Star Wars Tag

Great ‘Last Jedi’ Demo Scenes

The Last Jedi

Following up on Dennis Burger’s lengthy examination of Star Wars: The Last Jedi, I thought I would detail some of my favorite scenes from the movie. While Jedi has been a bit divisive amongst Star Wars fans—read the almost 100 comments to Dennis’s post on the Rayva Facebook page—now that I’ve had the chance to view it a couple more times at home, and after viewing the fantastic included two-hour documentary titled “The Director and the Jedi,” which examines many aspects of Rian Johnson’s filmmaking decisions, I’ve come to appreciate this movie in ways I couldn’t or didn’t during my initial theatrical viewing.

Regardless of your feelings about this latest installment in our favorite space opera, this is the best the franchise has ever looked or sounded and makes for reference demo material at home.

 

Much of Star Wars: The Last Jedi takes place in space, and you’ll marvel at the clean, deep, dark black-level detail of this terrific 4K HDR transfer. During the film’s first moments aboard General Hux’s ship, the floor, work stations, officers’ uniforms, and General Hux’s top and trench coat are all black. But a properly calibrated video display will reveal that these are all slightly different shades of black with clearly visible texture and detail.

During the scene where Rey trains on Ahch-To, note the texture in her staff, along with the detail in the stones around her. When she lights Luke’s saber, the blade glows hot blue-white against the sunny background, the HDR image retaining the dark and deep shadow detail of the craggy rocks while the light of the saber blade exceeds that of the sun!

 

HDR is used to great effect throughout the film, but especially during the bright outdoor scenes on Ahch-To and anytime a lightsaber blade is activated. The images from the 4K DI are reference in every regard, and virtually every frame will push your video system to its limits.

 

One of my favorite scenes is when Rey visits the dark place on Ahch-To. It just looks so cool, and the Dolby Atmos sound is terrific, swirling around the room as she snaps her fingers. Just following this is a conversation between Rey and Kylo by firelight with a closeup of their hands with fingerprint detail so amazing you could submit it to the FBI for evidence.

 

Check out the detail of Kylo’s wounds when he is communicating with Rey. You can clearly see the effects Rey’s lightsaber attack had on his face and chest from the end of The Force Awakens, as well as the scar in his side from Chewbacca’s Bowcaster. These are the subtle details that really come through in full 4K resolution.

 

The lightsaber dual between Rey and Kylo and Snoke’s guards and the finale battle on Crait look and sound even more awesome at home than you remember from the theater. Kylo’s poorly constructed saber crackles and sizzles erratically, barely containing the blade’s energy, and the ultra-sharp detail makes this more visible than ever before. (Jedi’s audio levels are a bit lower than some other titles, so be sure to turn the volume up to near reference level to truly experience the full impact of the immersive Dolby Atmos soundtrack!) The reds explode off the screen in HDR, producing rich, vibrant detail along with brilliant whites and deep, dark blacks. The orange-red of the Rebel pilots’ flight suits has never looked richer, and even old C3PO gets a visual upgrade from this 4K transfer, with his gold outfit shining brighter than ever before.

 

This is the demo candy you’ve been waiting for!

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

Review: ‘The Last Jedi’ UHD Blu-ray

I’m often accused of spending too much time thinking about Star Wars. It’s a valid observation, but I think the thing that would surprise most of my friends is that the only times in which Star Wars isn’t fully consuming some part of my waking consciousness is when I’m actually watching one of the films.

 

That may seem like a contradictory statement, but when I’m watching a Star Wars film, I’m likely taking it at face value. I’m not deconstructing it as a work of cinema, or pop-philosophy, or fable. There are 22 other hours in the day for that sort of thing. When I’m watching a Star Wars film, I’m in it. Wholly consumed. I’m that five-year-old kid again, taking yet another step into a larger world that will forever guide my destiny.

 

Episode VIII: The Last Jedi is, for now at least, the exception to that rule. For a self-styled Star Wars scholar, the latest film in the saga simply doesn’t allow for that sort of detached viewing experience. At least not yet. For now, after 10 viewings, I still find it nearly impossible to watch this film without deconstructing it.

 

If I had to boil it down to just one reason why, I’d say that The Last Jedi represents a daring attempt by a single visionary to dig down to the heart of what makes Star Wars tick—mythologically, narratively, and cinematically. It’s a film that has the courage to take all six of George Lucas’s original Star Wars films as gospel, to explore every implication of every line committed to the silver screen between 1977 and 2005 completely and honestly—including the most obscure elements and seemingly throwaway lines—while also managing to work beautifully as a film on its own terms. If anything, The Last Jedi is almost as much a work of theological apologetics as it is a work of cinematic art.

 

Despite all of that, though, the film does work as art. In fact, I’d say that more so than any Star Wars film since The Empire Strikes Back, this one is more art than product. And that largely has to do with the way writer/director Rian Johnson distills the cinematic and thematic inspiration for the original Star Wars, then finds his own unique way to recombine those ingredients in a personal way.

 

It’s no secret that the original 1977 film was a pastiche of Kurosawa and John Ford, with a heaping helping of The Dam Busters and old Flash Gordon serials thrown in for good measure. Rather than go back to those original influences—or, as was the case with 2015’s The Force Awakens, mine the original Star Wars trilogy nearly exclusively for inspiration—Johnson goes to his own well here, trading The Hidden Fortress for Rashomon, and The Dam Busters for Twelve O’Clock High, while also sprinkling in a dash of Three Outlaw Samurai and To Catch A Thief and Brazil for a little extra spice.

 

The result is that, as with Empire, we end up with a film that’s true to the spirit of Star Wars, and that expands the horizons of Star Wars, but still manages to be the unique artistic vision of a single auteur who isn’t George Lucas, despite the fact that the Maker’s fingerprints are all over it.

The Last Jedi also serves as an unintended farewell to Carrie Fisher, not only as the actor who brought our beloved Leia to life, but also as an uncredited writer and script editor. Her work in the film is some of her best—both onscreen and on the page—but it’s a little difficult to watch the film and not get angry at the universe and Carrie’s own personal demons for taking her from us far too soon.

 

At any rate, the result of all of the above is that The Last Jedi is, for now, a film to be grappled with—a challenging composition that isn’t as easily consumed or processed as most tentpole pictures tend to be. It is, in ways, a cinematic analogue of Stravinsky’s The Rite of Spring, still fresh from its Théâtre des Champs-Élysées debut, with a good bit of extra whimsy and a few adorable critters thrown in.

 

In other ways, though, The Last Jedi is an unapologetic throwback to a less cynical time, and that does make it a bit of an oddball in our current media landscape. For all the talk of this film as a subversive and at times shocking work in the context of the Star Wars canon, it’s hard not to notice how sincere it is. Even characters whose messages run completely counter to the film’s central themes are treated with a level of earnestness that’s both welcome and a little jarring. In fact, one of my few complaints with the film is the rare instance in which this isn’t the case—in which one of the film’s secondary villains is somewhat mocked in a winking way that’s contrary to the film’s overarching but subtle sentimentality.

The Last Jedi

But one aspect of The Last Jedi really hits home for me in such a deeply personal way that it manages to tear down those walls and draw me into its tragic magic completely: The journey of Luke Skywalker. Much has been made of Luke’s portrayal in this film, and I won’t dig into the thoughts of others here. Partly because I don’t care, but mostly because my own connection with Luke overshadows all other discussions for me.

 

The Luke Skywalker we meet in The Last Jedi is a broken man—a once-optimistic do-gooder who has convinced himself that the world is better off without him and the dogma he represents. He’s seen some shit, in the parlance of our times. And without delving too deeply into my own story, it’s a Luke I relate to in a visceral way, because I’ve been there. I’ve struggled with deep, personal losses for which I blamed myself, no matter how far out of my own control they may have been. I’ve been driven to the same level of despair and isolation we see on Luke’s face throughout much of this film.

 

It’s disturbing to watch at times, true. But it also makes Luke’s triumphant return at the end—in which he does the single most Jedi-like thing ever committed to celluloid or CCD—all the more triumphant. Luke Skywalker was my childhood hero. In The Last Jedi, he’s my adult inspiration, in a way I never would have dreamt possible. He’s a reminder that legends are only human, yes. But just as importantly, he’s a reminder that they’re legends for a reason.

 

In my 2018 Wishlist published here on the Roundtable, I rather naïvely hoped this beautiful, moving, deeply thoughtful, and paradoxically fun film would receive the home video release it deserved, right out of the gate. Much to my shock and amazement, it has. The Ultra HD disc is a new high bar in terms of audiovisual presentation. This is the disc you’ll want to pull out when some naysayer opines that Blu-ray or streaming is perfectly sufficient. The High Dynamic Range imagery reveals depths of detail in the shadows I struggled to see even in IMAX.

The Last Jedi

In terms of supplemental material, it seems as if nothing was held back for a more ultimate release down the road. Deleted scenes abound, and in stark contrast with the Blu-ray release of The Force Awakens, the behind-the-scenes features aren’t all back-patting, neck-hugging, Kumbaya marketing fluff. Hell, even the marketing fluff that has leaked out to accompany The Last Jedi’s home video release has been a step up from most everything on the Episode VII disc.

 

The real star of this collection, though, is the feature-length documentary The Director and the Jedi, in which we get some serious insight into just how much Rian Johnson loves, appreciates, and more importantly understands Star Wars. We also see, through the course of the documentary, Mark Hamill angrily struggle to come to terms with the Luke Skywalker he’s tasked with playing in this film, then slowly come around to fully embrace Johnson’s vision. It’s raw, It’s emotional, it’s genuine in a way we don’t normally see in making-of docs. Simply put, The Director and the Jedi is a film that all cinema fans—even those who aren’t Star Wars obsessives—need to watch.

 

Johnson’s audio commentary for the film is also a delight, and it’s fortunate it was recorded before the film’s release, since we end up with the filmmaker’s genuine thoughts and reflections, rather than his reactions to the discussion of his work post-release.

 

But if there’s one bonus feature I’m more excited about than any other, it’s the isolated score track, a feature I’ve been begging for since the DVD days. It’s worth noting that the isolated score (in which you watch the film without dialogue, without sound effects, only John Williams’ brilliant symphonic narrative accompaniment) isn’t actually found anywhere on the discs. To access it, you have to redeem the Movies Anywhere code found in the UHD Blu-ray case and watch the film via your web browser or media streamer.

 

As with the film itself, though, it’s absolutely worth the effort. 

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including
high-end audio, home automation, and video gaming. He lives in the armpit of
Alabama with his wife Bethany and their four-legged child Bruno, a 75-pound
American Staffordshire Terrier who thinks he’s a Pomeranian.

Dennis Burger’s Wishlist for 2018

2018 Wishlist--Battlefront II

More than anything, I’m hoping both the gaming industry and Hollywood do some serious soul-searching in the coming year. The conclusion I hope they reach? We consumers have reached a breaking point when it comes to being screwed over. My evidence in this argument? The fact that Battlefront II, the latest Star Wars video game release, currently sits at a 0.9 rating on Metacritic. Not a 9. A zero-point-nine. Nine-tenths of one point.

 

The reality is, it’s not that bad a game. Not mind-blowingly amazing, but certainly solid. Were I to slap a score on it, it would be a minimum of 7.5.

 

So why the abysmal user reviews? Because the game’s developers burdened the release with cheap money-making tactics that fall somewhere on a spectrum between extortion and gambling. At the behest of Lucasfilm, these money-making mechanisms were shut down right after the game launched, but the damage was done. Gamers had had enough. To pay full price ($60 to $80) for a game only to be nickel and dimed to death when attempting to advance through the experience at a reasonable pace is an insult that simply has to end.

 

Gamers feel as if the only way to force an end to such shenanigans is outright revolt. Only the game publishers have the power to decide whether 2018 is an apology tour or a bloodbath.

2018 Wishlist--The Last Jedi

What about Hollywood? I’m not breaking any new ground with this revelation, but we consumers have had our fill of double-, triple-, and even quadruple-dipping when it comes to non-streaming home-video releases. I worry that Disney will attempt, in typical fashion, to release Star Wars: The Last Jedi as a relatively standard Blu-ray early in the spring and follow it up with a deluxe bonus edition late next year. They got away with it for The Force Awakens. They’ve gotten away with it on so many major releases in the past. I’m not sure they will for much longer.

 

Give us the goodies up front. Give us a UHD Blu-ray, for goodness’ sake. Throw in an audio commentary exploring The Last Jedi’s deep and numerous subversive themes. Give us the tribute to Carrie Fisher we’re all longing to see. Give us all of that without holding back, and we’ll snatch up the physical discs gladly, perhaps even in record numbers. But if Disney gives us the standard tease, or forces us to buy multiple retailer exclusives to get all the bonus features that exist out in the wild, it will simply be putting yet another nail in the coffin of physical media.

—Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including
high-end audio, home automation, and video gaming. He lives in the armpit of
Alabama with his wife Bethany and their four-legged child Bruno, a 75-pound
American Staffordshire Terrier who thinks he’s a Pomeranian.

Disney Gambles Big on Star Wars Streaming

Disney streaming service

For Star Wars fans, last week was a gift that just kept on giving. Not only did we learn that Rian Johnson, director of the upcoming The Last Jedi, is launching a trilogy of films independent from the Skywalker Saga, but Disney also dropped a bomb about a new live-action TV series set in that beloved Galaxy Far, Far Away. This is huge for a number of reasons, not least because George Lucas tried and failed to create a live-action show before selling the Star Wars franchise to Disney in 2012.

 

Maybe more significant, though, is how Disney plans to distribute the series. It’s not coming to the airwaves, nor Netflix, which currently serves as the exclusive home to several Disney-produced Marvel series, including the highly acclaimed Daredevil and Jessica Jones. Instead, the Star Wars show—along with Disney’s films and other properties—will reach consumers’ eyeballs by way of a new streaming video service launching in 2019.

 

It should go without saying that I’ll be signing up for said service the minute it launches. But I think Disney is making a huge mistake. Maybe not in the short term, mind you. I think it’s reasonable to expect that Disney’s stock will get another bump and Netflix’s will take another hit as the studio moves all its films and most of its TV shows to its new, exclusive platform.

 

And for what it’s worth, apparently Disney has no plans to evict Luke Cage and the rest of the Defenders from the only home they’ve ever known, so that’s a plus.

 

I can’t imagine many if any people will dump Netflix entirely for DisneyFlix or whatever it ends up being called. But I still think this move is a net-negative for the streaming-video industry, and for consumers in particular. Why? Because we’re already seeing people approaching a breaking point with the continued fragmentation of the streaming market.

 

In other words, I think we’re reaching Peak Subscription Saturation. For me, subscribing to this new Disney service just to get my weekly Star Wars fix likely means I’ll be dumping Hulu. And if I were also a Star Trek fan subscribing to All Access just to watch Discovery, I’d likely be looking at dumping CBS’s streaming service instead. (Spare me your whining, Trekkies—Star Wars is just better and you know it.)

 

The simple fact is that most people are cutting the cord because of the value proposition. Expensive cable-TV bundles that force you to pay for ESPN if you want to watch Cartoon Network are increasingly becoming a breaking point for most people.

 

Could the exact opposite problem start to hurt the streaming market? Could we literally end up with too much choice instead of too little? It’s entirely possible. After all, who wants to pay $6 or $8 or $10 a month just to watch one TV show? Are you willing to pay $100 a month or more just to have all the streaming apps you would need to subscribe to if all the studios and content providers start their own services? I know I’m not.

 

In the end, I have no doubt Disney’s new streaming service will be successful. Playing the Star Wars card is pretty much the same as having an “I Win” button. But if this streaming fragmentation continues, I also know this just as surely: We—the geeks, the nerds, the regular cinephiles, and the TV junkies—will be the biggest losers.

—Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including
high-end audio, home automation, and video gaming. He lives in the armpit of
Alabama with his wife Bethany and their four-legged child Bruno, a 75-pound
American Staffordshire Terrier who thinks he’s a Pomeranian.

Fear & Loathing in the Star Wars Ticket Line

My dad and I were cruising up I-65 this past weekend, on our way to enter our droptop ‘Vette in a local car show, and since I was the one in the driver’s seat I got to pick the tunes. Pop’s a mountain man, mind you, raised on the outskirts of the Cumberland Plateau, so to his ears any music that could even vaguely be described as pop or rock is positively pornographic. And not in a good way. So, to play it safe I queued up the score for The Empire Strikes Back.

 

“Hey, that’s Star Wars, aint’ it?” he asked, delighted with himself for actually recognizing a piece of music in my library. “You gonna camp out overnight for tickets for that new one?”

Star Wars ticket line

There was a mocking twinkle in his eye when he asked that. To this day, he still ribs me for being the first person in line for tickets to see Episode I, the first person in all of Montgomery to procure tickets after 18 hours of standing/sitting/
sleeping in that line, and for making the front page of our local newspaper as a result.

 

That’s just not how it works anymore, I explained. The Internet, I told him, has pretty much killed the whole camping-out-overnight-for-tickets experience.

 

Here’s the thing, though: After suffering through the unpredictability and panic of procuring tickets for The Last Jedi this week, I miss those good old days of sleeping on concrete overnight in oppressive Alabama air. This year, as with The Force Awakens two years ago, Disney decided in its infinite wisdom to tie the onset of ticket sales to the release of the trailer for the film. And some knucklehead in marketing learned zero lessons from 2015 and decided to again tie the unveiling of the trailer to the halftime show for Monday Night Football.

Star Wars ticket line

Innumerable Reddit threads were created in an effort to foretell exactly what time that might actually equate to in the real world. Theater chains across the nation were flooded with calls from panicky nerds like myself begging for a more precise window. “After the trailer airs,” is all we were told. But we were told the same tale two years ago, and tickets actually went on sale hours earlier with no notice, famously breaking the Internet.

 

So, the missus and I, in an effort to avoid a similar technological meltdown, drove to our local AMC just before the start of the game and formed what quickly became a line. The ticket agent was clueless as to why. “That movie doesn’t come out until December!” We implored her to call her manager. “He says he thinks they might go on sale tomorrow.” We insisted they should be on sale any time now. “It’s not even in the computer!”

 

Around that time, a hooded nerd near the back of the line announced that tickets were on sale at the other big cineplex in town, two hours earlier than promised, but their website had just crashed. Half the line fled immediately for their cars. The crowd that remained teetered on the edge of rioting, because if there’s one thing we nerds just don’t know how to deal with, it’s unpredictability.

 

Thankfully, just before things turned really ugly, the woefully uninformed ticket agent announced that, hey, whatdoyaknow?—tickets for the first IMAX showing just popped up in her computer. $25 apiece. Some special fan event or something. Do we want to buy those? And almost instantly, that semi-chaotic line of nerds turned into a mosh pit. 

Star Wars ticket line

I understand the position Disney is in. They’re in possession of one of the few movie franchises guaranteed to turn a profit at the box office, in a market that’s definitely trending toward Slumpsville. They want to drum up excitement. They want the Internet to be abuzz.

 

There’s a fine line, though, between excitement and anxiety, and for the second time in two years, Disney has managed to drum up consternation and angst in the lead-up to pre-sales of pretty much the only movie event temping enough to get my butt into a cinema seat. And, hey, I’m sure it worked to their financial advantage again this time, especially given that they duped so many hopped-up Star Wars fans into paying double-price to see the first showing. But how long can this bubble possibly last?

 

Speaking as the biggest Star Wars fan in the known universe (and yes, I have the prize from besting the president of the Star Wars fan club in a trivia contest to prove it), I’d say not much longer. Because if the chaos and uncertainty of buying tickets this time around has even me considering sitting out opening night when Episode IX rolls around in a couple of years—or, shudder the thought, waiting for the home-video release—then big cinematic tentpole events like this are surely doomed. At least when they’re as poorly planned and misleadingly marketed as this one.

—Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including
high-end audio, home automation, and video gaming. He lives in the armpit of
Alabama with his wife Bethany and their four-legged child Bruno, a 75-pound
American Staffordshire Terrier who thinks he’s a Pomeranian.