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Even three months after its release, Star Wars: The Rise of Skywalker refuses to leave the national conversation. Perhaps that’s because so much supplementary material keeps coming out after the fact to fill out the plot gaps in the film’s ever-so-complex narrative. The latest from the Star Wars: The Rise of Skywalker novelization is all about Kylo Ren and his arc form Big Bad to big softie, and how exactly it happened.
Kylo Ren’s redemption arc was arguably one of the most dissatisfying parts of Stars Wars: The Rise of Skywalker, primarily because all the motivation for his turn from the Dark Side to the light took place offscreen and in supplementary materials. But here is a little more supplementary material to explain why Kylo Ren turned out the way he did. The Star Wars: The Rise of Skywalker novelization fills out some of the plot holes in Ben Solo’s arc from the Skywalker heir apparent to fallen son.
First, there’s an explanation of Kylo Ren and Rey’s first fight in The Force Awakens, when the new Force wielder was able to beat a trained Jedi in a lightsaber duel. We can thank Chewbacca for that, according to the novelization, which reminds us that the Wookiee shot Kylo Ren after he killed Han, putting him at a disadvantage in the fight with Rey. The book reads per CinemaBlend:
‘I have not forgotten that you shot me,’ Kylo said. That wound had resulted in a defeat at Rey’s hands. Had he been in top fighting form, the scavenger never would have gotten the best of him.
Yep, this sure is an explanation that doesn’t take away from Rey’s victory at all, because how could a girl who had been forced to survive on her own on a desert planet all her life eke out a win against a trained warrior? Uh, huh.
But that’s not all that has been revealed about Kylo Ren in the novelization. The retcon of Kylo’s “lie” about Rey’s parents being no one in Star Wars: The Last Jedi is further explained, writing per Digital Spy:
“He’d glimpsed her parents in a vision, a poor, frightened couple eking out a meagre existence, surviving on the edge of desperation. He hadn’t been lying when he’d told her they were nothing, nobodies. But Force visions were filled with tricky truths and potential realities. Maybe he had missed something. Bringing all the power of the Force to bear, Kylo Ren demanded, ‘Who is she?’ The rotting remnant of Emperor Palpatine smiled.”
The last revelation digs into Kylo Ren’s pivotal turn, when he lays down his lightsaber and finally embraces his identity as Ben Solo. In the film, it appears to be his mother Leia’s death that leads him to make this turn, at the of his battle with Rey, when she mortally wounds then heals him. In the...
The Rise of Skywalker went through more rewrites than Chris Terrio has ever experienced. Terrio co-wrote the story with director J.J. Abrams. To put things into perspective, Terrio co-wrote Justice League, and we all know how that turned out. Joss Whedon even ended up with a writing credit on that one after $25 million reshoots lasted over a month. Regardless, there are still a lot of Star Wars fans who were very satisfied with the way the final installment in the Skywalker Saga unfolded, even if it was seemingly written on the fly.
Colin Trevorrow was originally on board to write and direct Star Wars 9, but he later left after running into some creative differences with Lucasfilm and Disney. So, J.J. Abrams was brought back to the fold and he brought Chris Terrio along to help write a brand-new story, which could not have been easy, especially because it seems like they never really stopped writing, even when the cameras were rolling. Terrio had this to say about the experience.'I've never rewritten a film as much as this one. It's like a tide. There's a new script every morning. But we just keep going at it and going at it, loosely thinking that it's not good enough. It's never good enough.'
The Rise of Skywalker hit theaters in December and a lot of fans still have unanswered questions. However, much like the Wayfinders used in the movie, hardcore Star Wars fans can seek out novels, comic books, and video games to help fill in the blanks. As far as the rewrites are concerned, Chris Terrio says they were lucky to have a flexible crew with them. He explains.'Luckily, the production team is so good that they can shift and adjust. We're course-correcting as we go - we're trying things, and some things don't work and some things aren't ambitious enough. Some things are overly ambitious. Some things are too dense. Some things are too simple. Some things are too nostalgic. Some things are too out-of-left-field. We're finding our balance.'
Since The Rise of Skywalker is out digitally and coming out on Blu-ray tomorrow, we have been getting a lot of behind-the-scenes looks at what could have been. The Art of Star Wars: The Rise of Skywalker book is out tomorrow too, and it features a wealth of concept art, along with several interviews with the cast and crew. The concept art within the book shows some of the material that was originally written for the movie, but ultimately did not make the cut.
Once Star Wars fans started to hear about the concept art and ideas that didn't make it into the final cut, rumors started to circulate about the J.J. Abrams cut. The concept art, paired with Abrams' on words about cutting the runtime down helped to spread these rumors. But, there is no J.J. cut since most of the things that were written and unused were never completed or even shot. Adding to this idea is the fact that there are no deleted scenes included in The Rise of Skywalker digital or Blu-ray release. Chris...
STX Entertainment has secured distribution rights in North America, Latin America, and China for a thriller called Gunpowder Milkshake.
Karen Gillan Guardians of the Galaxy, Jumanji sequels, Angela Bassett Black Panther, Mission: Impossible – Fallout, Lena Headey Game of Thrones, 300, Michelle Yeoh Crazy Rich Asians; Crouching Tiger, Hidden Dragon, Carla Gugino Sin City, Watchmen, and Chloe Coleman Big Little Lies, the upcoming comedy My Spy all star in a story about multiple generations of female assassins.
The Hollywood Reporter brings the news that STX Entertainment has paid at least $10 million in a deal with Studiocanal and UTA Independent Film Group at the European Film Market for key distribution rights to the brilliantly-titled Gunpowder Milkshake. Specific details about the plot remain scarce, but the movie will reportedly follow “three generations of female assassins who, over the course of a single night, fight to stop a cycle of violence.” Paul Giamatti 2002’s Thunderpants, please don’t look it up, you’ll instantly regret it is also on board as part of the ensemble cast.
Navot Papushado and Ehud Lavski, who co-directed the Israeli revenge film Big Bad Wolves which earned the public approval of Quentin Tarantino, are reuniting for this project. The duo co-wrote Gunpowder Milkshake together, and Papushado is directing it solo this time around; it will mark his English-language directing debut.
Studiocanal financed the movie, which was produced by The Picture Company The Commuter, Alpha, Leigh Whannell’s upcoming remake of Escape From New York, and Studiocanal will distribute the film across the rest of the world. THR says STX “is thought to be planning a wide theatrical release for the film in the U.S. and will go through the company’s existing partners in Canada and Latin America and through a partner distributor in China.” Those territories seem like a big “get” for STX – especially China, which, broadly speaking, seems to be receptive to American action thrillers. Of course, this purchase could backfire on STX Entertainment if the coronavirus isn’t contained soon in China, because we’ve already seen other studios cancel premieres there and even temporarily pull films from planned distribution because of the deadly disease. Obviously that’s the least important thing to consider when thousands of people are dying, but it’s worth mentioning as a potential risk.
Okay, I’m sorry: can we go back to Thunderpants for a second? Young Rupert Grint Ron Weasley from the Harry Potter films plays a scientist kid ? whose best friend has the ability to fart so intensely ?? that he can launch a spaceship with his flatulence ???. This trailer begins in progress, but even though the beginning...
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It’s difficult to place into words the impact Italian Neorealism has personally had on me. The genre speaks to me on a visceral level. The old Italian films, born out of desperation, still hold up against the blockbusters of today. In an age where authoritarianism is making a comeback, we are witnessing a subconscious reemergence of the formerly communist left-supported Italian Neorealism movement. A genre “reboot,” so-to-speak, passionately defiant of the Donald Trumps, the Boris Johnsons, the Kim Jong-Uns, the Rodrigo Dutertes, paralleling the recent wave of democratic socialism and a greater societal readiness to accept left politics.
In order to contextualize the circumstances surrounding its reemergence, one must revisit the circumstances out of which Italian Neorealism was born. By drawing modern parallels to classics of the genre with recent films such as Roma, The Florida Project, Tangerine, Support the Girls, Cold War, American Honey, and Winter’s Bone, the sociopolitical and stylistic similarities between Italian Neorealism’s “reboot” and its cinematic predecessor succinctly emerge.
In the early 1940s, the emergence of Italian cinema essentially represented the complete opposite of the glamorous dramatizations of American cinema in the form of Italian Neorealism. Italian citizens lived in fear under Benito Mussolini’s oppressive, fascist regime during World War II. Italy was a stomping ground during Hitler’s Third Reich. While American films became more propagated on escapism in the 1940s, Italian cinema carried the tradition of the Lumière Brothers’ actualités. Italian filmmakers that emerged during the war and post-war were not profit-driven, but rather, emerged from a humanist necessity to expose the harsh truths around them. The Italian Neorealism genre lasted until the early 1950s. Since its themes were specifically related to war-torn, poverty stricken Italy and the ill-effects of an authoritarian-leaning government during WWII, the genre dissolved after the war.
Italian Neorealism is regarded as the beginning of the Golden Era of Italian cinema. The film genre was inspired by the Verismo literally translating to “realism” literary movement a generation prior in the late 1800s and early 1900s, legitimatized by Giovanni Verga and Luigi Capuana. Capuana’s manifesto, “Giacinta,” is widely regarded as the fundamental structural integrity of the Neorealist movement. Other prominent voices of the Verismo movement included Federico de Roberto “I Viceré,” a novelistic “docudrama” exploring the blind pursuance of power at the expense of a just and equal society, Salvatore di Giacomo, and Grazia Deledda. Verismo would experience a...