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    The Force is Strong

    Star Wars: The Force Awakens is already a classic

    Alex Bentley
    Dec 18, 2015 | 1:34 pm
    Star Wars: The Force Awakens is already a classic
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    The Star Wars saga is one that is entrenched in American pop culture history, and it would remain so whether another film in the series was made or not. The fact that we now have another one with Star Wars: The Force Awakens has the potential to be both a blessing and a curse, as most fans claim to want more from the universe, with the huge caveat of “only if it’s good.”

    Thankfully, The Force Awakens isn’t just good — it’s great. Set 30 years after the events of Return of the Jedi, the film focuses on four new characters: Rey (Daisy Ridley), a scavenger on the planet of Jakku; Finn (John Boyega), a Stormtrooper with an actual conscience; Poe Dameron (Oscar Isaac), an ace pilot for a group known as the Resistance; and Kylo Ren (Adam Driver), a leader of a group known as the First Order, which follows in the footsteps of the fallen Empire.

    The story of each interconnects with the others, and their journeys lead them to come in contact with Han Solo (Harrison Ford), Chewbacca (Peter Mayhew), and now General Leia (Carrie Fisher). Although the fate of Luke Skywalker (Mark Hamill) is initially unclear, it is his whereabouts that drive the entire story.

    Writer/director J.J. Abrams, along with co-writers Lawrence Kasdan and Michael Arndt, delivers on the promise he made when he took the job: to return the series to its roots while advancing it for a new generation. The film is an embarrassment of riches as Abrams and his team pay homage to the original trilogy in a multitude of ways while also bringing in new elements that are a big departure from other Star Wars films.

    One of the biggest departures is to have actual visible consequences for the violence in the film. George Lucas mostly tiptoed around death, having characters merely fall down even if there was no damage to be seen. Abrams earns the film’s PG-13 rating, wreaking havoc — and spilling actual blood — with pistols, cannons, light sabers, and one especially impressive weapon.

    He also seamlessly integrates the new cast with the old. The film smartly waits a while to introduce any old characters, establishing the new characters’ bona fides so that they earn the right to meet Han Solo and others. In so doing, no part of the narrative ever feels forced; everything falls into place neatly, as if all of the characters always belonged together.

    The move also lets you fall in love with the new characters and the actors who play them. Rey is fierce and determined, and Ridley gives her the perfect mixture of soft and hard, making her the heart of the film. Finn is conflicted and falsely confident, and Boyega’s performance is thought provoking and entertaining, as he gets many of the film’s funniest lines.

    Everyone else is just as terrific, including Domhnall Gleeson as General Hux, another First Order leader; Gwendoline Christie as Captain Phasma, a Stormtrooper leader; Lupita Nyong’o as Maz Kanata, a motion capture role that nonetheless lets her personality shine through; and Andy Serkis as Supreme Leader Snoke, a literally giant character who rules over the First Order.

    Speaking of love, even if you already thought the new droid BB-8 was the best thing ever, you’ll have 10 times the feelings after seeing it in action. The way it rolls is a joy to watch every time and the personality it displays enhances its scenes immeasurably. While R2-D2 is still great, BB-8 is its equal and more.

    There’s much more that could and will be said about Star Wars: The Force Awakens in the coming days and weeks, but the bottom line is this: It is everything that fans hoped and prayed for, fulfilling a destiny that was thwarted with the prequel trilogy. It is a film that people will return to again and again, and, like the original trilogy, is already a classic.

    The new droid BB-8 is the equal of R2-D2 and more.

    BB-8 in Star Wars: The Force Awakens
    Photo courtesy of Walt Disney Studios Motion Pictures
    The new droid BB-8 is the equal of R2-D2 and more.
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    Movie Review

    Iranian film It Was Just an Accident is a thriller with deep meaning

    Alex Bentley
    Oct 31, 2025 | 2:02 pm
    Mohamad Ali Elyasmehr, Majid Panahi, and Hadis Pakbaten in It Was Just an Accident
    Photo courtesy of Neon
    Mohamad Ali Elyasmehr, Majid Panahi, and Hadis Pakbaten in It Was Just an Accident.

    American filmmakers, for the most part, enjoy luxury and freedoms when making movies in the United States that filmmakers in other countries could only dream of. Not only does Iranian writer/director Jafar Panahi not have millions of dollars with which to make his films, he also has to deal with a government that has previously arrested him for being critical of their policies.

    And yet he persists, returning to the screen with the taut It Was Just An Accident. The film begins with a kind of misdirect, showing Eghbal (Ebrahim Azizi) and his family driving home at night, during which they strike and kill a dog. That accident sends Eghbal into the orbit of Vahid (Vahid Mobasseri), who works at a business that helps repair Eghbal’s car.

    Recognizing the distinctive sound of Eghbal’s prosthetic leg, Vahid believes him to be the same man who kidnapped and tortured him and others in a recent government arrest spree. Desperate to confirm his suspicions, Vahid kidnaps Eghbal and takes him to a series of people who were also imprisoned under the man they named “Peg Leg,” including Shiva (Mariam Afshari), a wedding photographer; Golrokh (Hadis Pakbaten), the bride being photographed; and more.

    Most filmmakers have the ability to use sets and take as much time as they need - within reason - to get the shot they need. Panahi employs a type of guerrilla filmmaking rarely seen these days, stealing shots in broad daylight while trying not to gain the notice of Iranian authorities. The daring nature of the making of the movie infuses the story with an extra tension that elevates what is otherwise a relatively simple story.

    The film puts the audience directly in the shoes of the various characters as each of them wrestles with the complicated feelings arising from their actions. As they were all blindfolded while imprisoned, they can’t be 100 percent sure they have the right man, and debates/arguments between the characters keep viewers guessing as to who he is and what they will do with him. Even if he is who they think he is, will enacting some kind of revenge on him soothe their consciences?

    Through it all, the idea that a former political prisoner is making a film about former political prisoners who are engaging in conduct that could get them arrested again - just as Panahi is doing with his film - makes this meta filmmaking on another level. The simplicity of the story belies the complexity underscoring the entire film, and it delivers one of the most impactful endings of any recent movie.

    While a few of the actors have acted before, including in previous Panahi films, most of them are making their first appearance in a movie. Despite this lack of experience, each of them does well, especially Mobasseri and Afshari, who share a number of heated scenes that bring out the best in both of them.

    It Was Just an Accident is the type of film that constantly keeps the audience on their collective toes, never knowing where it will head next. And that’s even if you didn’t know the details of how and why it was made; once that is discovered, it becomes something much deeper and more important than most other movies that will be released in 2025.

    ---

    It Was Just an Accident is now playing in select theaters.

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