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Star Wars Episode IX The Rise Of Skywalker 2019 1080p X264 [ExYu-Subs]
Some time has passed since the events of The Last Jedi: The Resistance somehow survives, and the Emperor (Ian McDermid), unexpectedly alive, sends his message throughout the universe: he is going to raise the old imperial fleet, where every ship is capable of destroying the planet. Kylo Ren (Adam Driver) sees him as a threat to his power, but after finding Palpatine, he joins him. Now Ray (Daley Ridley), trying to learn how to fully control her abilities, will have to find the Emperor's secret hideout, find out the secret of her origin and destroy the Sith forever.
Skywalker is being released in Russia today. Sunrise" is the final chapter of the new "Disney" trilogy of "Star Wars", a nostalgic carnival designed to do what George Lucas himself failed at the turn of the century. To bring back to the screens "that very" far, far galaxy, mythical and wild, without tedious conversations about trade embargoes and revelations about the impermanence of sand. The Disney approach, led by industry veteran Kathleen Kennedy, too clearly focused on reproducing and exploiting old mechanics, almost immediately became the subject of fierce debate, but in at least one way the mouse megacorporation did not deceive us. She really managed to do what Lucas never managed to do — first turn away the devoted fans of the franchise (many of them fell off on The Last Jedi), and then make Star Wars, a franchise with one of the loudest and most recognizable names in the entire history of cinema, banally uninteresting to the viewer (their "Solo" failed at the box office with a bang, instantly nullifying far-reaching plans to capture the big screens with spin-offs and solo albums).
The point here, of course, is not in the quality of individual films — "Rogue One", for example, was a really talented attempt to transfer the traditions of military action to the franchise, besides with an interesting study of Force as a religious dogma. The problem, as it usually happens in the case of large studio super projects, is in the management. In this sense, the new "Star Wars" is generally a very important precedent: a vivid example of the fact that even the huge Disney, which built a boring monolithic MCU franchise, overlaid itself from head to toe with focus groups and computer algorithms, may not understand what it actually wants from its own films. And even more so — what the viewer wants from them.
No matter how much Lucas was criticized for his strange vision in the prequel trilogy, which suddenly focused on intergalactic politics and unsightly melodrama, it was still actually a vision. Disney's "Star Wars" is a manifesto of his complete absence. This is a trilogy that argues with itself from film to film: the reminiscently sweet "The Force Awakens" is followed by "The Last Jedi", suddenly revisionist, from a director who didn't care about the sanctity of the canons — while all the peers were watching "New Hope", he was more interested in "Annie Hall". And behind him is actually "Skywalker", which rejects all the developments of Ryan Johnson and returns the franchise to the rails of convenient, but now no longer working nostalgia.
Johnson's revisionism, of course, was also questionable — "The Last Jedi" outlined many interesting theses, but none of them had time to really implement: the borderline state of the "second part" was affected, not so much, in theory, meaning-forming, as connecting meanings. If they had trusted him to shoot all three films, you see, and a complete rethink would have turned out, if they had entrusted everything to Abrams, three pleasant nostalgic trinkets would have come out, which is also, in general, not bad. But for some reason they were connected by one story, and their symbiosis turned into an unconstructive dispute between two authors with completely opposite views
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