Star Wars : L'ascension de Skywalker

En IMAX, c'était incroyable. Le spectacle spatial de l'année, avec un rythme effréné, des (digi)lieux étonnants, une caméra parfaitement utilisée et de la nostalgie, soutenue par les apparitions inattendues des anciens personnages. Lors de la confrontation finale, nous avons ressenti une force presque équivalente à la résistance finale de Sauron. Et enfin, j'ai apprécié Daisy Ridley. La révélation des nouvelles identités des anciens personnages n'avait pas beaucoup de sens pour moi, mais comme je ne me souviens pas exactement de ce qui s'est passé dans l'épisode précédent, cela m'était égal (je ne considère pas cette trilogie comme faisant partie de mes STAR WARS préférés, c'est juste une exploitation commerciale). Cependant, la deuxième projection sur un écran nettement plus petit, où on ne pouvait pas ne pas remarquer le manque de respect (dans la narration d'une histoire cohérente) envers le spectateur, a dévalué mon impression du film. C'est juste un tour de montagnes russes spectaculaire à usage unique, un appât pour la nouvelle section Star Wars de Disneyland. (24/12/2019)

En tant que film de science-fiction individuel, c’est un blockbuster sur le Bien contre le Mal dont l’intrigue est faiblarde, mais qui contient quelques idées efficaces et des effets spéciaux au top. Par contre, du point de vue de la nouvelle trilogie (ou, si vous préférez, de la série complète des neuf films), ce chapitre final extrêmement attendu se moque véritablement du spectateur et démontre l’impuissance crasse dont ses créateurs ont fait preuve. De toute évidence, aucun plan ne définissait à l'avance le déroulement de la nouvelle trilogie de Star Wars, car ce que le routinier surestimé J. J. Abrams et l’incompétent surpayé Chris Terrio (l’un des scénaristes de Batman v Superman: Dawn of Justice, ce qui en dit long) se sont permis dans cet épisode est vraiment embarrassant. Même les fans les plus mordus de La Guerre des étoiles ne pourront pas avaler ça. En regard de ce numéro neuf bâclé, même les épisodes I à III de la prélogie tellement critiquée de George Lucas semblent globalement cohérents et conceptuellement réfléchis. Personnellement, je vais faire l’impasse sur cette troisième trilogie et, de toute façon, je commence à avoir une overdose de tout ce SW. Merci, Disney, pour cette œuvre désespérée ! (08/01/2020)

Disney reap what they sow, and it's not a pretty sight. Episode VII bet on nostalgia, so I've forgiven the new boring protagonists. Episode VIII took a different direction, but the studio found they didn't like where it went. So in Episode IX they try to fix everything from the previous film and we're with Rey, Kylo Ren, Poe and Finn for the third time and they're actually still utterly boring and empty characters. And now, as a viewer, I am supposed to be interested to see how they turn out. I just don't give a shit. J.J. Abrams isn't actually wrapping up a trilogy here, his main job is to clean up the mess that came from not knowing what they wanted at Disney. He may have done the best job he could, but that doesn't change the fact that whenever there’s no action and Rise of Skywalker attempts some emotion and relationships, it's awfully boring and annoying. The movie has no foundation to build on in that regard and out of desperation even has to make up new rules for how the world works. And yet it fails to evoke any emotion other than a sense of giant disappointment. The ninth Star Wars did succeed at something I didn't think could ever be accomplished. They stifled my enthusiasm for the franchise. I sure as hell hope not forever. (19/12/2019)

About halfway through, it was an excellent, brisk fairytale that made sense and delivered a refreshing joke here and there. Without any irony, it was fine. But from the moment Rey's origins were revealed, it magically became a horribly stupid, bizarre, clichéd, clueless piece of idiocy that would have been beautifully parodied by Monty Python if they still were around. I suffered like an animal, hiding my head in my hands and counting the minutes until the end of the second half. When Finn says "I can feel it.", I had a fit of laughter; not joyful, but despairing, disbelieving at what I was seeing and hearing. I can't believe the pervasive pathos in the ending is the work of someone as clever as Abrams, didn't he maybe suddenly go on vacation and let Emmerich take control instead? I can totally see the brainstorming session of Disney executives gathered around the table, panicking about how best to blow it so as to avoid the miserable box office results of the eighth installment (an excellent one, by the way, I still stand by that). That one at least offered a bold detour, took things in its own way and unfortunately stumbled. So Disney has cowardly negated the whole thing, stood it on its head, nonsensically incorporated old themes and characters, and the result is the proverbial stew cooked by a dog and cat that makes your tummy hurt, and not even charcoal will help you. (21/12/2019)

The 4 billion acquisition must be great, but it's also the most expensive funeral in history for a pop culture icon who, in his eagerness to please everyone, has stagnated in place, and is pathetically floundering in the shit that zero dramaturgy and auteurist belligerence got him into. When I looked at my watch after an hour, the question of whether something was about to happen was inevitable. And then the floodgates of pathos, platitudes, and the easiest solutions were raised, where someone should have hit the table at the writing stage and shouted that nobody could take such a shit seriously. Instead, it ended up on the screen. Johnson may have disrespected the canon and boldly relativized all that this religion entails. Abrams respects nothing and the result is a ridiculous nothingness that lacks good characters and cool moments, making it look like a generic Marvel movie - obviously expensive, colorful, frilly - but lacking passion and any iconic monument for future generations. Burn in hell, Disney, and all of you who have anything to do with it! (19/12/2019)