You can’t please everyone, a lesson that no one knows better right now than Star Wars: The Last Jedi director Rian Johnson.
Although the overwhelming consensus for the new film has been extremely positive, it was never going to be everyone’s cup of tea – and some hardcore fans have been pretty vocal in expressing their disappointment in the film.
In fact, one person felt so passionately about the film, that they created a petition on Change.org to have Disney strike the film from the official Star Wars canon adding: ‘Episode VIII was a travesty.’
But Rian handled the criticism with grace and finesse when he was quizzed on it by Business Insider.
‘Having been a Star Wars fan my whole life, and having spent most of my life on the other side of the curb and in that fandom, it softens the blow a little bit,’ he said when asked how he feels that people feel his film in nothing like the original story.
‘I’m aware through my own experience that, first of all, the fans are so passionate, they care so deeply — sometimes they care very violently at me on Twitter. But it’s because they care about these things, and it hurts when you’re expecting something specific and you don’t get it from something that you love.
‘It always hurts, so I don’t take it personally if a fan reacts negatively and lashes out on me on Twitter. That’s fine. It’s my job to be there for that. Like you said, every fan has a list of stuff they want a Star Wars movie to be and they don’t want a Star Wars movie to be.
‘I knew if I wrote wondering what the fans would want, as tempting as that is, it wouldn’t work, because people would still be shouting at me, “F**k you, you ruined Star Wars,” and I would make a bad movie. And ultimately, that’s the one thing nobody wants.’
But he notes that the response from fans on Twitter has actually been ‘really lovely’, with the film also garnering positive reviews from critics, and a 93% rating on Rotten Tomatoes.
Despite a negative few, The Last Jedi is taking over the world right now, raking in $450m (£337m) on its opening weekend, is jam-packed with celeb cameos (including Ellie Goulding, Edgar Wright, and Princes Harry and William) and is even loved by Star Wars creator George Lucas.
Even rappers Giggs and Example got dressed up to go see the movie – not to mention actual Last Jedi star Kellie Marie Tran dressing up like a Porg.
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‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.