“Star Wars: The Last Jedi”
****
(PG-13, 2:32)
Yes, the latest “Star Wars” installment is here, and, lo, “The Last Jedi” is a satisfying, at times transporting entertainment, with visual wit and a human touch.
As always, the critical back story intel — who’s fighting who and the like — is told in the opening crawl, establishing that yet again, peace remains elusive and weapons are locked, loaded and often firing. Leia (Carrie Fisher, whose recent death lends a melancholy touch) is searching for her brother, Luke Skywalker (Mark Hamill), while leading the Resistance against the First Order, the dark-side successor to the dictatorial Empire of Darth Vader. The First Order is led by Snoke (created by the hardworking Andy Serkis and digital effects), a wormy, towering ghoul, who commands the usual stormtroopers and the impetuous Kylo Ren (Adam Driver), who has closely fashioned himself after Vader.
The story is tangled, but its complications are mitigated by writer-director Rian Johnson’s quick pace, appealing performers, lightness of banter and visual flair. Like most contemporary action flicks, this one more or less plays out as a succession of fights, chases and timeouts across two or more plotlines.
The latest dream team — Rey (Daisy Ridley), a scavenger turned warrior; Finn (John Boyega), a First Order deserter turned resister; and Poe Dameron (Oscar Isaac), a Resistance fighter pilot — often spends time apart in the film. Poe spins in Leia’s orbit while Rey pesters Luke, and Finn finds a winning ally (Kelly Marie Tran).
Luke is a brooding, monastic loner, isolated on an isolated island populated by cute Porg critters (right in time for Christmas tie-ins). There are less-fuzzy whatsits on the island, too — that you wish more had been added.
Driver delivers a startlingly raw performance as the evil Ren, suggesting a potent portrait of villainy that suggests evil isn’t hard-wired, an inheritance or even enigmatic. Here, it is a choice — an act of self-creation in the service of annihilation.
“Coco”
****
(PG, 1:49)
Centered around the Mexican holiday of Dia de los Muertos (Day of the Dead), “Coco” uses the vibrant colors and style of the holiday to spin an imaginative tale rich in tradition and culture, while beautifully celebrating family.
Dia de los Muertos is a day when families honor their ancestors with elaborate offerings of food, drinks and other gifts on decorated shrines with photographs and mementos — as a way to keep the spirits of family members who have passed on alive in the memories of their loved ones. The holiday is the basis for this colorful tale about a young boy, Miguel (Anthony Gonzalez), who desperately wants his family to understand his passion for music.
Coming from a long line of shoemakers, music is forbidden in Miguel’s home, ever since his great-great grandfather left the family to pursue his musical dreams. Miguel deduces that his grandfather was legendary musician Ernesto de la Cruz (Benjamin Bratt), and plans to “borrow” a guitar from the famous singer’s tomb to play in the talent show.
But stealing from the dead plunges Miguel into a mysterious otherworld, a liminal space where he’s able to interact with the dead souls who cross over to the living world on Dia de los Muertos, a magical place of stunning beauty and friendly spirits. “Coco” is a gorgeous, emotional film and another home run for Pixar/Disney.
Quick pick: “Ferdinand.” The beloved children’s tale of the peaceful bull who gets roped into a bullfight is told in this animated feature that includes the sidekicks and sight gags typical of this genre.
