'Star Wars: The Last Jedi' the most operatic, conflicted chapter in series

“Star Wars: The Last Jedi” - ★ ★ ★ ½

Spectacular and overwhelming, humorous and sorrowful, despairing and hopeful, smart and silly, unpredictable and familiar, thrilling and languid, direct and convoluted, writer/director Rian Johnson's ambitiously mounted “The Last Jedi” ranks as the third most remarkable “Star Wars” experience after “The Empire Strikes Back” (1980) and “A New Hope” (1977).

“The Last Jedi” also emerges as the most operatic episode of the space fantasy series' exploration of the duality of good and evil, enhanced by another pivotal John Williams score.

After Walt Disney Pictures purchased Lucasfilm and the “Star Wars” rights in 2012, J.J. Abrams revived the series with “Star Wars VII: The Force Awakens” (2015), a serviceable sequel in which reformed storm trooper Finn (John Boyega) joins the lowly scavenger Rey (Daisy Ridley) as she searches for missing Jedi master Luke Skywalker (Mark Hamill), three decades after the Empire collapsed, only to be replaced by the rise of the fascistic First Order.

(Note: Yes, you must see “The Force Awakens” to understand “The Last Jedi.” And you should see George Lucas' original three adventures to fully appreciate the rich visual and verbal references Johnson supplies.)

“The Last Jedi” begins not where “The Force Awakens” ends (with Rey meeting Skywalker on the isolated island of Ahch-To), but with one of many slightly disorienting, busy space battles between Rebellion forces, led by General Leia Organa (the late Carrie Fisher), and the First Order forces, led by the strident General Hux (Domhnall Gleeson).

First Order troops, under the ultimate command of the crusty, emaciated Supreme Leader Snoke (reprised by Andy Serkis in a motion-capture performance), have the Rebels on the run and dangerously low on fuel.

As Rey tries to understand why the tormented Skywalker would turn away from his Jedi destiny, Finn pairs up with an affable, capable Rebel mechanic, Rose Tico (Kelly Marie Tran), on a mission to recruit a seedy, suspicious codebreaker (a shifty Benicio Del Toro) to shut down a First Order device that can track ships through hyperspace jumps.

Adam Driver's Kylo Ren, easily the most complex and conflicted character in the “Star Wars” universe, continues to be split between his own Dark Side impulses and a judicious heart inherited from his father, Han Solo.

Series regulars Chewbacca (Peter Mayhew), C3PO (Anthony Daniels) and R2D2 (Jimmy Vee) make obligatory appearances, but this time out provide nothing essential to the plot. (Chewbacca's comical interplay with adorable puffin-like critters borders on cuteness overkill.)

Oscar Isaac's hotshot fighter pilot Poe Dameron clashes with Laura Dern's miscast Vice Admiral Amilyn Holdo, who sadly lacks the conviction and inspiration she so clearly needs to pull off the character's rousing speech to disenheartened troops.

Even so, Johnson's screenplay periodically explodes like a string of narrative M-80s with revelations, reversals, revenge and redemption in a wild walk on the Dark Side, one that shrewdly capitalizes on Hamill's glassy, tear-filled eyes of guilt and regret.

“The Last Jedi” suffers from occasional inconsistencies in character and plot, but these quibbles are easily absorbed into the impressively vast and colorful canvas that Johnson paints with such passion and empathy that he will reportedly continue his visit to a galaxy far, far away with his own “Star Wars” trilogy.

The Force is really strong with that.

<b>Starring:</b> Daisy Ridley, Mark Hamill, Adam Driver, Oscar Isaac, John Boyega, Carrie Fisher

<b>Directed by:</b> Rian Johnson

<b>Other:</b> A Walt Disney Pictures release. Rated PG-13 for violence. 152 minutes