Director & Writer: Rian Johnson
Producers: Kathleen Kennedy & Ram Bergman
Cinematography: Steve Yedlin
Composer: John Williams
Editor: Bob Ducsay
Distributor: Walt Disney Studios Motion Pictures
Release Date: December 15, 2017
Run-time: 152 minutes


FILM SYNOPSIS: Resistance heroes Poe and Finn take daring measures to save their tattered fleet from extermination by the First Order. Across the galaxy, Rae pleads with Luke Skywalker to return to the fray while seeking answers about her origins and a strange link to her nemesis, Kylo Ren.


John Williams, as a composer, is a monster. This is his fifty-first Academy Award nomination with no signs of stopping. For the man to have done the original score for “Star Wars” exactly 40 years ago to continuing not only doing the scores for the current installments, but to be nominated for an Academy Award for his work, it is truly a marvel. Despite his continued excellent work, this year belongs to Jonny Greenwood and Alexandre Desplat. Both of their scores have the heat going into the Oscars. “Phantom Thread” and “The Shape Of Water” both have scores that are unique to their film and create a certain type of world with their tones. Not that Williams doesn’t do the same, but something also has to be said for a composer creating a score from nothing whereas Williams has been building on the same score for the past four decades.

Visually, the things that make “The Last Jedi” worthy of an Academy Award nomination are also the elements that set the film apart from the other installments. The battle of the planet Crait, alone, is enough to make this Oscar worthy and you know that Disney knew this by even making the theme of the theatrical poster along the same lines. Although we’ve seen the AT AT Walkers before, the new style on them as well as the red salt of Crait, cause for some of the most visually stunning moments of the film. Also, the fact that they are still finding ways to make the lightsaber battles pop visually, this time placing them in Snoke’s Red Room with his Red Guards, also leaves an impression. Not to mention the utterly impressive Jump to Lightspeed Destruction caused by Laura Dern’s character, which left me absolutely speechless. Add to that the already impressive visuals of the Millennium Falcon and all the other space ships, and you’ve got yourself a visually impressive film. Even with all that, it still goes up against films like “War For The Planet Of The Apes” and “Blade Runner 2049,” which both bring something new to the table while developing on the back of previous installments.

Choices with sound (or sometimes lack thereof) are also impressive in “The Last Jedi.” The same sounds we know and love, coming from lightsabers and spaceships, are all here, but what likely sets it apart, again, are the new additions. Elements like the Porgs, whose bleats are wholly unique to this film. The force connection between Rey and Kylo offers some interesting sound design elements as well. And always impressive is the fact that within this entire cacophony of blasts and zooms and explosions, none of the sounds get lost within one another. You can still hear each and every blast when Kylo orders to unleash everything on Luke Skywalker when he arrives on Crait. Sound-wise, you’d be hard pressed to beat “Dunkirk,” however, which relies heavily on sound with its gunshots and wailing fighter planes. Without a win in the sound categories, “Star Wars: The Last Jedi” will go home empty handed.



JOHN WILLIAMS
Composer


PREVIOUS NOMINATIONS

JOHN WILLIAMS
YEAR FILM AWARD CATEGORY
1967 (40th) “Valley Of The Dolls” Nominated Best Scoring of Music (Adaptation or Treatment)
1969 (42nd) “The Reivers” Nominated Best Original Score
“Goodbye, Mr. Chips” Nominated Best Scoring of a Musical Picture
1971 (44th) “Fiddler On The Roof” Won Best Scoring (Adaptation and Original Song Score)
1972 (45th) “images” Nominated Best Original Dramatic Score
“The Poseidon Adventure” Nominated Best Original Dramatic Score
1973 (46th) “Cinderella Liberty” Nominated Best Original Dramatic Score
Nominated Best Song
“Tom Sawyer” Nominated Best Scoring (Adaptation and Original Song Score)
1974 (47th) “The Towering Inferno” Nominated Best Original Dramatic Score
1975 (48th) “Jaws” Won Best Original Score
1977 (50th) “Close Encounters of the Third Kind” Nominated Best Original Score
“Star Wars” Won Best Original Score
1978 (51st) “Superman” Nominated Best Original Score
1980 (53rd) “The Empire Strike Back” Nominated Best Original Score
1981 (54th) “Raiders Of The Lost Ark” Nominated Best Original Score
1982 (55th) “E.T. The Extra-Terrestrial” Won Best Original Score
Nominated Best Original Song
1983 (56th) “Return Of The Jedi” Nominated Best Original Score
1984 (57th) “Indiana Jones and the Temple of Doom” Nominated Best Original Score
“The River” Nominated Best Original Score
1987 (60th) “Empire Of The Sun” Nominated Best Original Score
“The Witches Of Eastwick” Nominated Best Original Score
1988 (61st) “The Accidental Tourist” Nominated Best Original Score
1989 (62nd) “Born on the Fourth Of July” Nominated Best Original Score
“Indiana Jones and the Last Crusade” Nominated Best Original Score
1990 (63rd) “Home Alone” Nominated Best Original Score
Nominated Best Original Song
1991 (64th) “JFK” Nominated Best Original Score
“Hook” Nominated Best Original Song
1993 (66th) “Schindler’s List” Won Best Original Score
1995 (68th) “Nixon” Nominated Best Original Dramatic Score
“Sabrina” Nominated Best Original Musical or Comedy Score
Nominated Best Original Song
1996 (69th) “Sleepers” Nominated Best Original Dramatic Score
1997 (70th) “Amistad” Nominated Best Original Dramatic Score
1998 (71st) “Saving Private Ryan” Nominated Best Original Dramatic Score
1999 (72nd) “Angela’s Ashes” Nominated Best Original Score
2000 (73rd) “The Patriot” Nominated Best Original Score
2001 (74th) “A.I. Artificial Intelligence” Nominated Best Original Score
“Harry Potter and the Sorcerer’s Stone” Nominated Best Original Score
2002 (75th) “Catch Me If You Can” Nominated Best Original Score
2004 (77th) “Harry Potter and the Prisoner of Azkaban” Nominated Best Original Score
2005 (78th) “Memoirs of a Geisha” Nominated Best Original Score
“Munich” Nominated Best Original Score
2011 (84th) “The Adventures of Tintin” Nominated Best Original Score
“War Horse” Nominated Best Original Score
2012 (85th) “Lincoln” Nominated Best Original Score
2013 (86th) “The Book Thief” Nominated Best Original Score
2015 (88th) “Star Wars: The Force Awakens” Nominated Best Original Score



MATTHEW WOOD AND REN KLYCE
Sound Editors


MATTHEW WOOD
YEAR FILM AWARD CATEGORY
2007 (80th) “There Will Be Blood” Nominated Best Sound Editing
2008 (81st) “WALL-E” Nominated Best Sound Editing
2015 (88th) “Star Wars: The Force Awakens” Nominated Best Sound Editing
REN KLYCE
YEAR FILM AWARD CATEGORY
1999 (72nd) “Fight Club” Nominated Best Sound Effects Editing
2008 (81st) ” The Curious Case of Benjamin Button” Nominated Best Sound Mixing
2010 (83rd) “The Social Network” Nominated Best Sound Mixing
2011 (84th) “The Girl With The Dragon Tattoo” Nominated Best Sound Editing
Nominated Best Sound Mixing



DAVID PARKER, MICHAEL SEMANICK, REN KLYCE, AND STUART WILSON
Sound Mixers


 

DAVID PARKER
YEAR FILM AWARD CATEGORY
1983 (56th) “Never Cry Wolf” Nominated Best Sound
1996 (69th) “The English Patient” Won Best Sound
2003 (76th) “Pirates of the Caribbean: The Curse of the Black Pearl” Nominated Best Sound Mixing
2007 (80th) “The Bourne Ultimatum” Won Best Sound Mixing
2008 (81st) “The Curious Case of Benjamin Button” Nominated Best Sound Mixing
2010 (83rd) “The Social Network” Nominated Best Sound Mixing
2011 (84th) “The Girl with the Dragon Tattoo” Nominated Best Sound Mixing
2016 (89th) “Rogue One: A Star Wars Story” Nominated Best Sound Mixing
MICHAEL SEMANICK
YEAR FILM AWARD CATEGORY
2001 (74th) “The Lord of the Rings: The Fellowship of the Ring” Nominated Best Sound
2002 (75th) “The Lord of the Rings: The Two Towers” Nominated Best Sound
2003 (76th) “The Lord of the Rings: The Return of the King” Won Best Sound Mixing
2005 (78th) “King Kong” Won Best Sound Mixing
2007 (80th) “Ratatouille” Nominated Best Sound Mixing
2008 (81st) ” The Curious Case of Benjamin Button” Nominated Best Sound Mixing
“WALL-E” Nominated Best Sound Mixing
2010 (83rd) “The Social Network” Nominated Best Sound Mixing
2011 (84th) “The Girl With The Dragon Tattoo” Nominated Best Sound Mixing
2013 (86th) “The Hobbit: The Desolation of Smaug” Nominated Best Sound Mixing
STUART WILSON
YEAR FILM AWARD CATEGORY
2011 (84th) “War Horse” Nominated Best Sound Mixing
2012 (85th) “Skyfall” Nominated Best Sound Mixing
2015 (88th) “Star Wars: The Force Awakens” Nominated Best Sound Mixing
2016 (89th) “Rogue One: A Star Wars Story” Nominated Best Sound Mixing



BEN MORRIS, MIKE MULHOLLAND, NEAL SCANLAN, AND CHRIS CORBOULD
Visual Effects Artists


 

BEN MORRIS
YEAR FILM AWARD CATEGORY
2007 (80th) “The Golden Compass” Won Best Visual Effects
MIKE MULHOLLAND
NONE
NEAL SCANLAN
YEAR FILM AWARD CATEGORY
1995 (68th) “The Golden Compass” Won Best Visual Effects
2015 (88th) “Star Wars: The Force Awakens” Nominated Best Visual Effects
CHRIS CORBOULD
YEAR FILM AWARD CATEGORY
2008 (81st) “The Dark Knight” Nominated Best Visual Effects
1995 (68th) “Inception” Won Best Visual Effects
2015 (88th) “Star Wars: The Force Awakens” Nominated Best Visual Effects



STREAMING

VIEWED: Monday
February 19th, 2018

13

14

Films Left Days Left

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