Kamis, 19 Desember 2019
George Lucas Camps Out & Reacts to Star Wars: The Rise of Skywalker - Deepfake Saga - Collider Videos
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2019-12-19 07:24:40Z
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Rabu, 18 Desember 2019
'Star Wars: The Rise of Skywalker' reviews pan 'soulless,' 'convoluted' final installment - Fox News
Days away from J.J. Abrams’ “Star Wars: The Rise of Skywalker's” release on Dec. 20, critics are sounding off on what they’re calling a “soulless” and “convoluted” film.
The movie seeks to put a bookend to the “Skywalker Saga" that began with Geroge Lucas’ 1977 film “Star Wars: A New Hope” and was given new life with Abrams’ 2015 film “Star Wars: The Force Awakens.” However, many critics were quick to note that the latest film’s responsibility to both conclude the epic saga and pay homage to what came before it left it bogged down with a clunky plot that felt detached from the other movies.
“Star Wars: The Rise of Skywalker is the most convoluted of all the 'Star Wars' movies," wrote Uproxx’s Mike Ryan. "It feels like three full movies worth of plot crammed into one film. The stories in the other 'Star Wars' movies, even the Prequels, have a way of bringing a viewer into that world. 'Star Wars: The Rise of Skywalker' never lets us in.”
DAISY RIDLEY REVEALS WHAT SHE SWIPED FROM THE 'STAR WARS' SET AFTER FILMING
IGN writer Jim Vejvoda echoed those sentiments, writing: “‘The Rise of Skywalker’ labors incredibly hard to check all the boxes and fulfill its narrative obligations to the preceding entries, so much so that you can practically hear the gears of the creative machinery groaning under the strain like the Millennium Falcon trying to make the jump to hyperspace. It ultimately makes the film a clunky and convoluted conclusion to this beloved saga, entertaining and endearing as it may be.”
'Star Wars: The Rise of Skywalker' was panned by many critics as an unsatisfying, bloated end to the story. (Jonathan Olley/Disney-Lucasfilm Ltd. via AP)
The film was co-written and directed by Abrams after he gave the franchise over to Rain Johnson for the critically maligned “Star Wars: The Last Jedi” installment in 2017. Some early reviewers noted that the mind behind popular franchise revivals such as “Star Trek” and “Mission Impossible” may be out of steam creatively when it comes to concluding one of these revivals.
“There’s always been a secret cynicism underpinning Abrams’ ‘Star’ blockbusters, which adrenalize the pop-est culture of his youth and avoid anything requiring originality or imagination. Now he’s left grasping for source material he hasn’t already replicated,” wrote Entertainment Weekly’s Darren Franich.
'It’s a somewhat soulless delivery system of catharsis, but Disney and Abrams are banking on the delivery itself to be enough.'
Meanwhile, TheWrap’s Alonso Duralde jabbed the director for giving audiences the “slick” and “shiny” film they expect from the “Star Wars” franchise without any of the real substance that made previous installments so popular.
'STAR WARS: THE RISE OF SKYWALKER' WON'T FEATURE BABY YODA, ACCORDING TO J.J. ABRAMS
“Abrams is too savvy a studio player for those kinds of shenanigans. But his slick delivery of a sterling, shiny example of what Martin Scorsese would call ‘not cinema’ feels momentarily satisfying but ultimately unfulfilling. It’s a somewhat soulless delivery system of catharsis, but Disney and Abrams are banking on the delivery itself to be enough.”
This image released by Disney/Lucasfilm shows, from left, Joonas Suotamo as Chewbacca, Oscar Isaac as Poe Dameron, Daisy Ridley as Rey and John Boyega as Finn in a scene from "Star Wars: The Rise of Skywalker." (Disney/Lucasfilm Ltd. via AP)
In the end it’s possible that the fans will judge “The Rise of Skywalker” not as a standalone installment to the beloved franchise, but as the closing chapter to a story that many thought they'd never see more of after the 1983 release of “Return fo the Jedi.” Unfortunately, critics are split on whether or not the film earns its final concluding moments or if it simply manufactured them out of necessity for nostalgia.
“‘The Rise of Skywalker’ gives people what they go to ‘Star Wars’ for, but that’s all it does—and worse, all it sets out to do,” wrote Slate’s Sam Adams. “It’s frenzied, briefly infuriating, and eventually, grudgingly, satisfying, but it’s like being force-fed fandom: Your belly is filled, but there’s no pleasure in the meal.”
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With the critical reaction to the final installment in the “Skywalker Saga” mixed at best, it will be up to the ever-important fandom to determine whether “Episode IX” earns a place in film history alongside its fellow “Star Wars” films following its full release.
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2019-12-18 13:01:40Z
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Prince William and Kate Middleton Are a 'Great Double Act' as They Prepare for the Throne - Yahoo Entertainment
Kate Middleton and Prince William stole the spotlight at Queen Elizabeth‘s Buckingham Palace last week, making it clear that they are ready for the next step on their royal journey.
Entering the glittering palace ballroom behind the monarch and Prince Charles and Camilla, Duchess of Cornwall, Kate and William mingled expertly with partygoers at the Dec. 11 reception for diplomats.
“They combine grace and regal presence with a lovely human touch,” a guest who attended the annual bash tells PEOPLE in this week’s cover story. “They are gracious and natural and yet able to really connect.”
The future King and Queen, who have been married for eight years, are honing their expertise as they go.
RELATED: Are Prince George and Princess Charlotte Making Their Royal Christmas Walk Debut This Year?
“They are being prepared every day,” says royal biographer Ingrid Seward. “There was no school for princesses when Princess Diana was around, and there is no school today for monarchs. They learn by observing and by experience.”
Their teamwork was also on display during the couple’s triumphant tour of Pakistan in October.
“They are a great double act,” says a senior royal source. “People make much of William giving the big speeches, but Kate is there too, asking questions of presidents and their wives. These things are easier when they are side by side.”
For more on how Prince William and Princess Kate are making new strides in their royal work, pick up a copy of PEOPLE on newsstands on Friday.
Increasing travel and work commitments bring added pressures on their own family, especially as older children Prince George, 6, and Princess Charlotte, 4, are more aware of their parents’ away time. (Little Louis is 19 months.) And occasionally, something’s got to give. Kate recently had to cancel an appearance with William at an evening event for the Tusk Conservation Awards because of a childcare issue. A source close to the royal household says, “That is good for other mothers out there.”
Kate Middleton | Victoria Jones/PA Wire
Prince William | Victoria Jones/PA Wire
Next week, the family of five will spend Christmas with the Queen at her Sandringham estate in Norfolk. While Prince Harry and Meghan Markle have opted to spend the holiday apart from the royal family, William and Kate will take their place alongside the Queen for their annual church walk — with George and Charlotte possibly making their Christmas Day debut as well.
They are also preparing for a busy year ahead. The couple are expected to go abroad on at least two overseas visits and continue with their efforts at home in the U.K. promoting mental health initiatives and supporting families with young children.
RELATED: Kate Middleton Says Prince William Used to Make This Dish in College to ‘Impress Me’
Tim Rooke/Shutterstock
Can’t get enough of PEOPLE‘s Royals coverage? Sign up for our free Royals newsletter to get the latest updates on Kate Middleton, Meghan Markle and more!
As they near 40, both royals are also keenly aware of the passage of time — and how much closer it brings them to the throne.
“The monarchy is approaching a very challenging period of change,” says royal historian Robert Lacey. “Charles is going to have his work cut out coping with the transitions. It’s good to have that reassurance in the new generation that there is someone stepping up to the plate.”
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2019-12-18 13:00:00Z
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Review: An Exciting But Effortful 'Rise Of Skywalker - NPR
Chewbacca (Joonas Suotamo), Poe (Oscar Isaac), Rey (Daisy Ridley) and Finn (John Boyega) take on the Empire one last time in Star Wars:The Rise of Skywalker. Lucasfilms hide caption
The thing about the act of plate-spinning is: It's not about the plates. Not really.
We sit there in the audience, watching those various dishes spin atop their dowels; while it's aesthetically pleasing, in the abstract, to see so many pieces of Wedgwood china twirling away contentedly, what matters — the compelling drama of the whole affair — comes not from watching them, but from watching the poor schmuck running back and forth behind them. If we happen to notice one plate starting to wobble, after all, the first thing we do is look away from it, to see if the plate-spinner sees it, too.
We want them to succeed. The whole cheesy novelty act is predicated on this. The sheer skill it takes to keep the plates from falling — the eye, the timing, the light touch — that's what we're drawn to, really. The work of the thing.
J.J. Abrams is spinning a great many plates in Star Wars: The Rise of Skywalker, the final chapter in the third and final trilogy of what we are now apparently supposed to call "The Skywalker Saga." He's not simply called upon to end the trilogy he began in 2015, with The Force Awakens, but the whole space-operatic, science-fiction-with-generous-helpings-of-fantasy, embrace-your-destiny, Joseph-Campbell, daddy-issues megillah. He's got to land a Corellian light freighter that's been loaded down with everything that got kicked off in 1977, when the saga's first film (but fourth chapter — long story, literally) A New Hope debuted, establishing the Star Wars formula:
- 1/3 epic space battles
- 1/3 high-adventure narrow escapes for our doughty heroes
- 1/3 characters intoning blissfully hokey dialogue about the Force and the Dark Side
He nails that 42-year-old recipe dutifully — effortfully, it must be said — but the flavoring's off. The story doesn't require him to toss in as many ingredients from earlier films in the saga as he does here, but he dumps them all (callbacks, references, echoes, events, characters) into the mix anyway. The result leaves you feeling not so much bloated — the film moves too quickly, and is too much fun for that — but certainly overstuffed.
The Rise of Skywalker is ostensibly positioned as a culmination, but it seems less momentous, less inevitable than the term would suggest. Instead, it's an accretion — a buildup of plotlines and characters that rolls toward its conclusion by dint of momentum lent to it by all that's come before.
That lack of clear focus is largely a result of this most recent trilogy's peculiar provenance. In The Force Awakens, Abrams created its main characters and teased some intriguing mysteries for future films to explore before handing the reins to Rian Johnson, whose The Last Jedi in 2017 proceeded to explore some and (justifiably, in my opinion) abandon others, in an effort to shake things up. Now that Abrams is back at the helm, several plot threads that Johnson had summarily sealed away in boxes — including the parentage of Rey (Daisy Ridley) — get hauled back down from narrative deep-storage and unpacked for fresh inspection.
It's the directorial equivalent of a particularly petty game of Exquisite Corpse, wherein one partygoer writes the first sentence of a story, then hands it to a second partygoer who writes a sentence undercutting the first sentence, then the first partygoer takes the paper back and doubles down on what they'd written in the first place.
But then, that first sentence — The Force Awakens, in this case — was powered by the easy chemistry among its leads: Rey's steely resolve, Finn's (John Boyega's) comic timing, and Poe's (Oscar Isaacs') preternatural charm. Johnson's The Last Jedi, for understandable story reasons, split them up — and for all the good and worthy risks that film took, the sundering of our trio was the one that didn't pay off. In Skywalker, Abrams reunites our heroes and pointedly keeps them that way, allowing their interpersonal energy and humor to ground us through an extended series of planet-hopping fetch quests that can't help but blur together.
The mysterious connection between Rey and Kylo Ren (Adam Driver) is allowed to become less so, as is only fitting in the final chapter of their story. Abrams shows an admirable willingness to maintain the shades of gray that Johnson introduced into Star Wars' black-and-white cookie of a moral universe. Here again, characters make choices that do not always strictly accord with their wardrobe's color scheme.
Less successful are the return appearances of various characters from previous trilogies, most of whom have been forcefully (heh) inserted into events. (Abrams wields a shoehorn with the same determination that Rey wields her lightsaber.) Some viewers will cry "fan service!" Many more will consider themselves fans, and be grateful for being so rigorously and exhaustively serviced.
The blockbuster conclusion to an era-defining film franchise is a spectacular feat of plate-spinning --with one vital difference. With The Rise of Skywalker, the spinner — Abrams — wants us to focus on the plates alone. And there are certainly moments when we do: tender scenes featuring previously unused footage of the late Carrie Fisher (and her back-of-the-head stand-in), a chase through the desert, a lightsaber battle on some familiar wreckage amid a roiling ocean.
But there are many more moments — especially towards the film's conclusion, when a sequence showing just how hopelessly dire things get for our heroes just goes on and on and on -- when the spinning plates disappear, and all we can see is poor J.J. Abrams darting back and forth and back again, frantically struggling to keep them going.
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2019-12-18 11:47:00Z
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The Rise Of Skywalker rebalances Star Wars into a force of safe, familiar fan service - The A.V. Club
You almost have to feel sorry for The Rise Of Skywalker. Yes, this is a guaranteed blockbuster, the very opposite of an underdog, the latest entry in one of the most popular media franchises in human history. It will make a billion dollars, and you will not. Yet the movie, the last in a new trilogy of Star Wars sequels produced without George Lucas’ involvement (or, it must be said, his acid-trip imagination), is so freighted with obligation that it almost groans under the weight, flashing a weak smile as it vaguely approximates the appearance of a zippy good time. Of course, most concluding chapters of a saga with a capital S carry burdens their predecessors don’t: They often end up feeling like the last act of a movie stretched to feature length—all falling action, no remaining mystery. But in the case of this ninth official episode, the batting-cleanup responsibilities are compounded by the expectations of a fanbase on the cusp of mutiny. Skywalker wants desperately to please them, a potentially impossible task it tackles with transparently ingratiating caution. This is a space opera animated not by joy but insecurity—the anxiety, evident in almost every moment, that if it’s not very careful, someone might feel letdown.
Technically, Skywalker picks up from the ending of the previous entry in the series, Rian Johnson’s imperfect but often spectacular and genuinely daring The Last Jedi. Johnson had the nerve to muck a little with the assumed trajectory of this ongoing story, and to toy with the characterization of a legendary hero like Luke Skywalker. So of course, plenty of diehards (and cast members) wanted to turn the Death Star on him. To their presumed relief, the reigns have been passed back to J.J. Abrams, who made the first movie of the new trilogy, The Force Awakens. That astronomical hit was designed, in its savvy but safe tracing over of A New Hope, to operate as a big reset, winning back those who hated Lucas’ prequels. Watching The Rise Of Skywalker, you realize that J.J. has been hired to do the same thing here; he’s made what feels sometimes like a glorified apology for his successor’s choices. Remember in Last Jedi when fallen son Kylo Ren (Adam Driver) smashed his Vader-esque helmet to bits as a symbolic rejection of the past? It takes him all of 15 minutes to weld it back together in Skywalker, the little red cracks across its surface evidence of a “mistake” that’s been mended. In other words, the thing’s still a metaphor.
In the first of Abrams’ many supposed course corrections, Skywalker inserts Kylo right back into the Empire chain of command he emancipated himself from in Last Jedi. He may have killed the wannabe Snook, but he’s not impervious to the offers of his replacement: the real emperor Palpatine (Ian McDiarmid), raised from the grave by some far-side-of-the-galaxy zealots. (Before anyone gets upset by this revelation, can we all agree that the very first line of the opening Star Wars text crawl isn’t a spoiler?) Part of what made Kylo such an interesting villain was that his ambitions weren’t strictly Sithian; caught in the shadow of his famous family, he reached for an alternative to the series’ good-evil dichotomy—call it a free-agent evil, maybe? But The Rise Of Skywalker wants him back in the familiar tug of war, his soul the stake in another battle between the light and dark sides of the Force. It’s all very Return Of The Jedi. And having made seductive appeals to Rey (Daisy Ridely) last time around, Kylo simplifies his pickup line: “I’m going to find you and turn you to the dark side.”
The plot is a busy thing, especially during Abrams’ heavily expositional first act, when he keeps leaping across the usual stock library of planet types. (Would you believe there’s another desert world that’s neither Tatooine nor Jakku?) Rey, tormented by visions of herself in a black robe, goes looking for one of the film’s various MacGuffins. Along for the ride is reformed Stormtrooper Finn (John Boyega), very Han-like flyboy Poe (Oscar Isaac), and ageless fuzzball Chewbacca (Joonas Suotamo). Addressing another item from the complaint box, Abrams doesn’t split up the gang like Johnson did, instead sending them on bantering group expeditions. The new class remains a likable lot; they’re the strongest element of this third trilogy. And The Rise Of Skywalker gets some light ensemble fun out of their misadventures, including the rare C-3PO subplot that’s both funny and even a little poignant. Not that everyone has an equal role. Kelly Marie Tran’s Rose, introduced in Johnson’s film, has been largely sidelined by popular/toxic demand. And the late Carrie Fisher has only a few scenes, thanks to some awkwardly integrated archival footage. (A franchise long haunted by the ghosts of the past, Star Wars now involves both dead characters played by living actors and living characters played by dead actors.)
Abrams likes to dig around in sandboxes he didn’t build. His only non-franchise picture, Super 8, still feels like one, in the sense that Steven Spielberg is basically his own franchise. In many ways, the director’s bookending what he started in 2015; this is another Star Wars movie that seems more interested in echoing old pleasures—through crowd-pleasing cameos, through recycled plot beats—than pushing this franchise in new directions. But The Force Awakens, for all its play-it-safe retread, was a more stirring blast of pop entertainment. It was better paced, at least, with a first act that took the time to reinvest in the mythic scale of the galaxy far, far away. And it offered a sense of rediscovery after a decade with no new episodes. Arriving at a time when the novelty of Star Wars as a cultural event has given way to something like appointment-viewing fatigue, The Rise Of Skywalker can’t conjure the same excitement just playing the hits. There’s a certain desperation to its action: The lightsaber duels and deep-space dogfights and close encounters arrive at a steady clip, but they’re more like items on a checklist than anything else. The director’s own Force is a phantom survey conducted in the narrow cracks between perfunctory set-pieces, nervously and implicitly demanding to know if we’re having fun yet.
These movies have been always been about legacy: Going back to the 1977 original, in which a plucky farm boy got drafted into a cosmic struggle, they’ve followed characters trying to find their place in a story older and bigger than themselves. The new trilogy makes that aspect both text and subtext—these are Star Wars films about how difficult it is to live up to Star Wars. Rey and Kylo, especially, seem to carry the anxiety of their creators on their backs, sometimes wondering aloud how they could possibly compete with the reputations of those who came before them. Yet if Abrams preaches the importance of creating your own destiny, and of not letting your lineage determine it, the plot of The Rise Of Skywalker betrays that message: By the end, everyone has fallen into their proper place in the grand mythology, like the holo-chess pieces on the Millennium Falcon. What’s the point in introducing so many interesting new characters and then pushing them through the blueprints of old adventures? It leaves you pining for a Star Wars movie that charts its own path, until you remember such a movie exists already, and it’s being all but retconned before your eyes. Save the sympathy for that billion-dollar blockbuster.
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2019-12-18 10:20:00Z
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Kylie Jenner and Travis Scott Co-Parenting Christmas With Stormi - TMZ
Exclusive
TMZ/Getty CompositeKylie Jenner and Travis Scott are planning to spend Christmas together as a family with Stormi ... but just because they're co-parenting doesn't mean they're back on as a couple.
Sources close to the former couple tell TMZ ... Kylie and Travis are celebrating Christmas in Los Angeles as a fam, because both parents want to be there for Stormi when she opens presents on Xmas morning.
Stormi, who will turn 2 in February, is getting old enough to understand the holiday's importance ... and we're told Kylie and Travis want to make it super special for her by being together as a unit.
But, before you get too worked up, we're told Kylie and Travis are still not back on as a couple ... this despite spending plenty of time together during their break up.
11/29/19
As we've reported ... Travis has been cohabiting at Kylie's crib, and she took Stormi to his music festival in Houston a few weeks before the trio reconnected for Thanksgiving.
Our sources say the family's Thanksgiving was super chill and fun, and they're confident the good vibes will be flowing once again on Christmas.
Backgrid
Kylie was also spotted out Tuesday wearing an "Astroworld" shirt -- the name of Travis' album and tour -- so clearly they're on good terms.
We'll see if the holiday spirit leads to another make up.
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2019-12-18 09:00:00Z
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Kelly Clarkson on other coaches missing 'The Voice' champ Jake Hoot in auditions: 'Thank you!' - USA TODAY
LOS ANGELES – Kelly Clarkson can instantly pinpoint the moment she knew Jake Hoot would win Season 17 of "The Voice."
"The Blinds," she said Tuesday, referring to the Blind Auditions, the first time coaches hear the singers in the NBC singing competition.
What still surprises her is that none of the other three coaches - John Legend, Blake Shelton and Gwen Stefani - hit their buttons to spin their red chairs around, leaving the Cookeville, Tenn., country singer to Team Kelly.
"I don't know (why). They had lost their damn mind," Clarkson said, noting the rarity of a "one-chair turn" singer winning the whole contest. "I remember looking specifically at Blake going, 'What is wrong with you? But thank you!'"
Moments after Hoot's victory in Tuesday's season finale, Clarkson, who has had the winner on her team three times in four seasons, listed some of his talents: an ear for music, great song choices and the ability to project. "Like I'm not joking, there's a microphone in his vocal cords."
New champ: 'The Voice' finale: Jake Hoot wins Season 17, handing Kelly Clarkson her third win
A day after the pair sang Sarah McLachlan's "Wintersong" in Monday's competition finale, Clarkson was still bowled over by Hoot's song choice and performance.
"That Christmas song we did, I'm going to be talking about it until I die. It's the most beautiful song. I've done a lot of things in my career (and) that's one of my favorite things I've ever done," said Clarkson, host of "The Kelly Clarkson Show."
Hoot's original song, "Better Off Without You," moved the coaches on Monday's show. He co-wrote the ballad while going through a divorce and he explained Tuesday how life's experiences, good and bad, shape an artist's music.
"I sang songs like 'The Dance' and 'Goodbye Time' for years at shows and they're beautiful songs. But it wasn't until after going through something hard that it actually means something," he said. "Any time you go through heartache and stuff like that, no matter what it is, those lyrics and melodies become real. It definitely changes how you perform them and the emotion you put behind it."
Beyond the music, Clarkson admires Hoot's decency and humility. As "I grew up, my parents told me to have a servant's heart. That's how you should live your life. And like he is a walking, breathing servant's heart. He's such a good dude," she said.
Hoot, 31, returned the praise, which started during Tuesday's live show when he told Clarkson that she had helped him become a better person and parent.
"Having Kelly believe in me from the get-go and to be here tonight is just an incredible thing. … She's helped me get out of my shell on stage," he said, turning to her, "and you're just like the biggest cheerleader and that means more than you know. I really do appreciate it."
When asked what's next in his budding music career, it was clear this is new territory for the 31-year-old dad.
"I mean, I've been working in radio for the past five years as a sales rep. And so now taking that next step," he said, as Clarkson interrupted.
"I didn't know that," she said, explaining she learns new things about Hoot all the time.
"Actually, funny story," he continued. "I worked in a zinc mine for a while. I've done every type of construction, plumbing, HVAC. So, thinking about that next step has been something that's been on my my mind. I write all the time, so hopefully I can get there" in music.
Clarkson briefly became Hoot's cheerleader again when he said he would like to make an album that's country with "probably more of a '90s-ish style."
"I'm so happy," Clarkson said, before pointing out Hoot's versatility and influences, which include the Eagles and Fleetwood Mac.
After Hoot performed with Little Big Town on Tuesday's show, just a little bit before host Carson Daly announced him as the winner, some in the studio audience could be heard breaking into what has become a familiar chant: "Hoot! Hoot! Hoot!"
Down to the wire: 'The Voice' finale: From Jake Hoot to Katie Kadan, who will win it all?
Clarkson herself was part of that group, affectionately known as the Hooters. "I was hootin'. I had my arm going like Arsenio."
Hoot enjoys that connection with listeners. "The Hooters have been unreal. Back home, you have that same small group of people at your shows and it's incredible. But to see it on the level it got to, it's unreal. People that reached out or commented that I would have never met otherwise, it's incredible that they feel a part of it."
Clarkson seconded Hoot's sentiment. "Music. It brings people together and we're very divided right now as a country. It's cool."
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2019-12-18 08:45:53Z
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