Virtually none of these virtues were managed by Lucas himself when he made his lamentable second trilogy of Star Wars films from 1999 to 2005. So one of the primary satisfactions of this sharply paced and lively blockbuster is the obvious care that has gone into every aspect of the production, from the well-balanced screenplay and dominance of real sets and models over computer graphics to the casting, a strict limitation on self-referential, in-jokey humor and the thoroughly refreshed feel of John Williams’ exuberant score. When the financial stakes are this high, what ends up on the screen can often be judged as much, or more, in terms of commercial calculation than creative achievement. To be sure, any time you can speak of a film’s earning potential as residing in the billion-dollar-plus neighborhood, the main story is to be more often found in the business section than on the arts pages.
Opening nearly everywhere in the world before Christmas, with China to follow in early January, Disney’s debut as the new custodian of Lucas’ baby looks to deliver nothing less than one of the two or three highest-grossing films of all time. Specifically, into an Indiana Jones realm, which is mostly, but not entirely, to the good.
Abrams’ hands there is a shift in tone that brings the material closer to the feel of a Steven Spielberg film. But whereas the fundamental touchstones of George Lucas’ original creation remain, in director J.J.
As the best Star Wars anything - film, TV show, video game, spinoff, what-have-you - in at least 32 years, Star Wars: The Force Awakens pumps new energy and life into a hallowed franchise in a way that both resurrects old pleasures and points in promising new directions.
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