The Rise of Skywalker
There hasn’t been a lot of good news swirling about lately, so it was a real treat to open my email on Saturday morning and see a message from Kaleidescape announcing that Disney and Lucasfilm had decided to give fans a little bit of weekend fun by releasing the latest Star Wars movie a few days early. (It as originally scheduled for March 17; the disc release is scheduled for March 31.)
While the Mouse House offered no official announcement (at least that I could find) about the reasoning behind this early release, the company did make an announcement that Frozen 2 “will be available three months ahead of schedule on Disney+ in the U.S. . . . surprising families with some fun and joy during this challenging period,” an allusion to the COVID-19 pandemic.
With more families staying at home, a bit of Star Wars could be just the thing to lift spirits.
Officially carrying the weighty title Star Wars: Episode IX—The Rise of Skywalker, this film brings to a conclusion the space opera created by George Lucas back in 1977, and wraps the final trilogy of films which began in 2015 with The Force
Awakens and continued in 2017 with The Last Jedi.
Following the mixed fan reception of director Rian Johnson’s Jedi, which received a favorable critics’ rating of 91% on Rotten Tomatoes, but a dismal, franchise-low audience score of just 43%, Star Wars looked to finish strong with Skywalker. But there was difficulty early on as initial writer and director Colin Trevorrow was quickly replaced due to “creative differences,” and J.J. Abrams was brought back in to helm the ship and finish the trilogy he began with Awakens.
To be fair, Abrams had an almost impossible task here—to conclude a saga that had taken on myth and meaning in people’s lives, with expectations far beyond what any movie could ever deliver. To its credit, Disney threw a ton of money at the film (an estimated $275 million), and J.J. tried to give fans the farewell they wanted, even bringing back a host of characters not seen in years, including Lando Calrissian (Billy De Williams), Wedge Antilles (Denis Lawson), and Wicket (Warwick Davis), along with even more that are only heard. And while he reversed the tide of Last Jedi’s ratings, scoring an audience score of 86%, he also managed a franchise-low critic’s rating of just 51%.
Abrams also faced the major obstacles of losing Carrie Fisher, whose Princess Leia was supposed to be a central character in this final episode, and having to follow some of the story choices Johnson took with Last Jedi. The result is a movie that feels a bit disjointed at times, shoehorning and repurposing previously shot footage and dialogue of Fisher where it could, and feeling like it was rewriting Johnson’s film at others. The result left some with more questions than answers.
Like many of you, I grew up with Star Wars. I saw the first film at a small theater in Carmel, California while my parents were out shopping when I was 7. I can remember that first Star Destroyer flying overhead and thinking this was like nothing I’d ever seen before. When the movie was over, I walked out and met my parents outside, told them how amazing it was, and then turned around and went back in and watched it again.
For the record, I enjoyed Skywalker, but left the theater on opening night a bit conflicted. When my wife asked me what I thought of it, I said, “I liked it, but I’m not sure it is the movie I wanted. But I’m not sure what I wanted.”
No matter how great this film was, it was always going to be somewhat of a bittersweet experience for fans. We all watched the final credits knowing this was the end of
something that had become important in our lives, and now there is no more Star Wars to look forward to. (At least in the manner that we’ve grown accustomed to. Disney and Lucasfilm will most certainly continue to mine that galaxy far, far away for stories for years to come.) For me, this is now the third time I’ve “lost” Star Wars, the first being when Return of the Jedi finished in 1983, the second when Episode III—Revenge of the Sith finished in 2005.
Now, I’m not going to presume my review or analysis of Skywalker is going to sway your decision to watch it, nor am I going to bother wasting time and space trying to recap the plot—especially since this is an almost two-and-a-half-hour film that concludes 42 years’ worth of storytelling. If you’re a Star Wars fan, you’ve already seen the movie, and have already drawn your own conclusions, and have likely already pre-ordered the mega box set of all the films, scheduled for release at the end of the month. (Incidentally, the other eight films in the Star Wars saga were also released in 4K HDR with Dolby Atmos soundtracks at the same time as Skywalker.) But if you haven’t seen Skywalker by now, maybe you can be swayed to give this a viewing in your home theater. I assure you, it’s well worth the time, and I feel it improves on repeated viewings. (I far more enjoyed it on my second viewing this past January in Las Vegas on the only Sony Premium Digital Cinema in the country.)
OK, with that out of the way, lets get down to it: How does the 4K HDR release of Rise of Skywalker look and sound? Fortunately, this is a far less controversial question to answer, as the presentation is top-notch! The film even garnered three Academy Awards nominations, for John Williams’ original score, visual effects, and sound editing.
Shot on a combination of Kodak film stocks, Skywalker’s transfer is taken from a true 4K digital intermediate and uses HDR throughout to really pump colors and highlights, with a Dolby Atmos soundtrack that surrounds and immerses you in the action.
From the opening scenes, Kylo Ren’s (Adam Driver) unstable lightsaber sizzles on screen, glowing and seething with bright reds. The final battle on Exegol is like an HDR demo reel, with dark skies dotted with glowing engines of ships, and illuminating the room with frequent bright blue-white bursts of pupil-searing lightning strikes and laser bolts.
While space is never “pitch black” in Star Wars films, images remain clean and noise-free, and we get some true blacks in interiors. The scenes aboard Ren’s Star Destroyer (which reminded me of what an incredible job Disney did of transporting you into the Star Wars universe in its new Rise of the Resistance ride) look fantastic, with gleaming, glistening black decks, bright lighting illuminating hallways, and laser blasts and sparks.
The underground sand worm’s lair on Pasaana is another scene that could be a recipe for producing a video and compression nightmare, with dimly lit passageways illuminated by BB8’s glowing lights along with a couple of flashlights and the searing blue of Rey’s (Daisy Ridley) lightsaber. Blacks remain deep, with lots of shadow detail without any distracting banding or other artifacts.
Closeups reveal a terrific level of detail, showing every pore, strand of hair, stitch, texture, and bit of wear. Part of owning the film—and watching it repeatedly—is the you can revel in the attention to detail in nearly every shot, such as the creature design and the large interiors. The only scenes that appear “soft” are the ones with Leia. All of her shots are comprised of previously unused footage shot while filming Force Awakens. The previous background elements were removed digitally so she could be composited into the new shots.
Disney has received flack over the soundtracks on many of its top-level releases, but the Atmos audio included here is beyond reproach, with lots of dynamics and activity. Whether it is the snap and hum of lightsabers, the effects of Force energy, the waves crashing on the moon in the Endor system, the thrum of various engines, or explosions, bass is deep, powerful, and room-energizing when appropriate.
Surround and height speakers are used frequently to immerse you in the scenes and action. The speeder chase on Pasaana has laser blasts that shoot around the room and troopers launching and flying overhead. The scenes on Kijimi are filled with expansive street sounds to place you on location, with wind blowing, snow falling, and distant shouts and voices. The height speakers are also used to good effect during Rey and Ren’s Force chats, Emperor Palpatine’s (Ian McDiarmid) booming voice, and the voices of Jedi past that echo in Rey’s mind.
Sonically, my favorite scenes are aboard the remnants of the second Death Star. These scenes are among the most interesting from an audio standpoint, with loads of drips, creaks, and groans of wires twisting and metal straining as the giant ship constantly settles while Rey moves about in the cavernous interiors. The exterior shots are filled with the roar of wind and crash of waves and water splattering—all of it an ambient feast for the audio senses!
Beyond dialogue being clear and easily intelligible, the soundtrack also does a wonderful job presenting Williams’ score, what he says will be his final time working with Star Wars.
Even if Rise of Skywalker isn’t your favorite film in the Star Wars saga, the movie is worth purchasing just for the extras, including the feature-length documentary The Skywalker Legacy, along with five other featurettes. Included with the Kaleidescape release as a digital exclusive is “The Maestro’s Finale,” which has John Williams looking back on his 40-plus-year career working with Star Wars.
While this might not be the conclusion to the Skywalker saga that some wanted, this is the one we’ve been given. And there is still a lot here to enjoy, especially in a home theater setting. Get a bowl of popcorn, turn down the lights, turn up the sound, sit back and enjoy, and I all but guarantee the Force will be with you.
Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as Residential Systems and Sound & Vision. Follow him on Twitter at
@SciaccaTweets and at johnsciacca.com.