There is little left to say about Star Wars: The Rise of Skywalker that hasn’t already been widely discussed. Not only is it the weakest entry in the franchise, but it also ranks among the most disappointing blockbusters of the 2010s. Its issues: excessive exposition, diluted humour, and clumsy dialogue that undermines earlier instalments are taken to new extremes.
A talented cast is largely wasted, reduced to delivering awkward, meme-worthy lines such as “somehow Palpatine returned,” “they fly now,” and “I’m the spy.” Moments like these exemplify a script that often feels rushed and underdeveloped. The decision to bring back Emperor Palpatine is particularly problematic, resulting in a climax that feels both incoherent and dramatically unearned.
While the film aims to provide a grand conclusion, its narrative choices are bafflingly incoherent, constantly prioritising empty spectacle over logic or emotional payoff. The plot lurches from one contrivance to the next, undermining not only its own stakes but also the foundations laid by previous films. The return of Emperor Palpatine epitomises this, feeling less like a bold creative decision and more like a desperate, last-minute attempt to manufacture significance.
Ultimately, there are virtually no redeeming qualities to speak of. The film feels cynical and creatively bankrupt, more concerned with damage control and fan service than telling a coherent story. Rather than delivering a satisfying finale, it reduces the trilogy, and to some extent, the wider saga to a disjointed, hollow spectacle that’s as frustrating as it is forgettable.
There is little left to say about Star Wars: The Rise of Skywalker that hasn’t already been widely discussed. Not only is it the weakest entry in the franchise, but it also ranks among the most disappointing blockbusters of the 2010s. Its issues: excessive exposition, diluted humour, and clumsy dialogue that undermines earlier instalments are taken to new extremes.
A talented cast is largely wasted, reduced to delivering awkward, meme-worthy lines such as “somehow Palpatine returned,” “they fly now,” and “I’m the spy.” Moments like these exemplify a script that often feels rushed and underdeveloped. The decision to bring back Emperor Palpatine is particularly problematic, resulting in a climax that feels both incoherent and dramatically unearned.
While the film aims to provide a grand conclusion, its narrative choices are bafflingly incoherent, constantly prioritising empty spectacle over logic or emotional payoff. The plot lurches from one contrivance to the next, undermining not only its own stakes but also the foundations laid by previous films. The return of Emperor Palpatine epitomises this, feeling less like a bold creative decision and more like a desperate, last-minute attempt to manufacture significance.
Ultimately, there are virtually no redeeming qualities to speak of. The film feels cynical and creatively bankrupt, more concerned with damage control and fan service than telling a coherent story. Rather than delivering a satisfying finale, it reduces the trilogy, and to some extent, the wider saga to a disjointed, hollow spectacle that’s as frustrating as it is forgettable.
