The plot holes and writing issues in this movie—the items that destroy suspension of disbelief—are numerous. It’s hard to say if The Force Awakens or The Last Jedi has more issues.
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Abrams may have felt justified in leaving so many things open-ended, but no one could’ve predicted the chaos Rian Johnson would inflict on the trilogy going forward.
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The very least Disney could’ve done was tip its hat to the characters who were going to be their meal ticket before removing them in favor of new blood.
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All the story beats are screaming that the heroes need saving, and the lightsaber in the snow is practically acting as Luke’s signature.
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People were in love with the original characters for decades, and Disney honestly thought they could move that devotion to three random characters by first destroying all of Han’s development, then killing him as fast as possible.
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Snoke does the obvious thing: tells Hux to destroy the Resistance and tells Kylo to bring Rey to him.
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The film seems to have a general idea what it wants to do, but it’s so impatient it can’t even be bothered to show Rey learning, let alone struggling, to use her powers.
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Special effects are not worthless but they are second-tier when it comes to storytelling.
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The particulars of this vision aren’t really important because they are just a bunch of teases that are disappointing but what is important is the number of questions raised around it.
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The fact is genres carry a philosophical worldview; they can’t help it
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The Force offers power, and, to maintain that power in a non-destructive manner, one must learn virtues and not give in to temptation.
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Flying a ship and fixing a ship are two different skills. They were able to patch the ship up well enough, but they couldn’t take care of the problem with the hyperdrive by themselves, which is why they went to Lando in the first place.
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Han tells Leia directly that he is in this for the money, not the revolution, which is not something a typical sleazy character would say.
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Rey’s piloting skills start out rough, but before long she’s weaving through a downed star destroyer with ease.
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The TIE fighters would make sense if the pilots knew someone was going to fly off the planet, but they have no way of knowing that.
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The point behind the “boy on a farm” trope is that the character must grow into the role of hero.
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There are plenty of flawless or powerful characters in storytelling. Sherlock Holmes has flaws, but he is powerful in the respect that his intellect is unparalleled, and his character has defined a genre of storytelling.
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I can’t recall a single time where an entire movie, let alone a trilogy, is completely driven by such choices and coincidences.
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Several ships are descending to this planet, and inside them are stormtroopers waiting to attack.
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The whole reason the sixth movie was called Return of the Jedi was because it was assumed that Luke would train more Jedi, and this is an audience expectation, and the title crawl is surgically destroying such expectations.
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