Star Wars Episode 7

[duovamp]

If it's pretty, fuck it.

[FoolofaTook]

thank you, monsieur pedovamp, for your insightful insight.

blessings, bro.

[duovamp]

Merry Christmas and may the force be with you.

[FoolofaTook]

fuck you motherfucker! i am of the sith!

may the force strangle your entrails and leave you with a bloody stool!

[redbreegull]

I really don't get how this movie is a worse rehash of A New Hope than ROTJ.

[ninsp]

Originally Posted by redbreegull

I really don't get how this movie is a worse rehash of A New Hope than ROTJ.

I thought I was the only person who felt that way. Really tired of that narrative. Especially because the whole Starkiller thing isn't that important to the story. It's about Rey's growth into a Jedi. Which, assuming her likely connection to Luke, is important that it parallels his growth.

[redbreegull]

I actually meant that I think Return of the Jedi is a closer copy of the original than The Force Awakens.

The hyper Death Star whatever thing is the worst copycat part of the movie to me. I was pissed when I saw the obvious superweapon on the movie poster and I'm still pissed. It's dumb. Superweapons are an integral part of Star Wars because cheesy 1950s sci fi serials, but there are more creative ways to take it than every movie having a larger planet-killing roboplanet than the last.

ROTJ like really is the same movie as A New Hope though. This movie at least had different characters with different personalities and different agendas on different planets.

[redbreegull]

I mean which Star Wars movie am I describing

R2-D2 is carrying a vital message. Luke is on Tatooine and there is the fear he may never leave. He goes to a seedy alien zoo full of cold characters and criminals listening to some space band. One of his gang is being held hostage and he has to infiltrate the villain's lair to free them. After teaching him one last lesson, Luke's mentor dies leaving him to face evil alone. Then the rebels battle the Death Star and Luke faces Vader. In a desperate moment of panic Luke finds the serenity and power of the Force within him and thus wins the day. The Death Star is blown up moments before it can decimate the Rebels and then there is a celebration on a forest planet.

[SOUL PWR]

Originally Posted by redbreegull

I actually feel bad for Lucas. He's so visibly unenthused by the new movie and seems kind of bitter over the positive reaction. I also recently read about how Kathleen Kennedy shut down like every idea Lucas proposed for VII to the point where he just walked away and decided he didn't want anything to do with it. I know the movie could really only have been worse for his involvement, but I dunno, he still gave us Star Wars to begin with. It must suck to have your fans rebel against you to the point that they want to take your art away and let someone else continue it.

Yeah. I have sympathy....but....he's only to blame. He didn't have to sell the rights. Or give us Jar Jar Binks.

[redbreegull]

I mean I'm not losing sleep over it and I don't feel bad for him like he's a Syrian refugee, but yeah...

I guess it makes me especially sad that he went into this movie believing his ideas and sketches from the 1970s were going to be at least seriously considered, but Disney quickly dismissed all his original material. It's weird because although the prequels were bad, they were still Lucas' vision, a lot of which had been conceptualized at the same time as the original trilogy. But Force Awakens is totally disconnected from Lucas' story. I do wonder what Lucas' intentions for the third trilogy were. Someone from Disney said his stories were too focused on "family drama," whereas what they wanted to create was a space opera.

The more I think on it, the more The Force Awakens makes me feel a lot of strange, conflicting things. I'll have to see it a second time to straighten some things out in my mind. I was never really into the EU either, but I also feel sad that the whole mythology has been rendered incorrect.

[MyOneAndOnly]

he doesn't need anybody's sympathy. he had a fantastic run. made the most successful film in history, built a film and gaming empire and became a Billionaire. Lucas said for decades, right up until he sold out to Disney, that he had no stories, plans, ideas, etc. for a sequel trilogy. he was insistent that he had no interest in making sequels. he viewed the entire SW saga as the story of Darth Vader. As late as 2008 he was giving interviews and telling the press that the Feature Films were over and they would literally die with him.

But when he sold to Disney he produced outlines for 3 sequels that he developed right before the sale. my guess is that he wanted one last bit of influence on his creation before losing it. the only people who've seen the outlines are Lucas, the CEO of Disney and (I think) maybe Katherine Kennedy. I'm not clear whether Kasdan has. He's made vague comments in interviews that don't clear up whether he was brought in after Kennedy decided not to use the outlines or whether he was allowed to see them. the only thing that's been shared regarding those outlines is that Lucas had, before selling to disney, gotten commitments from Mark, Carry and Harrison to reprise their roles. (if that's true it probably sweetened the deal for Disney) And that the sequels were to focus on new teenage characters... kids.

supposedly Disney has those outlines in a literal safe somewhere. my impression is that since they're not using them there must be something in the terms of the sale of Lucasfilm that they stay secret. If not, i can't imagine that virtually nothing has been leaked.

IMO Disney has done a good job so far of doing a mash-up of many of the best bits and pieces of the Expanded Universe. I doubt Lucas would have done that. If you look at the prequel trilogy it borrows not at all from the Expanded Universe. the only examples of the EU seeping in are in tiny character cameos, like Aurra Sing in TPM (during the pod racing scene). there are so many EU influences on TFA that I don't think i've been able to notice them all. Kylo Ren's mask is the most obvious example.

[redbreegull]

Lucas has said contradictory things over the years about a sequel trilogy, but originally he had planned 9-12 films and he did have outlines for them, or at least this is something he has repeated several times. At one point in the early 2000s he was talking about a sequel live action TV series. I guess it is impossible to know how much of his original ideas made it into the prequels or how much they would have made it into TFA, but it was more than he just conjured the concept of the sequel trilogy for Disney.

I'm seeing TFA again tonight and I'm pretty excited. I feel like I missed a lot and am excited to form a more concrete opinion.

[MyOneAndOnly]

Originally Posted by redbreegull

Lucas has said contradictory things over the years about a sequel trilogy, but originally he had planned 9-12 films and he did have outlines for them, or at least this is something he has repeated several times. At one point in the early 2000s he was talking about a sequel live action TV series. I guess it is impossible to know how much of his original ideas made it into the prequels or how much they would have made it into TFA, but it was more than he just conjured the concept of the sequel trilogy for Disney.

I'm seeing TFA again tonight and I'm pretty excited. I feel like I missed a lot and am excited to form a more concrete opinion.

the TV series is still on the table. they wrote outlines for 100 episodes. it's set in the lower levels of Coruscant. there was a report recently that people at Disney have said that it's still being considered as an option in the future.

my understanding of Lucas's old statements regarding the number of 'episodes' is that refers to his original 1970s outlines, which didn't go beyond Vader's death. those got radically reworked, edited and combined, mostly into the 3 original films. between the late 70s and early 80s he did make a handful of comments regarding what a sequel trilogy would involve. I think all he ever eluded to was that if sequels were made they'd have to deal with the offspring of the Skywalkers. And because the Expanded Universe immediatly dealt with novelizations of that very type of story, the children of both Leia and Luke, i think it lead people to assume that was Lucas's idea all along. But the idea that there were 9-12 fully baked movie treatments became something of a myth repeated over and over by the media.

[redbreegull]

but why would an artist bullshit the fans for years with all sorts of contradictory claims about projects in development, ultimately delivering very little material which is amazingly sub-par and tarnishes the legacy of his first works, while concurrently feeding them an ever-changing string of nonsense narratives about the intentions and vision behind the material?

https://c2.staticflickr.com/2/1305/6...cf6b80b6_z.jpg

[MyOneAndOnly]

RBG please!

i don't think Lucas has been bullshiting anybody. he's been consistent for three decades.

[redbreegull]

https://scontent-iad3-1.xx.fbcdn.net...6a&oe=570AA8EB

[MyOneAndOnly]

nothing new here but a good article on the pastiche of Star Wars

http://www.slate.com/articles/arts/c..._westerns.html

[redbreegull]

Originally Posted by scottytheoneand

nothing new here but a good article on the pastiche of Star Wars

http://www.slate.com/articles/arts/c..._westerns.html

that's an interesting take, and it kind of makes me wonder whether I tend to prefer "pastiche" to something that attempts to be radically original. I don't really have a lot of favorite films, but in terms of tv my favorite things are Twin Peaks and Buffy, which are also pastiche amalgamations of lots of previous things, and often border on being "m e t a-cultural" in their stylistic references and critiques.

[MyOneAndOnly]

You can tell that JJ understood Lucas's style. Not only was TFA so **** when it came to the original films and fandom, but it also heavily borrows from many other iconic films. The tie fighters in front of a low sun ala Apocalypse now is a perfect example.

Here's a piece that discusses references to other non star wars films.
http://www.slate.com/blogs/browbeat/...sett_film.html

[redbreegull]

I also found this to be really interesting:

[Lucas'] notes included lines such as “The empire is like America ten years from now” and in one deleted scene, Luke even worries about getting “drafted into the Imperial Starfleet.” Lucas and his team drew from all corners of the world when designing the Empire—including most obviously World War I and World War II Germany (“stormtroopers”)—but the Star Destroyers were specifically modeled on Teddy Roosevelt’s Great White Fleet.

Also fascinating is how critically acclaimed the original was at the time of its release, which I guess I didn't fully realize. The initial critical reaction was praise for the film's collage-like re-piecing of Western mythos and pop culture, and the cynicism came mostly later as the franchise's commercial viability blotted out the sources it references.

[MyOneAndOnly]

while it was acclaimed. there were haters in the critical community. here's the original NY Times review for ESB



June 15, 1980


'The Empire Strikes Back' Strikes a Bland Note

By VINCENT CANBY

The Force is with us but let's try to keep our heads. These things are certifiable: "The Empire Strikes Back," George Lucas's sequel to his "Star Wars," the biggest grossing motion picture of all time, has opened. On the basis of the early receipts, "The Empire Strikes Back" could make more money than any other movie in history, except, maybe, "Star Wars." It is the second film in a projected series that may last longer than the civilization that produced it.
Confession: When I went to see "The Empire Strikes Back" I found myself glancing at my watch almost as often as I did when I was sitting through a truly terrible movie called "The Island."


The Empire Strikes Back" is not a truly terrible movie. It's a nice movie. It's not, by any means, as nice as "Star Wars." It's not as fresh and funny and surprising and witty, but it is nice and inoffensive and, in a way that no one associated with it need be ashamed of, it's also silly. Attending to it is a lot like reading the middle of a comic book. It is amusing in fitful patches but you're likely to find more beauty, suspense, discipline, craft and art when watching a New York harbor pilot bring the Queen Elizabeth 2 into her Hudson River berth, which is what "The Empire Strikes Back" most reminds me of. It's a big, expensive, time-consuming, essentially mechanical operation.

Gone from "The Empire Strikes Back" are those associations that so enchanted us in "Star Wars," reminders of everything from the Passion of Jesus and the stories of Beowulf and King Arthur to those of Tom Sawyer and Huck Finn, the Oz books, Buck Rogers and Peanuts. Strictly speaking, "The Empire Strikes Back" isn't even a complete narrative. It has no beginning or end, being simply another chapter in a serial that appears to be continuing not onward and upward but sideways. How, then, to review it?

The fact that I am here at this minute facing a reproachful typewriter and attempting to get a fix on "The Empire Strikes Back" is, perhaps, proof of something I've been suspecting for some time now. That is, that there is more nonsense being written, spoken and rumored about movies today than about any of the other so-called popular arts except rock music. The Force is with us, indeed, and a lot of it is hot air.

Ordinarily when one reviews a movie one attempts to tell a little something about the story. It's a measure of my mixed feelings about "The Empire Strikes Back" that I'm not at all sure that I understand the plot. That was actually one of the more charming conceits of "Star Wars," which began with a long, intensely complicated message about who was doing what to whom in the galactic confrontations we were about to witness and which, when we did see them, looked sort of like a game of neighborhood hide-and-seek at the Hayden Planetarium. One didn't worry about its politics. One only had to distinguish the good persons from the bad. This is pretty much the way one is supposed to feel about "The Empire Strikes Back," but one's impulse to know, to understand, cannot be arrested indefinitely without doing psychic damage or, worse, without risking boredom.

This much about "The Empire Strikes Back" I do understand: When the movie begins, Han Solo (Harrison Ford) and Princess Leia (Carrie Fisher) and their gang are hanging out on a cold, snowy planet where soldiers ride patrols on animals that look like ostrich-kangaroos, where there are white-furred animals that are not polar bears and where Luke Skywalker (Mark Hamill) almost freezes to death.

Under the command of Darth Vader, the forces of the Empire attack, employing planes, missiles and some awfully inefficient tanks that have the shape of armor-plated camels. Somehow Han Solo and Princess Leia escape. At that point Luke Skywalker flies off to find Yoda, a guru who will teach him more about the Force, Yoda being the successor to Ben (Obi-Wan) Kenobi (Alec Guinness), the "Star Wars" guru who was immolated in that movie but whose shade turns up from time to time in the new movie for what looks to have been about three weeks of work.

As Han Solo and Princess Leia wrestle with the forces of darkness and those of a new character played by Billy Dee Williams, an unreliable fellow who has future sainthood written all over him, Luke Skywalker finds his guru, Yoda, a small, delightful, Muppet-like troll created and operated by Frank Oz of the Muppet Show. Eventually these two stories come together for still another blazing display of special effects that, after approximately two hours, leave Han Solo, Leia and Luke no better off than they were at the beginning.

I'm not as bothered by the film's lack of resolution as I am about my suspicion that I really don't care. After one has one's fill of the special effects and after one identifies the source of the facetious banter that passes for wit between Han Solo and Leia (it's straight out of B-picture comedies of the 30's), there isn't a great deal for the eye or the mind to focus on. Ford, as cheerfully nondescript as one could wish a comic strip hero to be, and Miss Fisher, as sexlessly pretty as the base of a porcelain lamp, become (is it rude to say?) tiresome. One finally looks around them, even through them, at the decor. If Miss Fisher does much more of this sort of thing, she's going to wind up with the Vera Hruba Ralston Lifetime Achievement Award.

The other performers are no better or worse, being similarly limited by the not-super material. Hamill may one day become a real movie star, an identifiable personality, but right now it's difficult to remember what he looks like. Even the appeal of those immensely popular robots, C-3PO and R2-D2, starts to run out.

In this context it's no wonder that Oz's contribution, the rubbery little Yoda with the pointy ears and his old-man's frieze of wispy hair, is the hit of the movie. But even he can be taken only in small doses, possibly because the lines of wisdom he must speak sound as if they should be sung to a tune by Jimmy Van Heusen.

I'm also puzzled by the praise that some of my colleagues have heaped on the work of Irvin Kershner, whom Lucas, who directed "Star Wars" and who is the executive producer of this one, hired to direct "The Empire Strikes Back." Perhaps my colleagues have information denied to those of us who have to judge the movie by what is on the screen. Did Kershner oversee the screenplay, too? Did he do the special effects? After working tirelessly with Miss Fisher to get those special nuances of utter blandness, did he edit the film? Who, exactly, did what in this movie? I cannot tell, and even a certain knowledge of Kershner's past work ("Eyes of Laura Mars," "The Return of a Man Called Horse," "Loving") gives me no hints about the extent of his contributions to this movie. "The Empire Strikes Back" is about as personal as a Christmas card from a bank.

I assume that Lucas supervised the entire production and made the major decisions or, at least, approved of them. It looks like a movie that was directed at a distance. At this point the adventures of Luke, Leia and Han Solo appear to be a self-sustaining organism, beyond criticism except on a corporate level.

[MyOneAndOnly]

New York magazine review of Star Wars from 1977. LOL

https://books.google.com/books?id=Qu...page&q&f=false

I sincerely hope that science and scientists differ from science fiction and its practitioners. Heaven help us if they don't: We may be headed for a very boring world indeed. Strip Star Wars of its often striking images and its high-falutin scientific jargon, and you get a story, characters, and dialogue of overwhelming banality, without even a "future" cast to them. Human beings, anthropoids, or robots, you could probably find them all, more or less like, that, in downtown Los Angeles today...

O dull new world! We are treated to a galactic civil war, assorted heroes and villains, a princely maiden in distress, a splendid old man surviving from an extinct order of knights who possessed a mysterious power called "the Force," and it is all as exciting as last year's weather reports.... Why, even the most exciting fight is an old-fashioned duel, for all that the swords have laser beams for blades....

Here it is all trite characterization and paltry verbiage... The one exception is Alec Guinness as the grand old man Ben Kenobi (Ben for the Hebrew ben, to make him sound Biblical and good; Kenobi probably from cannibis, i.e., hashish, for reasons you can probably guess.)...

Still, Star Wars will do very nicely for those lucky enough to be children or unlucky enough never to have grown up.

[MyOneAndOnly]

this one is great too. especially since the critic's name is Anakin!




A So-So Space Opera
by Anakin Mathews

Think of it as the little Science Fiction film that could. A charming little space opera is threatening to take some of the spotlight away from this week-end’s premiere of “Smokey and the Bandit.”

Equal parts King Arthur and Buck Rogers, “Star Wars” defi-nitely keeps your attention for a couple hours but its lasting impact is negligible. Really, who needs laser guns and space robots when you have a black Trans Am with an eagle decal on the hood?

The star of “Star Wars” is a promising young actor named Mark Hamill. He is wonderful-ly understated in his role as the farm boy turned space hero, Luke Skywalker. He couples his Midwestern good looks and definite acting chops to deliver some memorable lines, “But I was going to the Toshi station to pick up some power convert-ers. WAAAAHH!” This is definitely a breakout role for the young artiste. With or without the wars, Hamill’s star is definitely on the rise.

Skywalker leaves his humble beginnings, and the charred corpses of family members, on his home planet to pursue his dreams into the heavens. Thus begins a quest to rescue a damsel in distress, Princess Leia (played by Carrie Fisher, daughter of Eddie). The sexual chemistry between bun-coifed Leia and Skywalker is red hot. The couple fails to reach the carnal heights that the roles beg for, but let your imagination run wild! Luke + Leia = Sex, Sex. Sex. Best of all, Carrie Fisher will never get fat and crazy.

Accompanying the majestic Skywalker is an entourage of colorful characters. British act-ing heavyweight Alec Guinness plays Buford T. Justice, a sage warlock of the Merlin tradition. Two “droyds,” another name for robots, supply the comic relief. Their names are a bizarre combination of numbers and letters that no one will be able to remember. I can hardly ask for WD-40 at the local hardware, thank you very much. Tony Randall is the obvious inspiration for the mincing, anthropomorphic, golden “Tin Man.” Meanwhile, the chirping garbage can robot conjures images of some of Dustin Hoffman’s more memorable roles.

The gang hitches a ride with a devil-may-care space pirate named Han Solo; played by former carpenter (I love their remake of “Please, Mr. Postman.”) Ford Harrison. His co-pilot is a howling wolf man named Chewbacca, a whimsi-cal blend of Lassie and Smiley Burnette. Director George Lucas illustrates Han Solo’s transformation from ruthless bandit to gallant hero with a telling introduction. Solo, confronted by a space bounty hunter, shoots the green mon-ster while casually sitting at a table, exchanging thinly veiled threats. That’s right, would-be hero Han Solo shoots first! This scene makes Solo’s valiant transformation that much more extraordinary. Lucas hit pay-dirt with that scene. He must be very proud.

In Lucas we see an auteur in the making. Plenty of excite-ment surrounds the ground-breaking special effects of “Star Wars.” However, Lucas manages to keep the spectacle in check and concentrate on story and character develop-ment. Expect Lucas to leave this space odyssey behind and focus on more thought-provoking, dialogue-driven material.

Perhaps most lacking in “Star Wars” is a memorable villain to contend with the swashbuckling farm hands and laser-shooting dog boys. The galaxy is enslaved by an evil empire called the “Empire.” This army of intergalactic Neo-Nazis is led by Grand Moff Tarkin, capably played by British horror film star Peter Cushing. His evil henchman is a robotic black knight called Darth Vader. Vader, Buford and Luke are all tuned into the same unseen power called the “force.” It assists them in choking people, controlling the minds of unwitting simpletons and performing a variety of telekinetic tricks. No spoon bending, though. One faction magically chokes people and controls their minds for purposes of good, while another uses the “force” for evil. Vader, of course, utilizes the bad side of the force. It all becomes a bit tedious. This “force” business is going nowhere fast.

With his dorky helmet, ill manners and an obvious case of emph****a, Darth Vader is hardly what you would call a daunting presence. One wishes more screen time was awarded to Cushing, who has experience depicting every hor-ror film heavy from Dracula to Frankenstein. To top it off, Vader’s voiceover work is done by R&B singer Lou Rawls. How about favoring us with a song after you get done choking people, Vader?

Lucas tosses in a planet-demolishing machine and rag-tag band of freedom fighters to move the plot along. Now and then, he awakens the audience with an astounding interstel-lar dog fight. However, the five-year-old sitting next to me at the screening I attended made an awfully good point, “Space is a vacuum. If that’s the case, none of these explo-sions and laser cannons would make any noise. Do they take us for idiots?” Kids say the darnedest things.

In summation, “Star Wars” is the usual good versus evil, boy meets girl, standard Hollywood fare. Albeit enjoy-able, the Science Fiction route “Star Wars” takes is a little to fanciful for discriminating film-goers of the 1970s. Nowadays, people like their entertainment a little more grounded in real-ity. How about a bored farm boy who dreams of owning a cus-tom van with shag rug on the dashboard? Turn the princess into a cheerleader. That would really fill up the theaters.

craig[at]saltshakermagazine.com

[MyOneAndOnly]

voiceover work.. by Lou Rawls

[redbreegull]

LOL those reviews are fucking priceless. All the things the guy shits on Empire for are basically all the reasons it is the most beloved now.

The review from New York magazine is just too much. Is this guy serious? or is it a joke?

The one exception is Alec Guinness as the grand old man Ben Kenobi (Ben for the Hebrew ben, to make him sound Biblical and good; Kenobi probably from cannibis, i.e., hashish, for reasons you can probably guess.)...

did this guy seriously think Ben Kenobi is supposed to mean Son of Cannabis

[MyOneAndOnly]

OK. Spoiler time.... don't scroll down if you still haven't seen the film.



































Lots and lots of fan speculation regarding who Rey is. Obviously JJ put a lot of hints in TFA. Here's a gif of the flashback, which provides many clues.

flashback in the basement.

if she's (highlight): not Luke's daughter I don't know who she is.

[redbreegull]

My thoughts (highlight): I definitely thought she was Luke's daughter, perhaps dumped on Jakku to protect her from Kylo Ren, or just because Luke grew disillusioned with the whole mystic calling thing after Kylo Ren ruined his jedi academy, and she was placed there so she would never have to live that life. Alternatively they could make it a bit more creative and just have her be connected to Luke as the next in that particular master/apprentice lineage hence the voices of Obi Wan and Yoda in her vision. The way she just "figured out" how to use the Force is probably a device to move the plot along, but it could also indicate she had training when she was young. Perhaps she can't remember her life before Jakku, and the flashback part of her vision was her remembering a fragment of something lost.

[MyOneAndOnly]

I think (highlight)

Luke thinks she's dead or simply better off without him. Kylo dumped her on Jakku because he couldn't bring himself to kill her along with the rest of the Jedi

. Luke was so devistated with the destruction of the new Jedi order at the hands of his best apprentice and nephew that he went into seclusion. He probably blames himself. She's definately a skywalker. No way would some rando girl be so intensely connected to everything.

The flashback sequence is her remembering both her own past as well as her father's and grandfather's. she's connected to them because she is Luke's daughter. And because the force is so strong in their family.

There's also a kind of narrative symetry to pitting Leia's child against Luke's. There are so many visual and plot points in the film that juxapose the two kids. One of the most platently obvious is the end of the saber battle when the ground literally opens up between them and they're physically moved away from each other. That's the kind of heavy handed shit that Lucas would have come up with.

watching that movie the second time I kept thinking, holy shit Kylo is the character that the Prequel Trilogy Anakin should have been. Not only is Driver's acting fantastic, but he's writen so well. He seems to be right on the edge of losing his temper, self control, mind, etc. If Lucas had writen young Anakin that way the PT would have been fantastic. It makes me eager to see the next two films.

[redbreegull]

Originally Posted by Poots

also, I hope Fin turns out to be Lando's child.

Lando probably has lots of kids he doesn't even know about scattered all throughout the outer rim, dashing scoundrel that he is.

more thoughts on Rey: the narrative symmetry of both Kylo and Rey being Anakin's grandchildren also makes perfect sense given their connections to opposite sides of that legacy via his "relics" (Kylo has Vader's mask and Rey has his lightsaber). Also note that Vader's lightsaber would not come to Kylo when he reached out for it. I know he was injured, but surely he should have been able to execute a simple force pull. It went straight into Rey's hands. Sword in the stone anyone? The weapon knows Rey is the rightful heir to the Skywalker legacy. My friend really thinks Rey is Obi Wan's granddaughter though, which would be less Star Wars in its narrative/mythological perfect simple symmetry, but would be more interesting I think.

[LaBelle]

I loved the film, just found it odd that Rey goes from scavenging ship parts to overpowered Jedi kickass chick during this one film. Made Kylo Ren look a little less threatening as a villain...