Notes on The Last Jedi

This article is part of the Notes on Failure series, which discusses interesting cinematic failures. Previously, Bully.


I feel like I need to clear the air a little before I start. I knew I’d want to write about The Last Jedi for this series pretty much immediately after watching it. It had parts I found breathtakingly beautiful, among the best things in the entire Star Wars franchise. It also had parts so bad I sincerely entertained the notion my screening was shown a joke version of the film for a prank show (the Yoda scene, mostly). I don’t know what an interesting cinematic failure is if it isn’t The Last Jedi. In accordance with our ethos of cold takes, I waited to start writing until (1) I’d given myself adequate time to sit with my thoughts, move beyond my initial impressions and hopefully deepen my analysis, and (2) there was no ongoing cultural discourse of significant scope or fervour around the film. I didn’t want my take on the film to be hot in either the sense it came too quickly after I watched the film or the sense it was too pegged to any particularly heated discussion unfolding when I wrote it. The former to ensure I developed my ideas well and the latter to ensure I wasn’t overly invested in responding to specific takes on the film that might be personally infuriating, but weren’t actually that interesting or relevant. So I waited.

It took the most devastating global pandemic since the Spanish flu to get people to shut up about this movie for five minutes.

The Last Jedi might not be the most controversial film of all time, but I can’t think of another that has continuously generated such a consistently high volume of discussion and debate for so long. People may have committed acts of terrorism over The Last Temptation of Christ, but they didn’t keep doing it for three years after release. The film came out, people saw it, the controversy abated, the world moved on. Not so with The Last Jedi. Obviously, a major part of that is the existence of social media as a permanent global forum with no space limits. Even with a 24-hour news cycle, only so much can fit in a newspaper or in a broadcast at a given time. News websites don’t have space limits, but they have the practical constraints of a human workforce that can’t pump out endless coverage of infinite topics (at time of writing). Social media knows no such limits. If thousands of people decide to spend their time arguing about whether a film is good or not, the only limit is their own patience.

But the changing nature of how we communicate only explains how The Last Jedi discourse lasted so long, not why. The 2016 remake of Ghostbusters also generated lots of controversy and discussion, months of it, but it was a dead topic within a year of its release. Not The Last Jedi. Until just a couple of months ago, it was still an active battlefield of culture war nonsense. Tens of thousands of words in op-eds and essays, thousands of hours of video on YouTube, and that’s not even touching on the tweets. People have written books about it. And I guess I needed to give all this context just so I could be clear about one thing before I dive into my own thoughts on the film.

I do not care about any of this.

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Digitally Reanimated Corpses

In the second season of Bojack Horseman, Bojack is cast as the lead in a film: initially it’s a serious drama, but it’s changed significantly to test better with audiences, and so Bojack ends up going AWOL from production for months. When he returns to LA, he discovers the film has been finished without him: they created a computer-generated version of him based on a full-body scan he was made to take at the start of filming. Not only was the CGI Bojack used in additional scenes filmed when Bojack disappeared, but it was inserted into every frame filmed with the real Bojack to replace him. In the end product, Bojack doesn’t appear at all, just a digital copy of him.

The critics call it the best performance of his career.

When I first watched this episode in 2015, it seemed like comic exaggeration. When actors sign up to big movies, they often sign away much more than just their performance – like their likeness to be used for toys and merchandise – and have no recourse when the film they thought they were making turns out to be something else entirely. It was funny because, like most of Bojack Horseman’s best jokes, it was absurdist with a current of real-world melancholy underneath.

A year later, Rogue One: A Star Wars Story came out.

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Speed Racer Is Not An Art Film

The air crackles with potential. A change is coming. I see it on the horizon. Hope is home to roost at last. The tide is about to turn. I know the signs. People in Film Twitter ask some question – What film would you make everyone else in the world watch? What film would you take into the bunker with you if the bombs fall? – and ever more people give the same answer as me.

Speed Racer.

But it’s not just Speed Racer – it’s everything that writer-director team Lilly and Lana Wachowski do. People who never mentioned Sense8 in their life outed themselves as viewers in their hundreds when it was cancelled. The Matrix was never out, but it’s back in, and even the sequels are getting more appreciative second looks. I see gifs of Jupiter Ascending used in non-ironic contexts, and all of a sudden people remember that Bound exists. When my favourite film magazine took suggestions for future issues, I scream-tweeted “WACHOWSKIS ISSUE PLEASE” and six people liked it, only one of whom co-runs this blog. I knew it would happen, but I didn’t realise it would happen this soon.

The Wachowskis are on the verge of a critical rehabilitation.

Please don’t fuck it up by calling Speed Racer an art film.

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