Jedi” (1983), the point of each chapter has been consolidation rather than distinction. For a single film to risk being too interesting would be to imperil the long-term strategy of cultivating a multigenerational, multinational fandom. “The Rise of Skywalker” — Episode IX, in case you’ve lost count — is one of the best. Also one of the worst. Perfectly middling. It all amounts to the same thing.

In retrospect, it’s clear that the series has evolved — or was designed, if you favor that theology — to average out over time, to be good enough for its various and expanding constituencies without alienating any of them. Over the years, my own allegiances have shifted. When I was a kid back in the “New Hope” era , I liked the action and the wisecracks and Princess Leia. By the end of Anakin Skywalker’s grim journey to the Dark Side in “Revenge of the Sith” I had developed a scholarly preoccupation with the political theory of galactic imperialism. More recently I’ve grown fond of some of the cute new droids and space creatures, and also of the spunky resistance fighters with their one-syllable names. Rey. Finn. Poe.

They are back, of course — played with unflagging conviction by Daisy Ridley, John Boyega and Oscar Isaac. Also back is everyone’s favorite Dark-Side-curious emo-Jedi bad boyfriend, Mr. Kylo Ren, formerly known as Ben Solo and irrefutably embodied by Adam Driver. I will say very little about what any of these people — or C-3PO, Chewbacca, BB-8 and any new characters or surprises — actually do for two and a half hours, because the spoiler-sensitive constituency is especially large and vocal.

Also because they do and say quite a lot. “The Rise of Skywalker” has at least five hours worth of plot, and if that’s your particular fetish, I’m not going to get in the way of your fun. Suffice to say that various items need to be collected from planets with exotic names, and that bad guys cackle and rant on the bridges of massive spaceships while good guys zip around bravely doing the work of resistance. Mysteries are solved. Sacrifices are made. Fights are fought in the air, on the ground and in deep cavernous spaces where … but that’s enough for now.

The director is J.J. Abrams, perhaps the most consistent B student in modern popular culture. He has shepherded George Lucas’s mythomaniacal creations in the Disney era, making the old galaxy a more diverse and also a less idiosyncratic place.

Rian Johnson , who wrote and directed “The Last Jedi,” injected some rich color and complicated emotion into the chronicles of domination and rebellion, and also a dash of iconoclastic energy. The bond between Rey and Kylo felt both politically dangerous and sexually provocative, while Rey’s obscure origins suggested that the rebels might finally come to represent something more genuinely democratic than the enlightened wing of the galactic ruling class.

Abrams, who also directed “The Force Awakens,” the first chapter in this trilogy, suppresses that potential, reaffirming the historic “Star Wars” commitment to dynastic bloodlines and messianic mumbo-jumbo, even as he ends on a note of huggy, smiley pseudo-populism. The whole Kylo-Rey thing turns out to involve their grandparents, which is kind of weird, though it could have added a shiver of gothic creepiness to the story. Ridley and Driver are downright valiant in their pursuit of tragic dignity in increasingly preposterous circumstances.

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.

Star Wars: The Rise of Skywalker

Rated PG-13. Kylo feels really bad. Running time: 2 hours 22 minutes.

A.O. Scott is the co-chief film critic. He joined The Times in 2000 and has written for the Book Review and The New York Times Magazine. He is also the author of “Better Living Through Criticism.” More about A.O. Scott

Explore More in TV and Movies

Not sure what to watch next we can help..

Sydney Sweeney and Glen Powell speak about how “Anyone but You” beat the rom-com odds. Here are their takeaways after the film , debuting on Netflix, went from box office miss to runaway hit.

The vampire ballerina in the new movie “Abigail” has a long pop culture lineage . She and her sisters are obsessed, tormented and likely to cause harm.

In a joint interview, the actors Lily Gladstone and Riley Keough discuss “Under the Bridge,” their new true-crime series based on a teenager’s brutal killing in British Columbia.

The movie “Civil War” has tapped into a dark set of national angst . In polls and in interviews, a segment of voters say they fear the country’s divides may lead to actual, not just rhetorical, battles.

If you are overwhelmed by the endless options, don’t despair — we put together the best offerings on Netflix , Max , Disney+ , Amazon Prime and Hulu to make choosing your next binge a little easier.

Sign up for our Watching newsletter to get recommendations on the best films and TV shows to stream and watch, delivered to your inbox.

‘Star Wars: The Rise of Skywalker’ Review: A Perfectly Imperfect Last Chapter

By Peter Travers

Peter Travers

Whether you were around in 1977 when creator George Lucas first unleashed his cultural behemoth in theaters, or you just started binge-watching the whole thing yesterday on your phone, Star Wars is undeniable — just as skipping the ninth (and, so they claim, the last) is unthinkable. All that’s left is the rush to judgment on whether director and co-writer J.J. Abrams made sure Star Wars: The Rise of Skywalker is everything you want and need it to be. Short answer: Of course it isn’t. The impossible job of being all things to all Star -gazers leaves Abrams, who kicked off the third trilogy with The Force Awakens in 2015, straining to cram in everything. The result is often chaos, but it’s also a euphoric blast of pulse-quickening adventure, laced with humor and heart. Sure, you’ll nitpick the thing to death with your friends. But that’s the point. When it comes to Stars Wars fandom, the infighting is as crucial as the love.

Of course you have questions about the plot: Who lives, who dies, who tells their story? Will Rey (Daisy Ridley) join Kylo Ren ( Adam Driver ) on the Dark Side? Is Reylo a thing? Will there be an epic kiss? Who are Rey’s parents? How does Carrie Fisher, who died in 2016, manage to turn up one last time as Princess Leia? Will the ghosts of Han (Harrison Ford) and Luke (Mark Hamill) — now one with the Force — make appearances? And will Episode IX really be the end? The answers: It doesn’t feel like the end to me. And if I say anything more, the spoiler police will pounce.

Know this: There is no Baby Yoda (we have The Mandalorian for that). Rise of Skywalker comes in hot on a battle between Rey and Kylo. They use lightsabers (now and forever the coolest). Kylo, still fetishizing the headgear of his granddaddy Darth Vader, is pissed that Rey sides with the Resistance, and won’t take his hand (he uses that ardent phrase) and join him as Supreme Leader of the villainous First Order. “I killed Snoke,” snarls Kylo, “and I’ll kill you.” He doesn’t mean it. Or does he? He’s still taking orders from the hooded, ghastly-pale Emperor Palpatine (Ian McDiarmid), who is determined to get Rey in his clutches before she can complete her Jedi training and Kylo can get too close to her. Driver is terrific at bringing danger and depth to the conflicted Kylo, born Ben Solo to his parents Han and Leia. His haunted presence makes the movie.

Editor’s picks

The 250 greatest guitarists of all time, the 500 greatest albums of all time, the 50 worst decisions in movie history, every awful thing trump has promised to do in a second term.

Bloodlines are a huge deal in the Star Wars canon. Rey still doesn’t know her parents (she’ll soon find out), but she’s loyal to Leia, now a general. Thanks to unused footage from 2017’s The Last Jedi‚ director Rian Johnson’s much-debated middle chapter in this final trilogy, Fisher is back in action, and the warmth of her presence raises the bar (and not a few tears). It’s deeply moving to watch Leia pass the mantle of power to Rey, whose rise the film documents. And Ridley comes into her own here as a soul-searching Jedi fighter who learns that nothing in the Jedi handbook can beat following her own gut.

The plot that Abrams cooks up with co-screenwriter Chris Terrio hinges on the fact that Rey and her Resistance team need to get their hands on a crystal that will show them the way to Exogol, the hidden land of the Siths, where Palpatine intends to establish himself as the leader of the Final Order. Got that? Doesn’t matter. It’s just an excuse to get the old gang together: Chewie, R2-D2, C-3PO, and BB-8. John Boyega doesn’t have much to do as Finn, the ex-stormtrooper who turned against the Dark Side. Oscar Isaac zips and quips dashingly as the pilot Poe Dameron, but his character is too closely modeled on Han Solo, and Poe’s flirtation with the armored and masked Zorii Bliss (Keri Russell) seems extraneous. Things pick up when Billy Dee Williams, now 83, returns as Lando Calrissian, the smack-talking general we haven’t seen since 1983’s Return of the Jedi.

Comparisons to the past history of Star Wars (let’s not dwell on the excruciatingly dull prequel trilogy that Lucas foisted on us starting in 1999) don’t really serve its final chapter. But there is a provocative theme at play: the attempt of the Emperor to make the Jedi feel alone in the galaxy and incapable of resistance (even a Wookie would get that Trump reference). There is also no disputing the fanboy reverence Abrams feels for what came before — the X-wing dogfights, the lightsaber duels, the camaraderie. Lucas recently expressed his disappointment that The Force Awakens was basically a remake of 1977’s Star Wars: A New Hope . And others will never forgive Johnson for turning Luke into a mad nihilist out of Apocalypse Now in The Last Jedi. But there we go squabbling again. Flaws and all, The Rise of Skywalker is part of our film history and, when Rey and Kylo seize the screen, an indelible part of our hearts.

Nicole Kidman Becomes First Australian to Earn AFI Lifetime Achievement Award

she makes movies better
By Daniel Kreps

Meet the MVP of 'Shōgun' — Ex-Punk Rocker and Japanese Movie Star Tadanobu Asano

TOKYO DRIFTER
By David Fear

What’s the Story Behind the ‘I Told Ya’ T-Shirt in 'Challengers'?

Game, Set, Match!
By Kalia Richardson and Sage Anderson

SZA and Keke Palmer Land Lead Roles in New Issa Rae-Produced Comedy Film

TriStar Trifecta
By Larisha Paul

Aaron Sorkin Blames Facebook for Jan. 6 and He's Trying to Write a 'Social Network' Sequel About It

Drop The 'The'
By Jon Blistein

Most Popular

Anne hathaway says 'gross' chemistry test in the 2000s required her to make out with 10 guys: that's the 'worst way to do it' and 'now we know better', louvre considers moving mona lisa to underground chamber to end 'public disappointment', 'the lord of the rings' trilogy returning to theaters, remastered and extended, sources gave an update on hugh jackman's 'love life' after fans raised concerns about his well-being, you might also like, colin jost wins over tough white house correspondents dinner crowd with praise for ‘decent’ biden, abby phillip flows in gold pleated dress by sergio hudson on white house correspondents’ dinner 2024 red carpet, the best yoga mats for any practice, according to instructors, bob bakish expected to resign as paramount ceo amid skydance merger talks, messi’s road show shatters another attendance record.

Verify it's you

Please log in.

'Star Wars: The Rise Of Skywalker' Review: The Saga Ends With A Rushed, Disappointing Finale

There was so much promise in the new Star Wars trilogy. A young, fresh, likable cast of characters was brought in to interact with classic characters. The legacy lived on. The excitement was palpable, and even when missteps were made, there was a real sense that we were experiencing blockbuster filmmaking at its finest. And that makes Star Wars: The Rise of Skywalker all the more heartbreaking. What started so promisingly with The Force Awakens and reached exciting heights with The Last Jedi ends in almost unthinkable disappointment. What should have been the big, triumphant conclusion to the Skywalker Saga has instead ended with plenty of sound and fury signifying nothing.

When J.J. Abrams returned to helm The Rise of Skywalker , there was some question as to how he would treat the events of the trilogy entry he didn't direct, The Last Jedi . Rian Johnson's Force Awakens follow-up famously refused to explore many of the dangling storylines Abrams set-up, instead trying to take the saga into uncharted waters. Leading up to the release of Skywalker , Abrams was asked again and again by interviewers: would he ignore The Last Jedi ? Abrams swore he would not, and as it turns out, he was telling the truth. The Rise of Skywalker does take into account the events of Jedi .

But here's the curious thing: at the same time, the movie feels weirdly disconnected from not just The Last Jedi but from Abrams' own Force Awakens as well. The Rise of Skywalker is like its own little satellite, hurtling off through space on a chaotic orbit. Even though we spend the entirety of the film with characters we've grown to know and love, they all feel adrift, and worse, underserved.

When Avengers: Endgame , another huge blockbuster conclusion, arrived earlier this year, there was a true sense that the journey with these particular characters had come to an end. Sure, there will still be Marvel movies, just like there will still be Star Wars movies. But for all its flaws, Endgame felt like a well-earned final act – the big, celebratory curtain call that the saga deserved. There's nothing even approaching that in The Rise of Skywalker , which aims to be not just a conclusion to this new trilogy, but to the so-called Skywalker Saga as a whole. This movie should leave you feeling as if you've completed a spectacular journey. Instead, The Rise of Skywalker simply irises out to show Abrams' directorial credit, and you wonder, "Is that it?"

As Rise of Skywalker kicks-off, the Resistance is still struggling to stay afloat while the First Order continues to grow stronger. But there might be hope! There's a spy inside the First Order funneling info to the Resistance, which is good news. But there's bad news, too: the Emperor is back. The Rise of Skywalker announces the villain's unlikely return in the opening crawl with appropriately pulpy text, all in caps, crying out: "THE DEAD SPEAK!" It's exactly the type of silly-but-fun set-up the hard-to-swallow return of a clearly deceased character deserves.

Unfortunately, Skywalker tanks that goodwill rather quickly, rushing through a convoluted storyline that's painfully clunky, chock-full of eye-rolling exposition that's bound to give you a headache. There's an organic way to lay out all the details on display here, but screenwriters Abrams and Chris Terrio haven't cracked it. Instead, they have the characters shuttle off from one planet to the next where they promptly meet one new character after another who proceeds to give them a speech about just what the hell is going on. Naomi Ackie and Keri Russell make the most of two of these parts, but their characters are so woefully underwritten that they may as well not be in the movie at all.

What keeps The Rise of Skywalker from tanking completely is the cast. For the first time since this trilogy began, our main heroes spend most of the bulk of the story together. Jedi Rey ( Daisy Ridley ) is more powerful than ever, but her self-doubt is immense. Meanwhile, pilot Poe ( Oscar Isaac ) and Stormtrooper-turned-Resistance Fighter Finn ( John Boyega ) are ready to hop in the Millennium Falcon with Chewbacca and fight. General Leia – the late Carrie Fisher , appearing here via archival footage that sadly always seems unnatural and shoehorned in – sends the gang on a mission to find what amounts to a glowing GPS that might as well be called The Macguffin Crystal.

Elsewhere in the galaxy, Kylo Ren ( Adam Driver ) is now the Supreme Leader, and he's hellbent on tracking down Rey. But like Rey, Kylo is conflicted. He may be fully engulfed in the Dark Side, but his connection to Rey has him flummoxed. These two crazy kids are drawn to each other, whether they like it or not. And how does the Emperor fit into all of this? You'll have to wait and see, but know this: it's not at all satisfying – or even that interesting.

What is satisfying: the performances. Ridley continues to be the MVP of this saga, bringing raw humanity to her part that makes Rey so likable. Abrams knows just how to frame Ridley's face, too, so that her very large eyes do most of the talking without the actress having to speechify. Boyega and Isaac make a wonderful pair, and the duo gets to trade barbs back and forth like they're in a screwball comedy. And Driver's Kylo Ren continues to be the most fascinating villain in the history of the franchise – he's like an exposed wire spitting sparks while his frame is somehow both lanky and hulking, his face a mask of conflicted anger.

Will Rise of Skywalker entertain the crowds? Probably! Its action is fairly non-stop, approaching Michael Bay levels at times, and that keeps the film from being boring. Plus there are several big setpieces that manage to thrill, especially a lightsaber battle on top of some space wreckage located in the midst of monstrous, crashing waves. But there's so much wasted potential here. As the story draws to its big, loud climax, and one fan-service moment after another arises, you begin to get the sense that Abrams is just checking off boxes and fulfilling a quota. There's no spark; no joy; no life. If this truly is the end of the Skywalker Saga, what an ignoble end it is.

/Film Rating: 5 out of 10

Skip to main content
Keyboard shortcuts for audio player

Movie Reviews

Movie review: 'star wars: the rise of skywalker'.

Bob Mondello

The third movie in the third trilogy of the scrappy little space-opera-that-could — Star Wars: The Rise of Skywalker — opened this weekend.

MICHEL MARTIN, HOST:

Movie critic Bob Mondello tells us he worked like a droid to finish his review of "Star Wars: The Rise Of Skywalker" in time for Wednesday's ALL THINGS CONSIDERED. But, as you may recall, that was when the House of Representatives debated the articles of impeachment against President Trump for hours. And all across the country, member stations switched to NPR's live coverage from Capitol Hill. We're betting many of you never got the chance to hear what Bob had to say, so here is an encore of his "Rise Of Skywalker" review.

BOB MONDELLO, BYLINE: Earlier this week, I overheard a guy in the NPR elevator saying, whenever a new "Star Wars" movie opens, I try to see it twice on the first day. It's a lot to process. As a theoretically jaded movie critic, my first response was to chuckle. But in mid eye-roll, I remembered leaving a first-day matinee of the original "Star Wars" in 1977 and getting right back in line to buy tickets for the midnight show. It was a lot to process, as is "The Rise Of Skywalker."

(SOUNDBITE OF FILM, "STAR WARS: THE RISE OF SKYWALKER")

UNIDENTIFIED ACTOR #1: (As character) We've spotted the fugitives.

MONDELLO: Director J.J. Abrams doesn't just have to end the third trilogy that he started with "The Force Awakens" a few years back. He also has to tie up a lot of loose ends, genuflect before the six movies in the first two trilogies, name check, voice check and face check a whole lot of characters and somehow still make us feel we're seeing things we haven't seen - A new stormtrooper tactic, for instance.

ANTHONY DANIELS: (As C-3PO) They fly now.

JOHN BOYEGA: (As Finn) They fly now?

OSCAR ISAAC: (As Poe Dameron) They fly now.

MONDELLO: Now, as that exchange suggests, repetition and reinforcement are the director's stock in trade, where the most recent "Star Wars," Rian Johnson's "The Last Jedi" pleased critics and annoyed super-fans by suggesting some mildly new directions the series might head off in.

UNIDENTIFIED ACTOR #2: (As character) Which way?

UNIDENTIFIED ACTOR #3: (As character) No idea. Follow me.

MONDELLO: Abrams pulls everything back in this one. He's here to pay homage to what's gone before and takes that task seriously.

IAN MCDIARMID: (As Emperor Palpatine) I have been every voice you have ever heard...

JAMES EARL JONES: (As Darth Vader) ...Inside your head.

MCDIARMID: (As Emperor Palpatine, laughing)

MONDELLO: Not doing anything that's going to give fans palpitations, as it were, there is plenty of the usual action - space cruisers exploding or falling majestically, lots of lightsaber rattling. And to vary the pacing, there's also the sage advice from elders for which "Star Wars" is known.

MARK HAMILL: (As Luke Skywalker) We've passed down all we know. A thousand generations live in you now. But this is your fight.

MONDELLO: Though the new kids - earnest Finn, smart alec Poe and forceful Rey have taken up the fight, guidance from their predecessors has consistently powered this trilogy. Just as Han was central to "The Force Awakens" and Luke to "The Last Jedi," "The Rise Of Skywalker" was intended as Princess Leia's swan song. And by employing previously unused footage of the late Carrie Fisher, Abrams has found a way to give her an emotional sendoff.

HAMILL: (As Luke Skywalker) The force will be with you.

CARRIE FISHER: (As Leia Organa) Always.

MONDELLO: And with us all, presumably. The Skywalker saga may be ending, but "Star Wars" spin-offs won't be. And Abrams offers a sort of guidebook here for things that never get old - cute droids, for instance, of which there's a newbie, the fortitude of rebel fighters...

DAISY RIDLEY: (As Rey) Use (unintelligible) data.

DANIELS: (As C-3PO) Happily.

MONDELLO: ...And the impressive housekeeping on the bad guys' warships. Say what you will about the Sith, they employ some serious clean freaks - floors that gleam no matter how many stormtroopers bite the - well, there's no dust for them to bite.

UNIDENTIFIED ACTOR #4: (As character, screaming)

MONDELLO: Meanwhile, "The Rise Of Skywalker" is a chance for fans to revel in what was, what has been, in fact, for 42 years. It doesn't do anything new or even terribly distinctive, but maybe it didn't have to. It just had to be good enough to stick the landing, and it does that. I'm Bob Mondello.

NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

Rey lit by blue and red lightsabers from Star Wars: The Rise of Skywalker

Filed under:

Star Wars: The Rise of Skywalker is a defeat, even in moments of triumph

J.J. Abrams dives straight down the nostalgia well in Episode IX

Share this story

Share this on Facebook
Share this on Reddit
Share All sharing options

Share All sharing options for: Star Wars: The Rise of Skywalker is a defeat, even in moments of triumph

[ Ed. note: This review reveals no specific plot points from Star Wars: The Rise of Skywalker . Polygon will have more in-depth story analysis in future reviews and essays after the film’s Dec. 20 release.]

It’s been more than 40 years since George Lucas launched an entire universe with 1977’s Star Wars , later styled as Star Wars: Episode IV — A New Hope . The film was an instant hit, in part because it was such an original take on familiar material. Lucas drew heavily on classic Westerns and Akira Kurosawa films to shape his galaxy far, far away, but he gave the setting a fresh and highly specific new face and tone. Aping the past while revamping it into the future has been built into Star Wars’ DNA from the very beginning. So J.J. Abrams’ finale, Star Wars: The Rise of Skywalker , with its aggressive, relentless copycatting of the past, should fit thematically into Lucas’ vision.

But it doesn’t feel like it’s respecting the series’ past. It’s more like Abrams is obsessively hiding behind it.

Back when the final Star Wars trilogy was about to launch with 2015’s The Force Awakens , fans were vocally nervous about what Abrams would do to their beloved franchise. He had previously resurrected the Star Trek film franchise in a sleeker, younger, much more foul-mouthed and smart-assed form. His alteration of the Trek canon included some major rewrites of beloved characters and a newly revved-up tone. While some audiences embraced the changes, others bridled at them, and openly wondered what Star Wars would look like if Abrams tried to give it an equally frat-boy-minded mentality.

But Abrams took a different tack. The Force Awakens embraced fan nostalgia by re-creating A New Hope for a new era. Half sequel, half stealth remake, The Force Awakens introduced a reskinned Empire and a new Darth Vader, a gender-swapped Luke Skywalker and a modernized R2-D2, and a whole lot more familiar elements. Fans and critics alike were generally positive about the film, which set out to hand Star Wars over to a new generation of young heroes. At the same time, it turned those characters into fan avatars who thrilled at the chance to hang out with their heroes Luke Skywalker (Mark Hamill), Leia Organa (Carrie Fisher), and Han Solo (Harrison Ford) — even as those older heroes were in the process of moving on.

Rian Johnson’s sequel, The Last Jedi , leaned much harder on the “handover to the new generation” idea, with a kill-your-idols approach that subverted fan expectations and openly asked viewers to accept that the series was evolving away from the Skywalker lineage that defined Lucas’ original film trilogy. As a result, The Last Jedi has proved incredibly contentious, with detractors varying mostly in whether they blame the message, the execution, or both. Seemingly leery of that divisive response, Abrams steers The Rise of Skywalker straight back to the nostalgia-courting approach that served him so well with The Force Awakens .

Rey and Kylo Ren stand on opposite ends of the sunken Death Star bridge in Star Wars: The Rise of Skywalker

The most notable effect of that plan is that just as The Force Awakens mirrors A New Hope in characters, conflicts, and plot beats, Episode IX closely mirrors 1983’s Return of the Jedi , to the point where savvy fans could easily call out half the locales, enemies, and story turns well in advance. It’s a remarkably safe and timid approach, one that consciously reflects viewers’ cinematic pasts back at them, with a “You loved this last time, right? Here’s more of it!” attitude. It’s the rom-com method of storytelling, essentially cinema as comfort food: The story is pat and predictable enough to be soothing, and the surprises exist only in the details that mix up the story.

In this case, those telling details largely come in the form of abruptly introduced new abilities that change the dynamics of a lot of conflicts. The new Sith abilities that drive the plot may rankle purists, but they’re part of the buy-in for the story. The new space-battle tactics are much more likely to frustrate viewers who remember past canon. And fans who raged over The Last Jedi ’s introduction of heretofore unseen Force powers aren’t going to have an easier time with The Rise of Skywalker , which pushes the Force even further into the realm of “all-powerful, all-flexible magic bullet” than ever before. Those abilities come to Rey (Daisy Ridley) and, more notably, her fated adversary Kylo Ren (Adam Driver), whose psychic connection with Rey is used to keep the plot moving along at a breakneck speed, to force a series of confrontations that form the movie’s backbone, and to enable a number of startlingly visually playful meetings of the mind.

The nonstop pace is an advantage in some ways for The Rise of Skywalker. It makes the film feel like a sped-up victory tour around the Star Wars galaxy, as the protagonists hop rapidly from one planet and conflict to the next, meeting new allies and worrying over past foes. The gasping pace doesn’t leave much time for contemplating plot holes, or noticing that the stakes feel lighter than ever, even though in theory, entire planets are on the line. It also doesn’t leave time for further character development, any form of nuance, or even a moment’s reflection on the passing of an age. The Rise of Skywalker pointedly opens with a series of action scenes featuring different characters in different environments, all charging forward with such a frantic, breathless intensity that the audience is blocked from wondering why or whether any of the action matters. And that energy rarely lets up over the course of close to two and half hours.

All this charging about would feel more consequential if the characters’ goals didn’t feel so arbitrary. Early on, Abrams and co-writer Chris Terrio introduce one of the laziest of cinematic tropes: an all-important MacGuffin the characters must find to move forward. The protagonists spend a great deal of time and energy chasing this object, but they’re constantly interrupted by new and changing goals of the moment, which are often reached and resolved in a blind rush. It frequently feels as if no one really cares what the characters are pursuing, as long as they’re doing it loudly, quickly, and with plenty of callbacks to the original trilogy, from characters to situations to specific lines.

Chewbacca and Lando Calrissian fly the Millennium Falcon into battle in Star Wars: The Rise of Skywalker

The sense of a great deal of busywork being accomplished in an immense rush prevents The Rise of Skywalker from developing any larger themes, apart from the need to remind fans that they loved it when, say, Luke faced his evil cave doppelgänger in The Empire Strikes Back , or when Obi-Wan Kenobi posthumously whispered advice in Luke’s ear in A New Hope . It’s the first film of the final trilogy to lean on these echoes in place of any larger ideas. The Force Awakens was arguably about how history is cyclical, and the battles of the past will need to be fought again in the future by a new wave of idealists who may know little about the forces that shaped their environment. The Last Jedi was about letting go of the past entirely, and accepting that the future is more important.

But The Rise of Skywalker is almost a meta-movie about how Star Wars is cool, and people’s memories of it are cool, and their ability to follow an endless string of references is cool. Finn (John Boyega) and Poe Dameron (Oscar Isaac) get their share of screen time, alongside classic characters Lando Calrissian (Billy Dee Williams), Chewbacca (Joonas Suotamo), and C-3PO (Anthony Daniels), who’s still the endlessly belittled butt of derisive jokes, even as he briefly, hurriedly takes on his most central role in the series to date. Rose Tico, played by Kelly Marie Tran, has an insultingly minimal role this time out, but the late Carrie Fisher as Leia gets as much screen time as previously shot footage allows, and it’s a moving send-off.

Yet they’re all ciphers in a fast-moving machine that zips from one planet to another, and from one space battle or lightsaber battle to the next, with little sense of impact. Some of those clashes look tremendous — one fight that takes place in the middle of a raging sea is visually stunning and weighty — but shockingly few of them really matter, especially in an environment where so many of the seemingly monumental plot developments are quickly reversed.

Rey, with lightsaber out, prepares for a fight on a desert planet in Star Wars: The Rise of Skywalker

Abrams and Terrio do attempt to bring scale and consequence to The Rise of Skywalker , but many of their biggest gambits are meant more for the fans than for the characters. At one point, Rey announces that she embodies all the past Jedi of history, while her adversary says he’s all the Sith that came before him. At another point, she returns to a beloved past locale from the film series — one she has no personal connection to, but appears to be enjoying entirely on the audience’s behalf. There’s certainly a palpable sense throughout The Rise of Skywalker that the creators are trying to revisit and pay off every satisfying battle and memorable moment from Skywalker Saga history all at once, by echoing them and turning them into a single symbolic conflict that can be repeated here one last time.

That sense of repetition and nostalgic recognition dominates the film, far more than any single revelation or payoff. The message, to the degree that The Rise of Skywalker bothers with one, is that we all remember and love Star Wars, so of course we’d be glad to see it all again, remixed and revved up and delivered in an energetic gabble.

But it’s bizarre to see Abrams and Terrio implying that even after 40 years of waiting for a finale, they just don’t have time to slow down, take a breath, and consider who these characters are, or what they’ve become after so many trials and traumas. It’s honestly true that George Lucas’ series kickoff A New Hope , with its tremendous creativity and its tremendous legacy, holds more cultural weight than anything the series is doing today. So repeatedly referencing and recapitulating that film and its direct sequels may feel more significant, and more fan-friendly, than striking out with an original vision.

But having the people in charge of Star Wars ’ legacy acknowledging their own inability to move forward is a sad way for the story to end. Even as The Rise of Skywalker ’s characters claim their ultimate triumph, the film feels clumsy, hurried, and above all, like an admission of creative defeat.

Star Wars: The Rise of Skywalker hits theaters on Dec. 20.

The Rise of Skywalker deep dive

Skywalker screenwriter Chris Terrio on ending a series that can’t end
Everything George Lucas has said about his theoretical Star Wars sequel trilogy
Oscar Isaac reflects on playing Poe
Keeping Leia in The Rise of Skywalker came at a cost
Naomi Ackie on bringing Jannah into the Star Wars universe with Rise of Skywalker
Rise of Skywalker star Richard E. Grant has been ‘cocooned from Baby Yoda’
There’s a best way to watch The Rise of Skywalker
Answering your biggest questions about the Emperor’s return
The Rise of Skywalker caused a divide in the Reylo fandom
Every Star Wars voice cameo you hear in Rey’s big moment
The big Rise of Skywalker reveal doesn’t mean anything for Rey in the end
How the final battle echoed a classic Star Wars novel
Rey’s final lightsaber has a unique place in Star Wars history
Rise of Skywalker’s opening crawl references an event you could only hear in Fortnite
Solving the lingering mysteries of The Rise of Skywalker
The Rise of Skywalker cameo that gave certain Star Wars fans closure
Rise of Skywalker is the perfect messy end for a series that already ended twice
The Sith voices chanting for the Emperor in The Rise of Skywalker are no longer a mystery
The end of Rise of Skywalker changes what we know about the Sith
The connection between Kylo Ren and prequel-era Anakin
The Star Wars sequels’ big twist kept changing until the last minute
The best parts of Star Wars: The Rise of Skywalker
Everything the TRoS novelization adds to the movie
The Star Wars Skywalker Saga gets a huge 4K box set alongside Rise of Skywalker release
What the future of Star Wars looks like after Rise of Skywalker
What do the Jedi actually stand for now?
Rise of Skywalker opening weekend box office falls short of Force Awakens and Last Jedi
When you’ll actually see Star Wars: The Rise of Skywalker on streaming platforms
Watch the two new Rise of Skywalker scenes Disney added to the Star Tours ride
The best order to watch all the Star Wars movies and shows
How a key Clone Wars character could make a return after Rise of Skywalker
Star Wars: The Rise of Skywalker arriving to Disney Plus on May 4

Entertainment
<i>Star Wars: The Rise of Skywalker</i> Tries Too Hard to Be Everything to Everyone

Star Wars: The Rise of Skywalker Tries Too Hard to Be Everything to Everyone

S tar 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.

Star Wars: The Rise of Skywalker opens, as the Star Wars films traditionally do, with a crawl: “The dead speak!” it tells us. What are they saying? Wouldn’t you like to know. At the end of the 2017 Star Wars: The Last Jedi , directed by Rian Johnson, First Order baddie Kylo Ren (Adam Driver) killed the even bigger baddie Snoke (Andy Serkis) and declared himself Supreme Leader. At the beginning of The Rise of Skywalker, we see our new Supreme Leader Kylo fondling a glowing green power thingie. Pay attention to this power thingie, because for most of the movie…you’ll see neither hide nor hair of it. But you know it’s got to mean something .

Meanwhile, elsewhere, powerful warrior orphan Rey (Daisy Ridley) commences Jedi training with the former Princess, now General, Leia Organa ( Carrie Fisher ), who has assured her that the Resistance has a chance to overthrow the First Order. Rey hovers in the air, cross-legged, as rocks float around her. The Force, channeled correctly, allows you to do stuff like this. Meanwhile, Kylo receives orders from a dead person—the dead are speaking, just as promised. Hotshot pilot Poe Dameron (Oscar Isaac) is flying around and grousing about various indignities. Former Storm Trooper, now Resistance fighter, Finn ( John Boyega ) spends much of his time at Poe’s side being charmingly conciliatory; occasionally he gets to be heroic. If you didn’t much care for Finn’s smart, appealing sidekick and potential love interest from the last movie, engineer Rose Tico (Kelly Marie Tran), you’re in luck—here she’s stuck on the ground tinkering with space-ship engines, behind the scenes. The fans have spoken.

Stuff happens in The Rise of Skywalker . Just when you think stuff is going to stop happening, it keeps happening. Characters die temporarily and then—surprise!—turn out to be not dead at all. Or they die and they’re resurrected. To be fair, a few really do just die. But the rules guiding the plot logic of The Rise of Skywalker are conveniently lax. When Abrams needs to shift the action, he’ll just have one character or another shout “[Blank] is coming! We’ve got to go!” One confrontation between nemeses is left hanging in one of these “We’ve got to go!” moments, and nobody is supposed to notice.

There are one or two pleasures to be had in The Rise of Skywalker. Many of the characters and things you want in a Star Wars movie are here, including C-3PO (Anthony Daniels) and Chewbacca (Joonas Suotamo), as well as the Millennium Falcon, in all its ramshackle glory. But overall, there are so many characters— new ones as well as old—and so much mythology to tie up, that interactions between individuals often seem like afterthoughts. There’s a tender moment here or there, but nothing lingers—even moments that should carry some dramatic weight drift by like tumbleweeds. Because, you know, we’ve got to go!

It’s hard to gauge exactly how many of The Rise of Skywalker ’s problems are specifically Abrams’ fault. He directed the first film in this final trilogy of the Star Wars series, the 2015 Star Wars: Episode VII—The Force Awakens . It was OK. But Johnson’s The Last Jedi was better by leaps and bounds—more inventive, more soulful, less mired in boggy mythology. It opened a window in this somewhat weary franchise, setting up a story in which the old guard, consisting largely of white men, would pass the reins to a younger generation, that more accurately reflects the world the audience lives in. It was a fantasy that also carried threads of resonance in that world.

But hardcore fans hated The Last Jedi and made their displeasure known on social media . The stakes for any Star Wars movie are high; for The Rise of Skywalker , the series’ closer, they were even higher. Colin Trevorrow ( Jurassic World ) had originally been set to write and direct, but was replaced by Abrams in 2017. (Trevorrow is credited as one of The Rise of Starwalker ’s screenwriters, as is Abrams.)

Troubled films are often bland and colorless, if efficient in the way they tick off the boxes of fan expectations. Maybe that’s what happened with The Rise of Skywalker : In working so hard to please the franchise’s fan base, Abrams lost every chance at adding a spark of originality. Fantasy is compelling to children because it gives them a sense of control over the uncontrollable: An enemy can be vanquished with the help of a light saber. You can triumph over evil if you’re really, really good. But this new world order, in which fans decide what they want and don’t want in their cherished franchises, is the enemy of creativity and imagination. The most vocal, hardcore Star Wars fans—most of them full-fledged grownups—don’t just fantasize about having control; they’ve found a way to get it, and their tyranny is oppressive. However you feel about George Lucas’ 1977 Star Wars , it was at least a picture made by an inventive weirdo with a distinctive vision. No wonder people were delighted by it. Now, delight has been replaced with duty. The fans have formed their own empire, and it hasn’t just struck back; it’s won.

More Must-Reads From TIME

The 100 Most Influential People of 2024
Coco Gauff Is Playing for Herself Now
Scenes From Pro-Palestinian Encampments Across U.S. Universities
6 Compliments That Land Every Time
If You're Dating Right Now , You're Brave: Column
The AI That Could Heal a Divided Internet
Fallout Is a Brilliant Model for the Future of Video Game Adaptations
Want Weekly Recs on What to Watch, Read, and More? Sign Up for Worth Your Time

Common Sense Media

Movie & TV reviews for parents

For Parents
For Educators
Our Work and Impact

Or browse by category:

Get the app
Movie Reviews
Best Movie Lists
Best Movies on Netflix, Disney+, and More

Common Sense Selections for Movies

50 Modern Movies All Kids Should Watch Before They're 12

Best TV Lists
Best TV Shows on Netflix, Disney+, and More
Common Sense Selections for TV
Video Reviews of TV Shows

Best Kids' Shows on Disney+

Best Kids' TV Shows on Netflix

Book Reviews
Best Book Lists
Common Sense Selections for Books

8 Tips for Getting Kids Hooked on Books

50 Books All Kids Should Read Before They're 12

Game Reviews
Best Game Lists

Common Sense Selections for Games

Video Reviews of Games

Nintendo Switch Games for Family Fun

Podcast Reviews
Best Podcast Lists

Common Sense Selections for Podcasts

Parents' Guide to Podcasts

App Reviews
Best App Lists

Social Networking for Teens

Gun-Free Action Game Apps

Reviews for AI Apps and Tools

YouTube Channel Reviews
YouTube Kids Channels by Topic

Parents' Ultimate Guide to YouTube Kids

Explaining the News to Our Kids

Family Tech Planners
Digital Skills
All Articles
Latino Culture
Black Voices
Asian Stories
Native Narratives
LGBTQ+ Pride
Best of Diverse Representation List

Celebrating Black History Month

Movies and TV Shows with Arab Leads

Celebrate Hip-Hop's 50th Anniversary

Star wars: episode ix: the rise of skywalker, common sense media reviewers.

Action-packed end of iconic series falls short of greatness.

Star Wars: Episode IX: The Rise of Skywalker Poster Image

A Lot or a Little?

What you will—and won't—find in this movie.

As with whole Star Wars franchise, main tension he

Rey continues to be strong, capable, courageous, b

Tons of sci-fi action violence, both large-scale s

Two characters continue to have an intense, supern

Infrequent use of insults and words of exasperatio

Nothing in the movie, but off camera there's an en

Positive Messages

As with whole Star Wars franchise, main tension here is between good and evil, light and dark. Characters discover nuances of humanity and how people aren't generally all one thing or the other. Story underlines idea that everyone has a choice about which moral code to believe in, which mission to accept. Your family/background doesn't determine your destiny. Promotes transformative power of hope, and importance of friendship, courage, teamwork, loyalty, trust, listening to others, faith.

Positive Role Models

Rey continues to be strong, capable, courageous, but this time also deals with inner conflict. She must decide whether to follow the path of the Jedi or indulge in her newfound sense of anger and frustration. Other female characters -- including General Leia, Rose, and some new faces -- are well represented making tough decisions, leading bravely, and more. Finn and Poe learn to lead together and to put mission above personal conflicts. Their friendship and teamwork fittingly rallies the Republic around helping Rey. First Order is depicted as mostly male and largely white, while Resistance is notably diverse both in skin color and in various species, with women in leadership positions.

Violence & Scariness

Tons of sci-fi action violence, both large-scale space battles/explosions and one-on-one duels, shoot-outs, tense chases/crashes. A few explicit but not bloody deaths: A non-human severed head is unceremoniously presented to the First Order (some greenish goop, but no red blood), a traitor is summarily executed, an entire field of Resistance forces is shown dead, a character's skin and face crumble/melt away, Kylo Ren kills and maims many enemies with his lightsaber. One character's wound is shown close-up; a skeleton is seen. Both sides sustain lots of casualties. Spoiler alert: Several primary and supporting characters are killed, and nearly everyone is injured at one point. A couple of key characters are presumed captured or killed. A few deaths will be extra emotional for audiences. Many weapons are used in addition to lightsabers: blaster guns, planet-killer weapons, bombs, grenades, daggers, arrows, fighter planes. An officer orders an entire fleet destroyed. A leader orders an entire planet destroyed. Creepy villain, dark/scary locations, and a couple of large, scary worm-like monsters. Frequent peril and danger. Arguments.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Two characters continue to have an intense, supernatural bond that sometimes feels romantic. Poe comedically asks another character for a kiss two times. Several charged/longing looks. Embraces/brief kisses (both opposite-sex and, extremely briefly, same-sex).

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Infrequent use of insults and words of exasperation including "ass," "damn it," "hell," "stupid," "shut up," etc.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Nothing in the movie, but off camera there's an entire universe of merchandise available, from branded/themed apparel, board games, video games, accessories, housewares, action figures, Lego sets, food, toys, and just about anything else you can consume that can be a tie-in.

Parents Need to Know

Parents need to know that Star Wars: Episode IX: The Rise of Skywalker is the ninth and final film in the four-decade-long Skywalker saga (and the third installment in the current trilogy). Following the events of Episode VIII: The Last Jedi , the film focuses on the battle between the villainous First Order, led by Supreme Leader Kylo Ren ( Adam Driver ), and the virtuous Resistance fighters, embodied by the last Jedi, Rey ( Daisy Ridley ). Everything is on the line in this installment, which means the sci-fi action violence is ratcheted up a notch: You can expect even more major space battles, high-stakes destruction, tense chases/crashes, peril, injury, and fierce lightsaber duels (plus blasters, arrows, cannons, and other weapons). This movie feels a little more intense and darker than the previous two in this trilogy, with creepy villains and locations and a few explicit (but not bloody) deaths, including a beheading, a point-blank execution, and a body crumbling to bits. Spoiler alert: Several primary and supporting characters are killed, and a few of those deaths will be extra emotional for audiences. There are also some scenes with lots of flashing lights, which could be difficult for those with photosensitivity. While there's not a lot of romance, the film does include some longing looks, embraces, and a couple of kisses. Language isn't frequent, but you will hear "ass," "hell," and "damn." Women continue to hold strong positions in the Resistance, and there are strong messages of courage, teamwork, hope, and loyalty. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Community Reviews

Parents say (86)
Kids say (239)

Based on 86 parent reviews

Pushing agendas

What's the story.

STAR WARS: EPISODE IX: THE RISE OF SKYWALKER starts off with the usual scrolling exposition: In a galaxy far, far away, what remains of the Resistance regroups after the devastating losses of The Last Jedi , while Rey ( Daisy Ridley ) trains with the Force and new Supreme Leader Kylo Ren ( Adam Driver ) and the First Order look for a secret Sith lair that's broadcasting pro-Emperor Palpatine propaganda. Poe ( Oscar Isaac ), Finn ( John Boyega ), and Chewbacca continue on their mission to subvert the First Order and help Rey save the day. Kylo Ren attempts to lure Rey to the Dark Side, believing that their special supernatural Force connection means they're destined to share a throne and rule together. In battle after battle, the two forces fight for the future of the galaxy.

Is It Any Good?

Technically slick and impressively performed, this final installment is definitely entertaining, but the considerable fan service and nostalgic callbacks make it less epic than we might have hoped. Audiences will marvel at the elaborate set pieces, the plentiful Easter eggs, and the intricately choreographed battle sequences (the storyboarding must have been amazing). The talented stars are all back -- even the late Carrie Fisher as General Leia Organa. Hopefully they were so bountifully compensated that they can now go on to long careers doing whatever film they want. It's telling, though, that of Driver's three big roles in 2019 (alongside Marriage Story and The Report ), this is his least extraordinary. That's because, despite the buddy-adventure humor of the Poe-and-Finn storyline, the fascinating plot revelations (no spoilers here!), and the Game of Thrones -style intrigue, the story and writing can occasionally become unwieldy as director J.J Abrams overstuffs the movie that signals the end of an era.

Speaking for those who don't possess encyclopedic knowledge of every character name and subplot of the three Skywalker trilogies, it's possible to enjoy this film without total recall of the earlier movies -- but those who do remember the meaning of particular characters, species, locations, and vehicles will feel extra rewarded. To spell those particulars out would be to spoil several applause-worthy moments, but if moviegoers have the time, they might re-watch The Empire Strikes Back , Revenge of the Sith , and The Last Jedi to maximize their understanding of the story in Episode IX . The best part of Rise of Skywalker might be the satisfying nostalgia, but it's ultimately about another central trio of friends with sketchy backgrounds (a former scavenger, a Stormtrooper, and a spice runner) who answered a higher calling for themselves, the Force, and the galaxy.

Talk to Your Kids About ...

Families can talk about the violence in Star Wars: Episode IX: The Rise of Skywalker . Do scenes of explosions and space battles affect you differently than those of close-up, one-on-one lightsaber duels and killings? Why do you think that is? What makes more of an impact: violence or loss? Why? How does this movie handle both topics?

Who are the movie's heroes? How are they role models ? Do they demonstrate character strengths such as courage and teamwork ?

How is diversity -- and a lack thereof -- used to indicate the values of the opposing sides of the conflict in the Star Wars series? Why is it notable that the First Order has very little diversity, while the Republic has a lot of it?

Talk about the themes from the previous movies that repeat themselves here. Why are issues of good vs. evil, mentorship, and so on so important to this series? How do they play out on-screen?

What are your thoughts on the way the Skywalker Saga ended? What do you think happens in the future for the characters, the Force, and the galaxy?

Movie Details

In theaters : December 20, 2019
On DVD or streaming : March 17, 2020
Cast : Daisy Ridley , Adam Driver , John Boyega , Oscar Isaac
Director : J.J. Abrams
Inclusion Information : Female actors, Black actors, Latino actors
Studio : Walt Disney Studios Motion Pictures
Genre : Science Fiction
Topics : Adventures , Friendship , Space and Aliens
Character Strengths : Courage , Teamwork
Run time : 141 minutes
MPAA rating : PG-13
MPAA explanation : sci-fi violence and action
Last updated : April 25, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

Our editors recommend.

Star Wars: Episode VII: The Force Awakens

Want personalized picks for your kids' age and interests?

Star Wars: Episode VIII: The Last Jedi

Rogue One: A Star Wars Story

Solo: A Star Wars Story

Star Wars: Episode IV: A New Hope

Star Wars: Episode V: The Empire Strikes Back

Star Wars: Episode VI: The Return of the Jedi

Star Wars: Episode I: The Phantom Menace

Star Wars: Episode II: Attack of the Clones

Star Wars: Episode III: Revenge of the Sith

Star wars movies, star wars games, related topics.

Space and Aliens

Want suggestions based on your streaming services? Get personalized recommendations

Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners.

Best Star Wars Movie Quotes, From A New Hope To The Rise Of Skywalker

An incredible legacy of quotable quotes.

X-Wing shooting at TIE Fighter in Star Wars: The Force Awakens

There are many reasons why the Star Wars franchise is iconic. The characters are iconic. The costumes are iconic. The props are iconic. The special and visual effects are iconic. And, right up there alongside all of those other qualities is the dialogue. The full run of the series on the big screen from 1977 up to the present is packed with quotable quotes that are both part of memorable cinematic moments and applicable to everyday life.

It’s in celebration of those great Star Wars lines that we’ve put together this feature – highlighting all of the best bits from A New Hope , The Empire Strikes Back , Return Of The Jedi , The Phantom Menace , Attack Of The Clones , Revenge Of The Sith , The Force Awakens , Rogue One: A Star Wars Story , The Last Jedi , Solo: A Star Wars Story and The Rise Of Skywalker.

“I find your lack of faith disturbing.”

This is one of the lines on the list that is all about delivery. “Disturbing” is a weak adjective in the context of the scene (Darth Vader confronted with doubt about the existence of the Force), but James Earl Jones’ gravitas makes Vader’s understated word choice terrifying.

Obi Wan waves off stormtroopers in Star Wars

“These aren't the droids you're looking for.”

Obi-wan Kenobi unleashing the first-ever Jedi mind trick is an exceptionally badass move. To create a pun with a Star Wars line that you won’t find later in this week, it’s wizard.

“If you strike me down, I shall become more powerful than you can possibly imagine.”

In the full context of the Skywalker saga, this line has two standout readings. On the one hand, Obi-wan becomes a Force Ghost, able to aid Luke Skywalker on his journey to become a Jedi. On the other hand, Darth Vader is aiming to kill the man who treated him like a son, and Obi-wan knows that will haunt him no matter how hard he embraces the Dark Side.

“Boring conversation anyway.”

Not only is this an excellent example of classic Han Solo snark, it’s a fun line to drop in real life when someone you’re talking to gets disconnected from a call.

“Use the Force, Luke.”

In Star Wars , this is the urging from Obi-wan that sees Luke Skywalker unlock his true potential, but it’s also a potent line of encouragement to trust one’s instincts at moments of extreme stress.

CINEMABLEND NEWSLETTER

Your Daily Blend of Entertainment News

“The Force is strong with this one.”

The journey of Darth Vader’s relationship with Luke Skywalker is a long one – and it’s really with this line that their connection begins in earnest. Simply tailing behind a X-Wing in his personal TIE fighter, the father sees his son’s potential.

“I have a bad feeling about this.”

Some iteration of this line is uttered in every Star Wars movie, and there’s nothing not to love. Trouble being ahead is the essence of every narrative (everything develops through conflict), and everything about this franchise is deeply rooted in traditional storytelling.

“May the Force be with you.”

This is a line so great that it practically exists beyond Star Wars in the public consciousness. It’s a message of “good luck” that unites geeks everywhere.

Yoda in Star Wars: The Empire Strikes Back

“Do or do not. There is no try.”

Is this line from Yoda in Empire Strikes Back somewhat undercut by Obi-wan saying, “Only a Sith deals in absolutes” in Revenge Of The Sith ? Unfortunately, yes. But by itself, it is an excellent piece of motivation suggesting that you focus on your goals over the efforts to attain them.

Han Solo I know in Star Wars: The Empire Strikes Back

“I love you.” “I know.”

Pure Han Solo goodness here. It’s kind of a jerk thing for Han to say as his potential last words to Princess Leia, but it’s so befitting his character that you just have to love it.

Lando in Star Wars: The Empire Strikes Back

“This deal is getting worse all the time.”

Here is another great line that can easily be used in real life – particularly in moments of frustration. One can’t help but feel a bit of schadenfreude when Lando Calrissian expresses this sentiment regarding his agreement to betray Han & Co. to the Empire… but credit where credit is due, Lando does redeem himself in Return Of The Jedi.

Darth Vader in Star Wars: The Empire Strikes Back

“Obi-Wan has taught you well. You have controlled your fear. Now, release your anger. Only your hatred can destroy me.”

Darth Vader is well-aware how hatred and anger can erode one’s soul, and in The Empire Strikes Back , he gets Luke on the precipice of following the same path.

“No – I am your father.”

I mean… would anyone have accepted this list as legitimate if I didn’t include this classic line? It’s constantly misquoted, but it’s an iconic moment in the history of cinema.

Admiral Akbar in Star Wars: The Return Of The Jedi

“It’s a trap!”

This line from Admiral Akbar in Return Of The Jedi has taken on a life of its own in the internet age… but it’s great independent of its history as a meme. Once again, it’s all about the delivery.

Shmi says goodbye to Anakin in Star Wars The Phantom Menace

“You can't stop change any more than you can stop the suns from setting.”

There aren’t a lot of great lines in The Phantom Menace (there are far, far more terrible ones), but this line from Shmi Skywalker as she is saying goodbye to her son is profound in its acceptance of how life is always about moving forward.

Samuel L. Jackson as Mace Windu in Star Wars: The Attack Of The Clones

“This party's over.”

This is another line that gets all of its weight from the way its delivered. Samuel L. Jackson is the cinematic incarnation of the word “badass,” and while Mace Windu ultimately suffers what is a pretty lame fate , the actor gets to express his greatest gift with this spotlight moment in Attack Of The Clones .

Amidala in Star Wars: Revenge of the Sith

“So this is how liberty dies... with thunderous applause.”

The slip into totalitarianism is often aided with populism, and it doesn’t matter if it’s here or in a galaxy far, far away. Science-fiction is designed to reflect our own world, and Revenge Of The Sith does so in stark fashion with this line.

“You were the chosen one!”

Obi-wan Kenobi did everything in his power to train Anakin Skywalker as a proper Jedi knight, but everything falls apart when the Padawan is manipulated into embracing the Dark Side. These five words are all pain.

Han Solo in star wars: the force awakens

“Chewie... we're home.”

Han and Chewie forever belong on the Millennium Falcon, and it’s shocking that they were separated from their ship for an extended period of time after Return Of The Jedi – but at least fans get to witness their return home in The Force Awakens .

“Crazy thing is... it's true. The Force, the Jedi. All of it. It's all true.”

One of the first things we learn about the Force and the Jedi in the original Star Wars is that their existence was relegated to being fantastical myth… but Han Solo witnessed the magic first hand, and Harrison Ford ’s heavy reflection with this line in The Force Awakens is amazing.

Kylo Ren kills Han Solo in The Force Awakens

“I'm being torn apart. I want to be free of this pain. I know what I have to do but I don't know if I have the strength to do it. Will you help me?”

Controversial as this scene may be, this is a terrific bait-and-switch line. You think Kylo Ren is going to try and fight the darkness within him, but whoops! Instead, he stabs his father in the chest.

“That's one hell of a pilot!”

One of the best parts of the Sequel Trilogy is the budding friendship between Finn and Poe Dameron, and their bond is made particularly palpable with the enthusiasm with which this particular line is delivered in The Force Awakens .

“I'm one with the Force, and the Force is with me.”

There are a number of memorable characters introduced (and subsequently killed) in Rogue One: A Star Wars Story , and Donnie Yen ’s Chirrut Îmwe is a contender for the title best of the best – in part because of his kick-ass mantra delivered before unleashing devastation.

Saw Gerrera in Rogue One: A Star Wars Story

“Save the Rebellion! Save the dream!”

There are a number of great battle cries in the Star Wars canon, but this one from Saw Gerrera is particularly great – delivered with intense and passionate conviction by Forrest Whitaker in Rogue One: A Star Wars Story .

“Amazing. Every word of what you just said was wrong. The Rebellion is reborn today. The war is just beginning. And I will not be the last Jedi.”

Kylo Ren failed out of Luke’s Jedi Academy, but that doesn’t stop the Master from taking his nephew to school in The Last Jedi – with Mark Hamill perfectly delivering the blockbuster’s eponymous line.

“Hope is like the sun. If you only believe it when you see it you'll never make it through the night.”

Hope is an influential presence in the Star Wars universe, as it’s what pushes rebel forces to constantly fight against the oppressive authoritarians despite the overwhelming odds stacked against them. Leia Organa spends decades in the canon fighting that fight, and this line in The Last Jedi is a wonderful expression of how hope keeps her going.

“They were filthy junk traders. Sold you off for drinking money. They're dead in a pauper's grave in the Jakku desert. You come from nothing. You're nothing. But not to me.”

This is another line that is undercut by material in subsequent stories , but I don’t care: it’s a powerful idea that Rey could come from nothing and nobody to become an exceptionally gifted Jedi knight, and Kylo Ren ripping off the Band-aid in The Last Jedi is shocking in the moment.

“I'm gonna be a pilot. Best in the galaxy.”

Han Solo is the dictionary definition of a cocksure pilot, and that spirit is very much present in Solo: A Star Wars Story . Alden Ehrenreich delivers this line with the perfect level of conviction and determination.

“It's not a navy, sir. It's just... people.”

In the last stand against the First Order in The Rise Of Skywalker , it’s not just the Jedi’s final battle with the Sith – it’s about ordinary people from around the universe fighting back against a fascist regime.

You can witness all of these lines in their original context by streaming all of the Star Wars films with a Disney+ subscription – and you can learn about all of the franchise-related projects in the works with our upcoming Star Wars movies and TV guide.

Eric Eisenberg is the Assistant Managing Editor at CinemaBlend. After graduating Boston University and earning a bachelor’s degree in journalism, he took a part-time job as a staff writer for CinemaBlend, and after six months was offered the opportunity to move to Los Angeles and take on a newly created West Coast Editor position. Over a decade later, he's continuing to advance his interests and expertise. In addition to conducting filmmaker interviews and contributing to the news and feature content of the site, Eric also oversees the Movie Reviews section, writes the the weekend box office report (published Sundays), and is the site's resident Stephen King expert. He has two King-related columns.

Daisy Ridley Explains Why She’s Returning As Rey And Reveals When She’s Getting The Script (It’s Soon)

Star Wars’ Daisy Ridley Reveals Challenges To Stepping Back Into Rey Role Years Later

Tom Holland Shows His Support For Zendaya And Challengers By Hyping It Up With Loving Instagram Post

Screen Rant

Five years after rise of skywalker, star wars is finally explaining what rey's yellow lightsaber means.

It's taken five years, but Star Wars is finally revealing the meaning of a yellow lightsaber - and explaining Rey's new blade in Rise of Skywalker.

Rey buried Skywalker sabers, revealing her own yellow blade, sparking intense debate on the meaning of its color.
According to Charlie Barnett, Yellow lightsaber represents balance, duality, strong connection to both the Force and physical grounding.
Jedi Guardian Yord Fandar in The Acolyte will also wield a yellow lightsaber, adding to the significance of this unique color.

Five years after Star Wars: The Rise of Skywalker , we're finally learning what a yellow lightsaber really means. The end of Star Wars: The Rise of Skywalker saw Rey bury the Skywalker sabers in the sands of Tatooine, only to reveal she now wielded her own blade. Surprisingly, Rey's new lightsaber had an unusual color - it blazed a beautiful yellow. Ever since, there's been intense debate on the meaning of Rey's lightsaber color.

Rey isn't the only Jedi to use a yellow lightsaber, though, and Charlie Barnett will be playing Jedi Guardian Yord Fandar in The Acolyte . Speaking in an interview with Total Film, he confirmed he'll have a yellow lightsaber, and explained its significance:

"I have a yellow lightsaber. At first I really wanted to have a purple one. And I was given a different color initially, but I can't say what because it relates to another character... And they took that one away and gave me a yellow one, and at first I was like, 'What? I've barely seen yellow used. What is this?!' But I think yellow represents balance, duality, a person who's just as much connected to the Force as to their own physical grounding. "

Star Wars: The Acolyte - Cast, Story Details & Everything We Know

Rey's new lightsaber represents her character growth - & perhaps her role, the yellow lightsabers were used by temple guardians.

Barnett's comment suggests Rey has finally found a place of inner peace and harmony after learning she is Palpatine's granddaughter via cloning. She presumably learned how to build her lightsaber from the sacred Jedi texts she retrieved from Ahch-To, and these have presumably helped her connect to the Force as much as to the physical world. This puts her in a position where she can lead her New Jedi Order with confidence.

There may, however, be a deeper meaning to the yellow lightsaber too. In Star Wars lore, yellow lightsabers were typically used by Temple Guards; Charlie Barnett's character Yord Fandar has been described as a guardian in the High Republic Era , so he fits the pattern. It wouldn't be surprising to see Rey now envision herself as the guardian of the Jedi, protecting her reborn order from the forces of darkness.

If that is the case, she will inevitably be drawn into conflict in the upcoming New Jedi Order movie . This will see a disillusioned galaxy ask whether it needs the galaxy in the first place, essentially repeating Luke Skywalker's downbeat assessment from Star Wars: The Last Jedi . Rey may be flourishing after the events of Star Wars: The Rise of Skywalker , but she will not go unopposed.

Source: Total Film

The Acolyte

The Acolyte is a television series set in the Star Wars universe at the end of the High Republic Era, where both the Jedi and the Galactic Empire were at the height of their influence. This sci-fi thriller sees a former Padawan reunite with her former Jedi Master as they investigate several crimes - all leading to darkness erupting from beneath the surface and preparing to bring about the end of the High Republic.

Star Wars Saga Review: The Rise of Skywalker Streaming Things - a TV/Film Podcast

Dive into 'Star Wars Episode 9: The Rise of Skywalker' on this thrilling episode of 'Streaming Things' with hosts Kit, Phil, and Steve. The saga concludes as Rey delves deeper into her mysterious heritage, the Resistance prepares for a final confrontation with the First Order, and shocking revelations about the past come to light. We’ll break down key moments, from epic battles to unexpected alliances, and discuss how this chapter seals the legacy of the Skywalker saga. 00:00:00 - Introduction: Welcome to a new episode of Streaming Things, where we dive deep into the world of streaming content! 00:04:40 - Star Wars Mad Libs Word Crafting: The hosts play the official Star Wars Mad Libs. They first must get the words to craft a story! 00:06:49 - Overall Thoughts: Our hosts share their initial impressions and overarching thoughts on today's movie/TV episode. 00:27:15 - Scene by Scene Recap: Join us as we break down the episode or movie scene by scene, offering insights and commentary. 01:55:15 - The Medal Ceremony: The hosts hand out an award for what this week's Star Wars film does better than all the others. 01:56:38 - Ranking the Star Wars Movies: The hosts reach a consensus on the Star Wars movies from best to worst. 01:59:38 - Star Wars Mad Libs Reading: Steve reveals the story crafted using the words for the Mad Libs from the beginning on the episode. Engage with Streaming Things: Merchandise: Check out our BRAND NEW Merch Store for the latest Streaming Things apparel and accessories.YouTube: Don't miss our visual content on Streaming Things YouTube channel.Website: Visit our official website for more updates and content. Connect with Us: Email: Send your feedback and questions to [email protected]: Follow us @streamingthingspodofficial for behind-the-scenes content.Twitter: Stay updated with our latest tweets @StreamThingPod or follow Chris @moviesRtherapy. Fan Mail: Address: Send your letters and fan mail to:Streaming Things6809 Main St. #172Cincinnati, OH 45244 Episode Sponsors: This episode is sponsored by BetterHelp. Get the support you need at betterhelp.com/streamingthings. Hosted on Acast. See acast.com/privacy for more information.

Episode Website
More Episodes
Streaming Things

IMAGES

Star Wars: The Rise of Skywalker- International Poster on Behance
Star Wars: The Rise of Skywalker (2019)
[Movie Review] STAR WARS: THE RISE OF SKYWALKER
Non-Spoiler Review
MOVIE REVIEW
Star Wars The Rise of Skywalker Movie Review

VIDEO

Star Wars RECAP: All Movies before The Rise of Skywalker
Star Wars: The Rise of Skywalker
Star Wars: The Rise of Skywalker
Star Wars: The Rise of Skywalker
Star Wars: The Rise of Skywalker Review
Star Wars The Rise Of Skywalker Review (NO SPOILERS)

COMMENTS

New Star Wars Rise Of Skywalker
Buy Top Products On eBay. Money Back Guarantee!
Star Wars: The Rise of Skywalker
Star Wars: The Rise of Skywalker. 51% 523 Reviews Tomatometer 86% 50,000+ Verified Ratings Audience Score When it's discovered that the evil Emperor Palpatine did not die at the hands of Darth ...
Star Wars: The Rise of Skywalker movie review (2019)
When "Rise of Skywalker" can just be its own fun, sci-fi adventure, it succeeds. Advertisement. And, to be fair, the craft of "Skywalker" is incredibly high. Abrams knows how to design a major blockbuster like this one, and there are some remarkable set-pieces. He also is an underrated director when it comes to performers and gets the ...
'Star Wars: The Rise of Skywalker': Film Review
With: Daisy Ridley, Adam Driver, Carrie Fisher, Mark Hamill, Billy Dee Williams , Ian McDiarmid, Oscar Isaac, John Boyega, Anthony Daniels, Jimmy Vee, David Chapman, Brian Herring, Joonas Suotamo ...
'Star Wars: The Rise of Skywalker' Review
'Star Wars: The Rise of Skywalker': Film Review. Director J.J. Abrams and co-writer Chris Terrio close the book on the core origin story of George Lucas' space saga as the torch of ...
Star Wars: The Rise of Skywalker review
It's actually a fast-moving, action-packed, swashbuckling swords 'n' sorcery space opera with typically high standards of production design and visual effects, and a pleasing blend of gloom and ...
Star Wars The Rise of Skywalker review: A Force ghost of a movie
With 'The Rise of Skywalker,' director J.J. Abrams delivers yet another Disney-branded 'Star Wars' movie looking ever backward, never forward.
Star Wars: Episode IX
Star Wars: Episode IX - The Rise of Skywalker: Directed by J.J. Abrams. With Carrie Fisher, Mark Hamill, Adam Driver, Daisy Ridley. The surviving Resistance faces the First Order once again in the conclusion of the Skywalker saga.
Star Wars: The Rise of Skywalker Review
Verdict. There is a lot to process walking out of Star Wars: The Rise of Skywalker, a film engineered to hit the viewer on multiple levels while struggling to settle 42 years' worth of story ...
Star Wars: The Rise of Skywalker review
Comedy was, incidentally, the keynote of Ron Howard's excellent and very underrated non-Skywalker-saga Solo: A Star Wars Story. It's right now for the saga to end, or at any rate to lie fallow ...
Star Wars: The Rise of Skywalker
The Star Wars universe will continue well past Rise of Skywalker—on TV, in video games, in fan fiction, in toys, in shiny new movies. But certainly, this episode—Episode IX—closes the book on the core Skywalker saga that launched the whole universe and has been running for, oh, 42 years now.
'Star Wars: The Rise of Skywalker': A Spoiler-Free Review Roundup
This week, "Star Wars: The Rise of Skywalker," the ninth film in a trilogy of trilogies, hits theaters, and fans and critics have begun sharing their reviews. As of Thursday morning, the film ...
Star Wars: The Rise Of Skywalker Review
Star Wars: The Rise Of Skywalker Review. Emperor Palpatine (Ian McDiarmid) lives, and has sent a message to the galaxy threatening revenge with a huge fleet of planet-killing ships. The Resistance ...
'Star Wars: The Rise of Skywalker' Review: Revolution No. 9
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 ...
'Star Wars: The Rise of Skywalker' Review: A Fitting Last Chapter
Rise of Skywalker comes in hot on a battle between Rey and Kylo. They use lightsabers (now and forever the coolest). Kylo, still fetishizing the headgear of his granddaddy Darth Vader, is pissed ...
'Star Wars: The Rise Of Skywalker' Review: The Saga Ends With A ...
When J.J. Abrams returned to helm The Rise of Skywalker, there was some question as to how he would treat the events of the trilogy entry he didn't direct, The Last Jedi. Rian Johnson's Force ...
Movie Review: 'Star Wars: The Rise Of Skywalker'
ARI SHAPIRO, HOST: "Star Wars: The Rise Of Skywalker" is the third film in the third trilogy of a little saga you may have heard of. A long time ago, George Lucas had a plan for nine Star Wars movies.
Movie Review: 'Star Wars: The Rise Of Skywalker'
Movie critic Bob Mondello tells us he worked like a droid to finish his review of "Star Wars: The Rise Of Skywalker" in time for Wednesday's ALL THINGS CONSIDERED. But, as you may recall, that was ...
Review: Star Wars: The Rise of Skywalker succumbs to the Dark Side
[Ed. note: This review reveals no specific plot points from Star Wars: The Rise of Skywalker. Polygon will have more in-depth story analysis in future reviews and essays after the film's Dec. 20 ...
Star Wars: The Rise of Skywalker Review: Film Feels Dutiful
The stakes for any Star Wars movie are high; for The Rise of Skywalker, the series' closer, they were even higher. Colin Trevorrow ( Jurassic World ) had originally been set to write and direct ...
Star Wars: The Rise of Skywalker Movie Review
When Disney acquired Lucasfilm in 2012, the deal came with the promise of more movies, including a new trilogy in the Skywalker saga. That sequel trilogy launched in 2015 with J.J. Abrams' Star Wars: The Force Awakens and continued in 2017 with Rian Johnson's Star Wars: The Last Jedi.Now it ends with Abrams' Star Wars: The Rise of Skywalker, with him returning as director, working from a ...
Star Wars: Episode IX: The Rise of Skywalker Movie Review
What you will—and won't—find in this movie. Positive Messages. As with whole Star Wars franchise, main tension he. Positive Role Models. Rey continues to be strong, capable, courageous, b. Violence & Scariness. Tons of sci-fi action violence, both large-scale s. Sex, Romance & Nudity. Two characters continue to have an intense, supern.
Rise of Skywalker Review: The Star Wars Conclusion Is a Letdown
Read Matt Goldberg's review of Star Wars: The Rise of Skywalker; J.J. Abrams movie stars Daisy Ridley, Adam Driver, John Boyega, and Oscar Isaac.
Best Star Wars Movie Quotes, From A New Hope To The Rise Of Skywalker
It's in celebration of those great Star Wars lines that we've put together this feature - highlighting all of the best bits from A New Hope, The Empire Strikes Back, Return Of The Jedi, The ...
Mark Hamill's Seven Live-Action Star Wars Stories, Ranked From Best To
Mark Hamill's Live-Action Star Wars Appearances Title. Release Date. Rotten Tomatoes Score. Star Wars. May 25, 1977 93% The Empire Strikes Back. May 21, 1980 95% Return of the Jedi. May 25, 1983 83% Star Wars: The Last Jedi. December 15, 2017 91% Star Wars: The Rise of Skywalker. December 16, 2019 51%
Five Years After Rise Of Skywalker, Star Wars Is Finally Explaining
Five years after Star Wars: The Rise of Skywalker, we're finally learning what a yellow lightsaber really means.The end of Star Wars: The Rise of Skywalker saw Rey bury the Skywalker sabers in the sands of Tatooine, only to reveal she now wielded her own blade. Surprisingly, Rey's new lightsaber had an unusual color - it blazed a beautiful yellow. Ever since, there's been intense debate on the ...
Customer Reviews: Funko POP! Star Wars: The Rise of Skywalker Lando
Best Buy has honest and unbiased customer reviews for Funko - POP! Star Wars: The Rise of Skywalker - Lando Calrissian. Read helpful reviews from our customers. ... Funko - POP! Star Wars: The Rise of Skywalker - Lando Calrissian. Model: 39892 | SKU: 6378099. ... Movie accurate. Great addition to Solo collection. I would recommend this to a friend.
‎Streaming Things
Dive into 'Star Wars Episode 9: The Rise of Skywalker' on this thrilling episode of 'Streaming Things' with hosts Kit, Phil, and Steve. The saga concludes as Rey delves deeper into her mysterious heritage, the Resistance prepares for a final confrontation with the First Order, and shocking revelatio…
Star Wars movies in order: the correct and chronological way to ...
Star Wars: Episode IX - The Rise of Skywalker (released December 2019) Set a year after the events of 2017's The Last Jedi, Episode IX bought the 42-year franchise to a conclusion.
Gripping Star Wars Stories That Set Up The Sequel Trilogy and More
I n the original Star Wars trilogy, Luke Skywalker became a galactic hero, redeemed Darth Vader and defeated the Empire with the help of Princess Leia and Han Solo. The Star Wars comics that ...

Log in or sign up for Rotten Tomatoes

Email not verified

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

Movies / TV

Star Wars: The Rise of Skywalker

What to Know

Audience Reviews

Movie Clips

Movie Reviews

Brian Tallerico

Now playing

Godzilla x Kong: The New Empire

Dusk for a Hitman

Nowhere Special

Unsung Hero

Lousy Carter

Star Wars: The Rise of Skywalker (2019)

Writer (based on characters created by)

Writer (story by)

Cinematographer

Latest blog posts

Speed Kills: On the 25th Anniversary of Go

Joanna Arnow Made Her BDSM Comedy for You

The Movies That Underwent Major Changes After Their Festival Premiere

Netflix's Dead Boy Detectives Is A Spinoff Stuck In Limbo

‘Star Wars: The Rise of Skywalker’: Film Review

Owen Gleiberman

Reviewed at SVA Theater, New York, Dec. 17, 2019. MPAA Rating: PG-13. Running time: 142 MIN.

More From Our Brands

The Definitive Voice of Entertainment News

site categories

Todd McCarthy

Related Stories

THR Newsletters

More from The Hollywood Reporter

Star Wars: The Rise of Skywalker is the Force ghost version of a movie: Review

Related Articles

Star Wars: Episode IX - The Rise of Skywalker

Here's Your Cheat Sheet for the 'Star Wars' Saga

More like this

Did you know

User reviews 7.8K

Lovable Creatures: Our Favorite Screen Pals

Technical specs

Related news

More to explore

Recently viewed

Star Wars: The Rise of Skywalker review – a thrilling, fun-filled, light-speed finale

Comments (…)

Notice: All forms on this website are temporarily down for maintenance. You will not be able to complete a form to request information or a resource. We apologize for any inconvenience and will reactivate the forms as soon as possible.

Star Wars: The Rise of Skywalker

Content Caution

In Theaters

Home Release Date

Distributor

Positive Elements

Spiritual Elements

Sexual Content

Violent Content

Crude or Profane Language

Drug and Alcohol Content

Other Negative Elements

Latest Reviews

Unsung Hero

Challengers

Boy Kills World

Star Wars: The Rise Of Skywalker Review

Related Articles

‘Star Wars: The Rise of Skywalker’ Review: Revolution No. 9

Explore More in TV and Movies

‘Star Wars: The Rise of Skywalker’ Review: A Perfectly Imperfect Last Chapter

Peter Travers

Editor’s picks

Nicole Kidman Becomes First Australian to Earn AFI Lifetime Achievement Award

Meet the MVP of 'Shōgun' — Ex-Punk Rocker and Japanese Movie Star Tadanobu Asano

What’s the Story Behind the ‘I Told Ya’ T-Shirt in 'Challengers'?

SZA and Keke Palmer Land Lead Roles in New Issa Rae-Produced Comedy Film

Aaron Sorkin Blames Facebook for Jan. 6 and He's Trying to Write a 'Social Network' Sequel About It

Most Popular

Verify it's you