I grew up with Star Wars. Like so many fans of my generation, my introduction came on VHS — that glorious gold-covered trilogy box set of the original films. Those tapes were well used. I wore them down with the number of times I rewatched Luke face off against Vader, Han shoot first, and Leia steal every scene she was in. For me, Star Wars wasn’t just a series of movies — it was an event, a universe I lived in.
Then came the prequels. Say what you want about them — yes, the writing was clunky at times, and Jar Jar happened — but I’ll never forget seeing each one in the cinema. I remember walking out of Revenge of the Sith absolutely buzzing. That film delivered in a way that made me fall in love with lightsaber duels all over again. The choreography? Fantastic. The sheer spectacle of Anakin vs. Obi-Wan on Mustafar? Next level. Whatever issues people have with the prequels, they felt big and bold.
Which brings us to The Last Jedi.
I wish I loved it. I really do. But every time I rewatch it, the frustration grows. Let’s talk about why.
Luke Skywalker: The Hero Who Wasn’t
Let’s get this out of the way — Luke Skywalker was done dirty.
After The Force Awakens, we were primed for the return of the Jedi Master. The setup was perfect: Luke, lost and in hiding, finally confronted by Rey holding out his lightsaber — the very weapon of his father, steeped in history and meaning. And then… he throws it over his shoulder like a bad punchline.
Criminal.
Luke being isolated on Ahch-To could have worked. I wasn’t completely against the idea of him wrestling with failure and doubt. But the execution? They made him unrecognizable. This wasn’t the optimistic farm boy who faced down Vader and the Emperor because he believed in redemption. This was a grumpy hermit who considered burning it all down — literally. Even Mark Hamill himself openly disagreed with Rian Johnson’s vision for Luke. When your actor says, “This isn’t my Luke Skywalker,” maybe… listen to him?
And that “lasersword” line. You know the one. Luke jokes about fighting off the entire First Order with “a lasersword,” and instead of delivering on that dream, the movie leans into subversion. But here’s the thing: we wanted that moment. We wanted to see the Jedi Master unleash the full extent of his power — force pushes, saber mastery, maybe even pulling starships from the sky. Instead, we got a projection trick and a quiet death. Also criminal.
The Reunion We Never Got
Here’s the real gut-punch: we never got Luke, Han, and Leia back on screen together. Not once.
This was the easiest win in the history of cinema. One scene. One reunion. That’s all fans wanted — the trio back together, even briefly, before passing the torch to the next generation. Instead, Han dies in The Force Awakens, Luke dies in The Last Jedi, and Leia… well, Rise of Skywalker sadly had to make do with what was possible after Carrie Fisher’s passing. It’s one of the biggest missed opportunities in movie history, and it still stings.
Finn, Rose, and Canto Bight: A Plot to Nowhere
Finn’s story arc had so much potential after The Force Awakens. A stormtrooper who defects? That’s gold. But what do we get in The Last Jedi? A side quest to Canto Bight that could be cut entirely, and the film would be no different.
And the romance with Rose? Forced. (Pun intended.) Rose is a great character with heart and ideals, but the kiss at the end came out of nowhere and added nothing. Their entire subplot felt like filler in a movie already struggling to juggle its pacing.
Snoke, Subverted Expectations, and Wasted Villains
Rian Johnson wanted to “subvert expectations,” and in doing so, he derailed the setup from The Force Awakens. Snoke, this mysterious big bad, is killed halfway through without any explanation about who he is or where he came from. Suddenly, Kylo’s the Supreme Leader, and the narrative has nowhere to go.
That’s why JJ Abrams had to “somehow” bring back Palpatine in Rise of Skywalker. It didn’t work and it wasn’t the plan; it was a desperate course correction because The Last Jedi burned the roadmap. Wasted potential all around.
The Praetorian Guard Fight: Style Over Substance
Let’s talk choreography. Compare the throne room fight against Snoke’s guards with the Anakin vs. Obi-Wan duel from Revenge of the Sith. Night and day.
In Revenge, the lightsaber battles were fluid, intense, and meticulously planned. In The Last Jedi? Go back and watch closely — there’s a moment where a guard with two blades has Rey dead to rights, and the filmmakers literally edited out one blade mid-fight to make it work. It’s not a blink-and-you-miss-it mistake either; YouTube has countless breakdowns of the continuity errors in that scene. Terrible editing for what should’ve been one of the film’s highlights.
John Williams: The Unsung Hero
Through it all, there’s one constant saving grace: John Williams. The man simply cannot miss. Rey’s theme, Kylo’s motif, the resistance fanfare — pure magic. My one-year-old even bops along whenever these themes are played, and Williams’ influence on my love of cinema is immeasurable. At least the music never lets us down.
Leia, Poe, and Questionable Choices
Leia deserved better. That “space witch” scene — where she survives an explosion, floats through space, and magically drifts back to safety — is one of those moments I wish I could unsee. It sidelined her for much of the movie, leaving her impact muted when it should have been monumental.
Then there’s Poe. I like the guy, but his arc is frustrating. He’s reckless, sure, but instead of giving him the information he needs, Admiral Holdo just… doesn’t. Cue unnecessary mutinies and drama that could’ve been avoided with a single conversation. Lazy writing.
Cool Visuals, Wasted Opportunities
I’ll give credit where it’s due: Crait looked stunning. The samurai-inspired framing, the salt over crimson soil — visually, it’s beautiful. But again, the Luke vs. Kylo fight could have been so much cooler. Imagine Luke showing up in person, showcasing the full might of a Jedi Master, instead of slow-motion saber spins and “psych! He’s not really there.” Clever twist? Sure. Satisfying? Not even close.
Kylo Ren and Phasma: From Promising to Pointless
Kylo Ren’s mask was cool. I remember buying a Kylo figure on Force Friday before The Force Awakens even came out, thinking, “This is the next Vader.” And then? They smash the mask halfway through The Last Jedi and leave it behind. Another wasted aesthetic.
And Phasma… don’t get me started. She looked incredible, teased as this elite stormtrooper commander, and she goes out like a background extra. Twice. Why even bother building her up?
Final Thoughts: Major Reshoots Required
Mark Hamill’s performance is brilliant. The acting across the board is pretty solid. The visuals are gorgeous. The score is flawless. But the story? A mess.
The Last Jedi isn’t just my least favorite Star Wars film — it actively frustrates me. Not because it tried something different, but because it wasted so much potential. It undercut arcs, sidelined beloved characters, and left us with a trilogy scrambling to pick up the pieces.
If I had my way, I’d reshoot big chunks of it. Honestly, I’d even tweak parts of The Force Awakens to better set up a trilogy worthy of the Skywalker legacy. But that’s a blog post for another day.
For now, I’ll leave The Last Jedi with a very official rating:
Major Reshoots Required
Look out for our “Fix It In Post” blog post on The Last Jedi too, where we’ll discuss how we’d theoretically fix The Last Jedi.
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