The story resolves in lengthy, consecutive climaxes which, refreshingly, don’t play like a cynical attempt to pad things out. Along that narrative backbone “The Last Jedi” strings what amount to several tight, often hastily devised mini-missions, each of which either moves the heroes (or villains) closer to their goals or blows up in their faces. Suffice to say that, despite being comprised of variations on things we’ve been experiencing directly (in “Star Wars” films) and indirectly (in “Star Wars”-inspired entertainment) since 1977, “The Last Jedi” still manages to maneuver in unexpected ways, starting with the decision to build a whole film around a retreat where the goal is not to win but to avoid being wiped out. The leathery old coot may not be a great bad guy-he’s too much of a standard-issue deep-voiced sadist, in a Marvel mode-but he is quite the chess player, and so is Johnson.
The New Order's Supreme Leader Snoke ( Andy Serkis plus CGI) has grand plans for both Rey and his Darth Vader-obsessed apprentice Kylo Ren ( Adam Driver). The first part of “The Last Jedi” cross-cuts between the remnants of our heroes’ ragtag fleet (led by the late Carrie Fisher’s Leia) running away from the First Order, aka the next-generation version of the Empire and Rey ( Daisy Ridley) on the aquatic planet Ahch-To ( gesundheit!) trying to convince the self-exiled Jedi master Luke Skywalker ( Mark Hamill, whose sandblasted face becomes truly iconic in close-ups) to overcome his grief at failing a group of young Jedi trainees and rejoin the Resistance.
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