The Santa Clause

Of course Tim Allen plays a toymaker in a movie in which he is forced to become the new Santa. What other job could he have? Allen plays a toy creator named Scott Clavin, and this is one of the funniest of his performances. He has as much biting sarcasm as you would want from him, at a time when he was a king of comedy. His show Home Improvement was still on the air (and there are a few Home Improvement Easter Eggs spread throughout the movie), Toy Story was released the previous year, and the first sequel three years after that. He was the lead in the Star Trek spoof Galaxy Quest. Unfortunately, as soon as the new century came, he struggled a bit more, and perhaps not many things have demonstrated this better than the two less-than-successful sequels, none of which I have seen and likely never will.

In The Santa Clause, Scott is a divorced man who is going to spend Christmas Eve with his son, Charlie (Eric Lloyd). Scott frequently bickers with his ex-wife, Laura (Wendy Crewson), even if Charlie overhears it. (Like Mrs. Doubtfire the year before it, this movie handles divorced parents and their children mostly well.) Scott is also antagonistic towards his ex-wife's new partner, Neil (Judge Reinhold) and especially his job. "He's not a doctor," he angrily complains, "he's a psychiatrist." It's fair to say that he doesn't communicate with Charlie as well as Neil does, either, and perhaps he's jealous. Scott is not entirely prepared for Charlie's visit, as he burns the turkey so crispy, not even the Griswalds would eat it. Scott does the best he can, taking Charlie out to eat an Denny's ("an American institution"). He checks the other boxes (sort of) that are required -- he reads to Charlie The Night Before Christmas, tucks him in, and heads to bed, not before he has to answer a few more probing questions from his inquisitive son about the archaic language used in the famous story.

From here, things turn upside down for Scott and Charlie. Charlie hears a loud clatter (just as in the story) on their roof and is convinced it's Santa. Scott is more concerned that it's a burglar, and he rushes outside in only his jacket, boots, and underwear to find a man dressed as Santa on his roof. "Hey, you!"is all he can yell out before the mysterious figure slips and falls off his roof. It appears that Scott Calvin has killed Santa Claus. Charlie is not impressed. Cheer up, Charlie; there are actual reindeer on your roof.

If you can believe that Santa exists, falls off a guy's roof, disappears into thin air, and gives his job to some schmuck who caused him to fall, you can surely buy into the idea that said schmuck will put on the suit and do his best to dutifully be the substitute Santa just to get his son to stop whining. So he puts on the suit, and the reindeer and toy bag basically do most of the work for him. He squeezes down the chimneys and either has to escape security alarms and angry dogs or curious young children wondering why Santa is so thin and grouchy. Still, he does it. "Merry Christmas to all, and to all a good night!" he shouts, before adding, "When I wake up, I'm getting a CAT scan!"

But the reindeer don't take him home. Where do they take him? To the North Pole, of course, where a cantankerous head elf named Bernard, played by David Krumholtz, explains to him how the rest of his life will be devoted to being Santa Claus, because of the Santa Clause, the part of the contract that basically says if you kill the existing Santa, you yourself take over. Scott protests, but as the year goes on, he has no choice. Charlie tells all his friends and family about how his dad is Santa, and Scott starts to slowly (and then rather quickly) transform into the big, jolly man, with his hair turning white and his weight rising. At first he starts to look like Chuck Norris, and then he very much starts to resemble Santa Claus. Charlie believes every last detail, but it's easy to see how every other adult would be disturbed at what they're seeing from a father and his son. (It could even be a horror film.)

This was a Disney film that wasn't afraid to use adult language occasionally In one moment, Scott audibly complains that he's "freezing his nuts off" outside trying to deal with the dead Santa situation. In another scene, Scott says to Laura that Neil's number where they can be reached is 1-800-SPANK-ME. The problem, though, was that parents started complaining that their children would call the number and be directed to messages promoting "hot, wild fun" for $2.50-$4.99 a minute. The scene is not included on home video release or when it plays on the Disney Channel.

If there's one universal truth to being an American child, it's that it is a bit disillusioning when one realizes that there is no Santa. Many of the adult characters in The Santa Clause share their own personal anecdotes of when they realized that Santa wasn't real. For Neil, it was when he didn't receive his Oscar Mayer Wiener Whistle. (For me, it was when Santa didn't complete the crossword puzzle I made for him when I was about nine, or nineteen--I can't remember.) At any rate, The Santa Clause has aged surprisingly well (except for the part when Scott, as he's almost full-Santa, catcalls a woman walking down the street.) That awkward, awful moment aside, this movie, a movie in which there actually is a Santa Claus, is a delightful film. I think I liked it as much, or perhaps even more, watching it as an adult.

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All the Star Wars Movies Ranked

You probably have seen all or most of the major theatrically released Star Wars movies, but with an animated film, made-for-TV productions, who knows how many stand-alone films, and an infamous holiday special, there are many more out there than just the eight episodes. Some are good, some are bad, and some are uglier than Jabba himself. Below is my official ranking of all of the Star Wars films released so far:

14. The Star Wars Holiday Special
You have not lived until you've seen The Star Wars Holiday Special. I almost simply want to leave it at that. Why was there a desire to turn the hit 1977 blockbuster into a Christmas special one year later on TV? Money, I guess. Money, and the fact that people often like movies that are so bad, they're good. This "holiday special" opens with Han and Chewie being chased by a Star Destroyer, some mumbo-jumbo about a Christmas-like holiday called Life Day, and then a bizarre introduction of the cast. The regulars are all there--how they were convinced to do a TV holiday special, we'll never know--but we also have Bea Arthur, Art Carney, and Harvey Korman. And an animated portion. And it's a musical. And Carrie Fisher was high. And George Lucas has supposedly said that if he could destroy ever boot-legged copy, he would. Watch this mess of a movie, and then watch Harrison Ford's reaction to it.

13. Caravan of Courage: An Ewok Adventure
Released a year after Return of the Jedi, which (love it or hate it) featured lots of furry little teddy bear-like Ewoks who stage guerrilla warfare to help take down the Empire, Lucasfilm's TV movie Caravan of Courage took the Ewoks from cute to ugly and annoying. Instead of wanting to cook and eat the humans of Return of the Jedi, the Ewoks (including Wicket, played by Warwick Davis) find two young kids abandoned in the forests of Endor and take them in, even learning a bit of English along the way. (It takes place before Return of the Jedi, so why don't the Ewoks want to eat the humans?)

"We...help...you," one of them says. The little girl is sick, but of course the Ewoks have all-natural herbal miracles to save the day--hurrah! Star Wars isn't exactly known for its Olivier-esque acting and Shakespearean dialogue, but it's quite embarrassing here. We get a lot of Ewoks talking to each other and Burl Ives (of all people) doing his best to narrate our way to some sort of meaning. Despite what should have been a hefty budget, the production features cheesy-looking puppetry and animatronics. It's all tremendously boring as well, with a lame villain (the Gorax monster) and dull, flat action sequences.

Why was this movie made?

If you couldn't stand some of the prequels, just watch this, and it will make any scene involving Gungas feel like Citizen Kane.

12. Ewoks: The Battle for Endor
The sequel to Caravan of Courage, this one is an improvement, but only slightly. In it, the adorable Aubree Miller returns as Cindel, whose father, mother, and brother are immediately killed by marauders during an attack on the Ewok village. She and Wicket (Warwick Davis) escape and meet a grouchy hermit named Noa, played by Walter Brimley.

One of the improvements is that the villains, while being essentially something out of Power Rangers, are for more enjoyable than any Gorax monster, and the Ewoks, as annoying as they were in the previous made-for-TV movie, are reduced to just Wicket. Brimley is surprisingly enjoyable to watch as well; he provides an ounce of humor and humanity in a movie that for the most part lacks it. This movie is still by no means good, with visual effects looking more like something out of The Giant Claw than something out of Star Wars, and this movie feels more like Willow or Labyrinth, which, depending on whom you ask, is a good or bad quality.

11. The Clone Wars
The animated film from 2008 that spawned the equally difficult-to-watch animated show, this is one of the most pointless films in the entire franchise. With lame animation and boring sequences, this is an entry that should undoubtedly be skipped. The powerful voice of Christopher Lee could not save this movie from clunky action and cringe-worthy stereotypes that make Jar Jar Binks seem politically correct.

10. Attack of the Clones
I remember initially being excited in 2002 at how much (I thought) this movie was an improvement over the previous episode, The Phantom Menace. I've since watched it again (and again) and saw just how wrong I was. Truth be told, there's not much of a difference between Episode I and Episode II. There's less Jar Jar Binks here, so that's a good start. And Christopher Lee adds a great deal of respectability here as the villain. We see Samuel L. Jackson fight with his BAMF purple lightsaber, and there's an epic climactic battle that's part Gladiator, part Braveheart. And who can forget that MTV Best Fight-winning duel between Yoda and Count Dooku? I haven't even mentioned Ewan McGregor's hair.

Still, this movie is bad, plain and simple. Lucas' dialogue for a very horny Anakin Skywalker (Hayden Christensen) is among his worst. The chemistry between Christensen and Natalie Portman is forced and awkward. (Portman is an Oscar-winning actress and among the best there is, and even she couldn't effectively deliver the dreadful dialogue in a believable way.) There are far fewer sets here; instead there's the ubiquitous green screen. Attack of the Clones is probably the worst of the major live-action Star Wars releases.

9. The Phantom Menace 
Episode I, the most anticipated film of the 20th century, was also one of cinema's great disappointments. Much ink has already been spilled about what did not work with this movie: Jake Lloyd's performance as a young Anakin Skywalker, Jar Jar Binks, and a whole host of issues. Fans over the years have tried to "fix" the mistakes in this movie, with the first being cleverly called "The Phantom Edit," but even those are bad.

That being said, this movie is at least better than Attack of the Clones, regardless of what most people say. Why? For one, there's the climactic duel between the Sith lord Darth Maul (Ray Park) and the two Jedi, Obi-Wan Kenobi (Ewan McGregor) and Qui-Gon Jin (Liam Neeson), set the tune of John Williams' perfect "Duel of Fates" theme. Yoda is still a puppet (until he was changed in later Blu-Ray editions for some reason to CGI). There are sets, too, and you'd be surprised at how much that matters.

Fans morphed into bullies when they treated Lloyd, then a young boy, as if he had utterly ruined their lives. The Daily Beast's article on Jake Lloyd's fall is one of the most depressing articles on Hollywood and fame I have ever read.

8. Spark of Rebellion
The 2014 44-minute animated television movie was the start of the animated series called Rebels. With its opening line ("The Jedi knights are all but destroyed..."), it starts with the pessimism of Revenge of the Sith but quickly shifts to the adventurous and optimistic feeling of A New Hope. And who says that opening line? None other than Darth Vader, and the audience is lucky enough to be able to hear James Earl Jones' voice again in his most famous role. He warns a nefarious-looking individual identified as the Inquisitor about the "children of the Force," and that if they do not join the Empire, they are to be destroyed. It's not the best cameo ever, but it is nevertheless fantastic to hear his voice again.

Speaking of voices, from here, much of the villains are predictably voiced by Brits, lecturing subjects of the "Em-piyah" and ordering them about. With animation, this goofy dialogue and exaggerated physical movement is more tolerable than in the live-action films. We meet a young boy named Ezra (voiced by Taylor Gray) who is sort of a hybrid of Luke and Han, an orphan strong with the Force but also an arrogant "street rat" and unfortunately one of the most annoying, bland characters in the series.

The characteristics are enough to remind audiences that the franchise often likes to recycle, as is also the case here with speed race chases, TIE Fighter fights, and goofy dialogue about light speed. Spark of Rebellion has its humorous moments, but at times is just as implausible as any other Star Wars movie, with a villain who cheats death way too often, Stormtroopers who can't shoot straight, and heroes who are way too lucky. Still, the animation is impressive, and it's nice to see other elements of the Expanded Universe. Starting a series that would also feature voice performances from Freddie Prinze, Jr., Jason Isaacs, David Oyelowo, and Star Wars alumni Frank Oz, Billy Dee Williams, and Anthony Daniels, it's a recommendable and fun short film.

7. Revenge of the Sith
In my original review of The Force Awakens, I wrote that Revenge of the Sith was the superior of the two. I was wrong. Revenge of the Sith, the darkest of the films, was a step in the right direction after two missteps, utilizing a necessary bleakness to a set of stories that often are overly happy. This also features the best acting of the prequel trilogy. Hayden Christensen is not exactly Marlon Brando, but he improved enough in time. Portman also gives her best performance of the three movies, even if her dialogue is atrocious. Ian McDiarmid as Palpatine gives a tremendous (if not over-the-top) performance, seducing young Anakin to the Dark Side. Jackson gives a good send-off, and McGregor is fantastic as always.

But especially compared to The Force Awakens, Revenge of the Sith often is a CGI mess, covered with awful humor that falls flat. Many times it's boring, much more boring than the following films. The villains (aside from Palpatine) are also disappointing. Christopher Lee's Count Dooku is killed off early in the film. General Grieveous is probably the dullest of all the bad guys. And instead of seeing Darth Vader as we know him for much of the movie, he doesn't appear until the end in one of cinema's most disappointing cameos.

Still, this is one of the most powerful and disturbing of the franchise. The scenes of Anakin and the clones' betrayal of the Jedi is masterfully captured by Lucas and crew. Anakin's murder of younglings is especially heartbreaking, as it is reminiscent of the Sandy Hook massacre.

Dark, yes, but this was surely the best of the prequel trilogy.

6. The Force Awakens
Yes, there are legitimate complaints against this film: it has numerous plot holes, it is filled with nostalgia problems, and it is almost painfully unoriginal. I think I actually enjoyed watching the three trailers more than this much-anticipated film. The characters are awesome, but here too there are problems: It's nice that there is a tough-as-nails female protagonist, but J.J. Abrams et al made her too flawless--she not only is as good a pilot as Han Solo, but can also defeat a Jedi trained not only by Luke Skywalker but also Snoke.

But The Force Awakens also reignited in me my childhood fascination with this franchise and made me want to revisit all the novels, video games, and comic books of my youth. John Williams' score, particularly Rey's theme, is his best in years. There is also a bit of thought behind it: the depressing reality of getting up right after the events of Return of the Jedi to fight a permanent war, or that Kylo Ren represents the bigotry prevalent still in many Millennials for example. Smart stuff, actually.

The Force Awakens was given a pass by many critics and fans who were thrilled that it wasn't a repeat of some of the prequel movies. But ultimately, it was still a very enjoyable film.

5. Rogue One

Rogue One is the Star Wars movie that could. The first in the series' anthology stories, this was the tale nobody cared about, and yet was much better than the highly hyped Force Awakens. The special effects are spectacular, the tension is real, and this is practically the only Star Wars movie that recognizes that the second word in the franchise's title has important weight to it. There's true delight in not only seeing familiar faces from the original trilogy (like Vader and, somewhat controversially, Grand Moff Tarkin), but also the prequel trilogy (like Jimmy Smitts as Bail Organa). Its most notable flaw, however, is the lack of character development. While Ben Mendelsohn as the villainous Director Krennic hits just about every note right, and Alan Tudyk as K2SO provides plentiful comic relief, there is not much depth to many of the other characters. Perhaps there didn't need to be, as this was only a standalone film with no planned sequel.

4. The Last Jedi
Screw the fans! This is the best one Lucasfilm has made in a long time. This movie, as many have said, doesn't care about your Snoke theory, or your brilliant ideas about who Rey's parents are. It does its own thing. There is respect for what has come before it, but there's also a sense of urgency in trying to avoid letting the series become stale. Rian Johnson, who will direct a new Star Wars trilogy that will likely feature entirely new characters, has been taking a beating for writing and directing what apparently is one of the most controversial in the series. Why? I still don't quite know. Maybe, as some have speculated, it's because people (by people I mean racist, sexist people) are opposed to how these newer films are more diverse. Maybe it's because people have thought Johnson deviated too much from the established canon and precedents. Maybe it's because they really hate porgs. I don't know.

Like The Force Awakens before it, there are problems: Some things are tied up too quickly, there's too much dues ex machina, and some segments drag on too long and are too unnecessary. Nothing is perfect. But Luke Skywalker has come full circle and is now the Obi-Wan character, and Mark Hamill is great to watch. Carrie Fisher gives a fantastic final performance. Rey, Finn, Poe, BB-8, and Kylo Ren are terrific, Kylo in particular. Here's how Alison Willmore at Buzzfeed describes the character: "Vader was an epic villain. Kylo was a kid who started idolizing his infamous grandfather because his parents were too busy to pay him enough attention, and even as a man he holds onto to Vader's burnt-out helmet like a teenage outcast hoarding Axis memorabilia left behind by the generation no one talks about at family reunions." Like The Force Awakens, there often is a lot of intelligent symbolism here.

So I will repeat: this is the best Star Wars movie in a long time.

3. Return of the Jedi
What can I say? I like Ewoks (at least the ones that appear here and not on television). Like The Empire Strikes Back before it, while it has a boring second act, this entry, the final in the original trilogy, introduces us to iconic characters (e.g. Jabba the Hutt, Emperor Palpatine) while adding depth to the characters we've fallen in love with. In Darth Vader, audiences witness the final stage in a six-part story arc that offered the best example of a tragic hero's rise and downfall (and redemption). Ian McDiarmid's Palpatine is (as with Revenge of the Sith) occasionally over the top but also terrifying. And Denis Lawson finally gets to use his own voice as Wedge Antilles, one of fans' favorite minor characters. (Lawson is also the uncle of Ewan McGregor, who played the younger Obi-Wan Kenobi.)

This is about as good a conclusion to a trilogy as there has been, though my only advice is to do yourself a favor and find a copy of the original 1983 ending, not the nauseating changed edition from the late 90s.

2. The Empire Strikes Back
This is the film that famously elevated the franchise away from simply a hugely entertaining blockbuster and into some serious stuff. Whether it's the introduction of Yoda, the powerful brass of John Williams' "Imperial March" theme, or that immortal twist, this film is a classic. It's not, however, as perfect as everyone says it is. Of the original three, it arguably moves at the slowest pace, and in a post-Harvey Weinstein, #MeToo world, watching Han basically sexually assault Leia and then Lando's creepy advances toward her are really awful to watch. And Leia kisses her Luke...only for us to find out in Return of the Jedi that they're siblings.

If you can get past all that, you'll love The Empire Strikes Back. There's an exciting battle in snow in the first act, a daring chase through an asteroid field, Boba Fett (everyone's favorite secondary character), possibly the best lightsaber duel, and iconic lines throughout. I don't blame people for saying this is the one they like the most, I just don't agree with them. For I think the best Star Wars movie is...

1. Star Wars (aka A New Hope)
I don't care what anyone says; nothing beats the original. A New Hope is better than The Empire Strikes Back. This one has far more wonder and magic than any after it. It's true that the dialogue is at its most wooden, with whiny lines about power converters and fast ships. But there's just something there that the others don't have.

This is a motion picture unlike any before or since. Its mixture of mythology, science fiction, groundbreaking special effects, history, politics, that awesome musical score, and old-fashioned fun must have felt like a breath of fresh air in the cynical late 70s. That opening scrawl, C-3PO and R2D2 lost in the desert, the introduction of the Jedi and the Force, Vader and that iconic voice by James Earl Jones (and thank goodness not the original), Han and Chewbacca, Peter Cushing as Tarkin, Alec Guinness as Obi-Wan Kenobi, and all those unforgettable lines (like "Help me, Obi-Wan Kenobi. You're my only hope").

George Lucas nearly got himself killed making his passion project. After a more mature science fiction flick called THX-1138 and a successful nostalgia picture called American Graffiti, he could have played it safe and direct films more similar to those of his mentor, Francis Ford Coppola or his buddies Martin Scorsese and Brian De Palma, both of whom didn't understand the movie when he screened it for them. (But who did? Steven Spielberg, who predicted it would be the most successful movie of all time.) Exhausted, Lucas fired his editors when the space battles weren't fast enough. He took chance after chance about a story that featured basically a dog that walks on two legs and wizards with laser swords.

And the final product has so much energy that it is not surprising in the slightest that the franchise has lasted forty years. Should it last for forty more? Probably not. Star Wars is not SNL, it's not Marvel. But for the time being, Lucasfilm can keep 'em coming. 

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Star Wars: The Last Jedi

Star Wars: The Last Jedi, the eighth part of the nine episodes in the series, is as operatic as this fantastic franchise has ever been. In the hands of a new writer and director, Rian Johnson, this is a film that enjoys embracing the formulas that have made these films so endearing for so long while also taking risks unlike any of its predecessors did. It is possibly one of the reasons why fans reportedly have been more turned off by this film than critics, even though the reverse is usually true for blockbusters. Despite this, listen to the critics. They're definitely right this time.

Why are they right? The movie looks fantastic, the actors are having fun, the dialogue ain't perfect but there is no crying about how coarse sand is. There are a variety of surprises throughout -- most good, some not. This is a franchise that has been around for forty years. It's about time they start spicing things up.

The Last Jedi starts immediately after the events of The Force Awakens, in which the First Order (the remnants of the Galactic Empire defeated in the original trilogy) took a few mighty strikes against the Resistance, a militarized offshoot of the Republic, which practically was destroyed in the last film. While the Resistance and the First Order engage in a fierce battle among the stars, Rey (Daisy Ridley) seeks out the assistance of Jedi legend Luke Skywalker (Mark Hamill), who has forced himself into exile on a remote island far away from anyone. Even after having the stakes explained to him, Luke is not interested in the slightest. His guilt over training Ben Solo (Adam Driver), his nephew who turned to the Dark Side and became Kylo Ren, has led him to believe that the Jedi must end. Luke may no longer be a whiny teenager bellowing about power converters, but now he's an cagey old man complaining about youth culture.

Rey will not give up in her pleading with him to help. Meanwhile, the First Order is chasing down the final ships of the Resistance, picking them off one by one. The sibling rivalry between General Hux (Domhnall Gleeson) and Ren continues, and they have a tough father figure in the form of the Supreme Leader, Snoke, to please. Snoke is played in yet another motion-capture performance by Andy Serkis, whose voice is menacing. Hux and his fleet hunt down the Resistance while Kylo Ren searches for Rey and Skywalker.

These actors and the characters they play are as enjoyable to watch as they've ever been. Some have become more interesting, even if that also means they've become more problematic. Poe Dameron (Oscar Issac), for example, the hotshot pilot for the Resistance is more three dimensional here than he was last time around, probably because in the last film's script he initially was meant to die, which is why he just sort of disappeared for the second act. Here, he's charming and adventurous, but also stupid. It's hard to like him while he does a lot of mansplaining to his superior, Admiral Holdo, played magnificently by Laura Dern. Only several years ago, a studio would have set up this dynamic to get the audience to sympathize with the male; now, it's impossible to do that, and for good reason. Holdo is a calm, reasonable, and brave presence on the ship as the First Order chases them, and yet Poe, a cowboy who demands action, is too short-sighted. Poe thinks he's Indiana Jones in space; Holdo knows that "bitches get things done." But often throughout their confrontations, Dern displays a persona that expresses a lifetime of having had to listen to men push their way into battles and risk everything. There's a reason the Rebel Alliance, the Republic, and the Resistance are led by women like Mon Mothma, Holdo, and General Leia Organa.

The villains are all much more enthralling to watch this time around. If you were disappointed in the wasted opportunity in how little screen time Gwendolyn Christie got last time, well, you'll still be disappointed by her short time in this film, but not by what she does with it. Driver plays Kylo Ren as a sociopath, and yet like most sociopaths, he contains at least a tiny of drop of qualities that make him at least somewhat sympathetic. In this case it's his very apparent behavior, temper, and anger issues, and the fact that he's bullied by his teacher and leader Snoke doesn't help. (In the reverse, teachers disappointing their students is a common theme throughout.) Gleeson as General Hux double-hams it up with that ridiculously fake accent, which you'll either love or hate. Benicio Del Toro also joins the cast, and he looks like he's having as good a time as he did when he was in The Usual Suspects and Guardians of the Galaxy, though it's so similar to those performances that it might disappoint you. The addition of Kelly Marie Tran as Rose Tico helps make The Last Jedi feel like it's the most diverse Star Wars movie ever; even the First Order is more diverse. Tran, the daughter of refugee migrants from Vietnam, plays Rose as a tough fighter in the Resistance. The death of her sister only gives her further motivation to take them down.

Mark Hamill, returning as Luke Skywalker, his most famous character, is actually kind of funny here, as Harrison Ford's Han Solo was before him in The Force Awakens. But be warned, apparently fans are angry that there are a few laughs in this film. (People who do not like The Last Jedi do not like laughing.) And then there's Carrie Fisher. Her character, Leia, the princess who became a warrior, is war weary; she remembers how many they've lost, and that was basically how we felt upon learning that she was the latest celebrity in 2016 to pass away (and only a day before her mother, Debbie Reynolds, also died). What else can be written about the acting legend that hasn't already? In her long career, her final performance is one of her truly best, and it is awfully unfortunate that the world will not get one more performance by her as Leia, for Lucasfilm had planned on her having a larger role in the final part of the trilogy.

As a director, Johnson is amazingly talented at shooting fight scenes. The other well-known features in which he helms (Brick, Looper, and several episodes of Breaking Bad) do not have this kind of staccato action; indeed, these scenes here are filmed in a way different from those directed by George Lucas, J.J. Abrams, and others. In fact, the entire pacing of this movie is different. Whereas The Force Awakens started off quite strongly, it fizzled out as it got closer and closer to the end (a common problem in movies directed by Abrams). Here, there's a big bang in the beginning, but other than a far-fetched and dull sequence involving a casino, this movie never lets our interest wane. With few exceptions, The Last Jedi gets better with each passing minute. When The Last Jedi starts, it is evident that it will probably be a better ride than The Force Awakens, but half-way through it is more than obvious it will.

As a writer, Johnson is pretty good, too, and there are two or three scenes in The Last Jedi he and his team came up with that ideally would be worth writing about, but it's virtually impossible to do so without spoiling them. Spoil I shall not. At first, I thought I could simply use a noun to get the idea across, but even that would be revealing too much. Perhaps an adjective could be used instead, and the one used would simply be: wonderful. Still, another adjective that could be used for another scene would be "ridiculous"; it comes early in the film and involves floating (or flying, or something like that). It's stupidly written and while containing a certain meta quality, looks goofy. Additionally, Johnson includes a few shout-outs to the original three films, and many of these are unnecessary, but it doesn't seem as if the film is oozing with nostalgia like The Force Awakens did. Finally, to address one of the largest concerns fans had going into this movie, let me say that if you like the porgs, these adorable owl-penguin hybrids won't disappoint you. If you hate them, rest assured they're hardly in it.

Sure, this film is not without its problems. Isaac and Gleeson starred in a sci-fi movie two years ago called Ex Machina, and yet that old-fashioned devise is employed so liberally here that it feels like it would be a better title than The Last Jedi. This is the longest Star Wars movie, and while for the most part it doesn't seem too long, there are scenes that could have been scrapped (mainly the casino part). Needless to say, I feel happy after watching this movie that Johnson will write and direct a new Star Wars trilogy that apparently won't have anything to do with the previous movies Lucasfilm has made. Fans will run out of patience with this franchise eventually. Star Wars is not Marvel; it cannot last forever. But for the time being, after the immense success of The Force Awakens, Rogue One, and The Last Jedi, why stop now?

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Jackie Brown

“AK-47, the very best there is. When you absolutely, positively got to kill every mother fucker in the room, except no substitutes.”

Jackie Brown was the third film Quentin Tarantino directed, serving as an interesting, albeit less memorable, conclusion to his 1990s quasi-trilogy that included Reservoir Dogs and Pulp Fiction. Unlike his other movies, this is an adapted work from the novel Rum Punch by Elmer Leonard, and like his films before and after, he assembled a terrific cast, one of the finest of the 90s: Pam Grier, Samuel L. Jackson, Robert Forster, Bridget Fonda, Michael Keaton, and Robert De Niro, an ensemble weaker directors would either not think of or would mishandle.

The McGuffin of the film is half a million dollars being smuggled into the country from Mexico by a flight attendant named Jackie Brown (played by Pam Grier) for an arms dealer played by Jackson. Jackie gets caught at the airport by an ATF officer named Ray Nicollete (Michael Keaton), who teams with a local cop played by Michael Bowen. Nicolette wants to take down Ordell, and he plans to use Jackie to achieve those aims. For his part, Ordell can be cautious to the point where he believes Jackie needs to be warned, but Jackie puts up a fight. She plans on playing both Ray and Ordell, with an eye on the money herself.

Ordell sort of leads an unlikely trio – he's joined by his bank robbing accomplice Lois (De Niro) and Ordell's beach bunny girlfriend (Fonda), who fancies Lois. (The characters Ordell and Lois also appear in the 2014 Leonard adaptation Life of Crime. Additionally, Miramax agreed to waive the fee for allowing Keaton to reprise his role in a cameo in Sony's adaptation of Leonard's Out of Sight in 1998.)

While it may be the least appreciated Tarantino-directed film, it is not devoid of problems, chief among them an aspect that also appeared in The Hateful Eight and to a lesser degree Reservoir Dogs: violence against women that, it seems, is meant to be humerous. Mix in a lot of N-word dropping, and it of course constitutes a normally controversial film directed by Tarantino. 

But love him or hate him, the evidence suggests he's an actor's director. Many of these stars, particularly Grier, Fonda, and Forster, delivered some of their very best work. Forster in particular delivers one of the most natural performances captured on film. Fonda hits ever note perfectly, and Grier was, simply put, robbed of an Oscar nomination.

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