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    Movie Review

    Star Wars: The Rise of Skywalker enthralls and frustrates in series finale

    Alex Bentley
    Dec 18, 2019 | 10:56 am
    Star Wars: The Rise of Skywalker enthralls and frustrates in series finale
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    For more than 40 years, the specter of Star Wars has hung over the movie landscape like no other franchise. It has influenced countless filmmakers, showing up in big and small ways in multiple other works of art. Now, characters new and old are getting one last chance to add to the series' legacy with Star Wars: The Rise of Skywalker.

    Without getting into spoiler specifics, the Resistance — led by Rey (Daisy Ridley), Finn (John Boyega), Poe (Oscar Isaac), Chewbacca (Joonas Suatamo), and General Leia Organa (Carrie Fisher) — are still facing the threat of the First Order, led by Supreme Leader Kylo Ren (Adam Driver). But a new danger has emerged, one that divides the focus of the Resistance and may also usurp the power of the First Order.

    The previous film, The Last Jedi, was a divisive effort because of new elements that writer/director Rian Johnson introduced to the series. J.J. Abrams, who directed and co-wrote The Force Awakens, is back for Episode XI, and he brings with him both the familiar and unfamiliar.

    There are plenty of recognizable settings and characters from previous movies to trigger nostalgia, but enough is different so as to not seem simply like a retread of things that have been done before. He also introduces some heretofore unseen elements that may have some purists crying foul.

    That said, a lot of retconning is done to make sure plot points that were introduced in the previous two films fall into place. Some of them feel organic to an ever-evolving plot, but there are more than a few that come off as shoehorned in, putting a round peg in a square hole just to provide some sort of answer.

    Unfortunately, one of the biggest of these is the presence of Leia in the film. Abrams and his team used footage from Fisher's work on The Force Awakens to make her a part of the plot, and a series of perfunctory lines fail to do justice for either the character or the actor, who died in 2016. Because of Leia's relationships with other characters, emotions do come, but they don't feel fully earned.

    The connection between Rey and Kylo Ren was the overarching part of the first two films, and that bond comes to a head in The Rise of Skywalker. Abrams and Johnson have tried to make this relationship on par with that of Luke Skywalker and Darth Vader, but it's never had that depth of feeling. Still, they do engage in some epic battles, and the way their story is wrapped up is fully satisfying.

    Poe and Finn are crucial to the plot of the film, but neither feels as important as Rey. They spend most of their time ensconced with the rest of the Resistance, and their efforts are more part of the team than as individuals. They do get some fun and exciting moments, but nothing that makes them truly stand out.

    Part of the reason for this is because the new characters in this trilogy have never been able to move out of the shadow of the characters from the first trilogy. The old characters are revered or reviled by the new characters for good reason, but the attention paid to them has prevented these new films from ever being able to establish their own identity.

    Star Wars: The Rise of Skywalker is a finale that is both enthralling and frustrating, feelings that could change in either direction on repeat viewings. One can only hope that, now that the Skywalker saga is finished, future Star Wars films can explore whatever direction they please without being as beholden to the legacy that came before.

    The cast of Star Wars: The Rise of Skywalker.

    The cast of Star Wars: The Rise of Skywalker
    Photo courtesy of Walt Disney Studios
    The cast of Star Wars: The Rise of Skywalker.
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    Movie Review

    Lust eclipses romance in new adaptation of 'Wuthering Heights'

    Alex Bentley
    Feb 12, 2026 | 2:15 pm
    Jacob Elordi and Margot Robbie in Wuthering Heights
    Photo courtesy of Warner Bros. Pictures
    Jacob Elordi and Margot Robbie in Wuthering Heights.

    Emily Brontë’s 1847 novel Wuthering Heights is one of those classic books assigned in high school English classes, and it has received a number of film adaptations over the years, each of which differ in numerous ways from the source material. Purists won’t receive any reprieve from Emerald Fennell’s 2026 adaptation, with a title that is stylized as "Wuthering Heights” for good reason.

    Cathy (played as an adult by Margot Robbie) and Heathcliff (Jacob Elordi) have known each other their entire lives, with Cathy’s alcoholic and inveterate gambler father (Martin Clunes) taking in Heathcliff on a whim when he was a boy. The two bond as they grow up together, although Cathy always seems to have an eye on moving up in society from their relatively impoverished lifestyle.

    Cathy finally gets her wish when the rich Linton familyled by Edgar (Shazad Latif), moves in down the road, Despite discovering she has feelings for the now grown-up Heathcliff, Cathy sees Edgar as her way out and agrees to marry him. A scorned Heathcliff flees, returning years later as mysteriously wealthy. His reappearance ignites something in Cathy’s soul, and the two engage in a perhaps unwise affair.

    Fennell (Promising Young Woman, Saltburn) infuses the dusty material with an energy that’s not typically present in stories set in this particular time and place. Aside from the occasional Charli XCX song (the singer created a whole concept album for the film), the film looks and feels like a period piece, albeit one that doesn’t get bogged down in the drudgery that can sometimes come from films set in the distant past.

    Much of that has to do with the lust the filmmaker puts into the story. Even if you’re not familiar with Brontë’s book, you can rest assured that Fennell has strayed far from the text, giving Cathy and Heathcliff thoughts and actions unthinkable in the 19th century. Fennell plays with expectations by opening the film with audio featuring creaking noises and a man grunting, conjuring up a situation far different than what is actually happening, and she also makes liberal use of rain, sweat, and tears to make the actors enticing.

    What she can’t do, however, is make the two lead characters compelling. Cathy is a striver who never seems to know what she wants out of life, and Heathcliff goes from a bore to a brute over the course of the film, with no clear indication that he likes anybody, much less Cathy. Anyone expecting some kind of grand romance will be disappointed as Fennell is much more interested in making the film weird, like having the walls of Cathy’s room look like her skin, complete with freckles.

    Robbie and Elordi do well enough with the material, and it’s clear that both of them are committed to bringing Fennell’s vision to life. Their styles tend to balance each other out, and if the story had been committed to their characters’ relationship, they might be lauded for their chemistry. In the end, though, the supporting actors feel more interesting, including ones played by Hong Chau, Alison Miller, and Clunes.

    This version of Wuthering Heights should never be construed as an alternative to reading the book for any high schoolers out there. While Fennell makes the film interesting with her technical filmmaking choices, the story never finds its footing as it fails to sell the one thing that it seems to promise.

    ---

    Wuthering Heights opens in theaters on February 13.

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