Star Wars: The Force Awakens: The ConnoReview | JJ's Labor of Love

The force has awakened indeed.

J. J. did it. Supplied with a deconstructed universe and a killer cast, Star Wars has returned with vigor, hitting all of the right notes in the process. Killer cinematography, cute robots, and a lovingly crafted story certainly help too.

The cinematography and production values are all sky-high, and all of the beautiful special effects and (apparently real) explosions show it. This film was built with fans in mind, be it camera work very much reminiscent of the old films or the iconic opening crawl.

The main triad from the original trilogy reprise their roles, and do so with energy and vigor. Harrison Ford specifically is outstanding, bringing back the old Han Solo like he never left in the first place.

This film isn't about them, though; at least, not as much. The Force Awakens follows a new path: a younger, bombastic group of would-be heroes. Daisy Ridley plays a plucky and immensely attractive scavenger named Rey, who appears opposite Finn, John Boyega’s captivating and stressed former stormtrooper. The dark side has very strong characters too, with Kylo Ren’s character being very different and much more interesting than I expected. The best thing about these characters is that they have their entire characters fleshed out by the end of the film. J. J. obviously ensured this so that his successors in the sequels have these fully formed and strong protagonists to work with and build upon. They are wonderful and bring new life to the franchise, which makes me quite hopeful for the next film.

But that's the thing about Star Wars: The Force Awakens. Everything it does right seems to be setting up for something else. For all of the breathtaking dogfights and tense, character-constructing moments, it falls a bit shallow in the overall story category, falling in line as a modern A New Hope in not simply function but also form. I won't head into spoiler territory, but don't expect a Citizen Kane of Star Wars storytelling. 

This film triumphs in its spectacle, revels in its storied heritage, and creates absolutely fabulous new characters. If you have ever seen a Star Wars film, see this film. If you've stayed away from Star Wars and are interested in an extremely entertaining and well-made film, see this film.

I'm certainly looking forward to more. May the force be with you.

Spectre: The ConnoReview | Sam Mendes Falls From Skyfall

Four years after Sam Mendes' brilliant Skyfall, the director returns to the Bond series in a significantly weaker outing. Bond finds himself up against an organization that has (apparently) orchestrated everything that has happened since Casino Royale, and the film rests on its laurels far too much than is comfortable.

The most prominent issue that presents itself is how inferior Christoph Waltz' Franz Oberhauser is in comparison to Skyfall's brilliant, calculating, mentally disturbed Raoul Silva. Skyfall made me fearful of this man. I felt as if he was around every corner, always a step ahead. It portrayed him as an absolute monster, and created depth and personality to his violent and criminally insane exterior. Waltz just feels so much more... muted. Oberhauser has little, if any reasoning for going after Bond and MI6 besides "ahhaha, I'm the bad guy, and I have been behind it all!". It's genuinely disappointing. 

Secondly, Spectre refuses to innovate upon anything or build on the strong character study provided in its predecessor. Bond barely seems to care that M died at the end of the last one, and simply is strung along, raring to go on a new mission. Where is the emotion? Where is the pained, weathered 007, struck numb from the death of his mentor, acting to deliver on her final wish? Craig does not show a single iota of feeling for the events of Skyfall in the film, and it severely dampers his character. 

Not to mention overall, Spectre doesn't at any point do anything new. It's filled to the brim with the old 007 tropes that have been around forever: Bond fighting thugs without recieving a scratch on him, Bond seducing lovely ladies at the drop of a pin, Bond racing down staircases in sports cars, Bond at the end of the day never actually seeming in danger. It's tiresome and a huge step backwards from Skyfall's sense of foreboding conflict and actual possibility that someone could die at a certain point.

That all being said, this is not to say that Spectre is a poorly produced film. Mendes brings back the miles-high sense of production value that he so wonderfully provided in the previous flick. The sound design is spectacular, each scene expertly synchronizing the sights and sounds of the locales, the strong soundtrack providing tension and creating depth depending on Bond's actions. I repeatedly found myself marveling over this specific facet, as so many films fail to make wonderful sound and fast-paced action play off each other. The cinematography is spot-on as well, each scene feeling like a beautiful, effortless setpiece. These make me respect Mendes as a director despite his decision to take it easy this time and ease off on the weight in favor of a more carefree 007 story. (This is also not discounting the performances of the supporting cast, Fiennes is wonderful as ever, and Léa Seydoux's Madeleine is one of my favorite Bond girls ever.)

So, to conclude, if you're looking for a Bond film that does what it says on the tin, look no further, Spectre has you covered. If you're after a more mature, visceral spy film, I would look elsewhere.