Star Wars: Episode VIII – The Last Jedi
dir. Rian Johnson (2017)
Not so much a clear, compelling story as a collection of moments modelled on someone’s favourite Star Wars memories. The balance of action and humour is about right, though, and The Last Jedi makes for a fitting end to the original saga.
Vader’s Little Princess
by Jeffrey Brown (Chronicle Books, 2013)
A peon to parenthood, expressed through a comic (and comedic) imagining/retrofitting of the father/daughter relationship between Darth Vader and Princess Leia. Amidst the Star Wars in-jokes, there lie such simple pleasures as tiny Leia cutting love hearts from Vader’s cape.
Star Wars – Fate of the Jedi: Ascension
by Christie Golden; audiobook read by Marc Thompson (Books on Tape, 2011)
After a slow start, Ascension builds into the classic Star Wars sweep of political intrigue and Jedi action, undermined by Golden’s obligation to keep the story unfinished and — at least in the audiobook — an often laughably melodramatic delivery, Thompson Force-throttling everyday words.
Star Wars: Thrawn
by Timothy Zahn (Century, 2017)
Grand Admiral Thrawn must rank as one of the all-time favourite Star Wars characters (including those from the films). Redacted by Disney to accommodate Episode VII, the Chiss strategist has been reinstated in this much-welcomed origin story charting his rise to prominence.
Star Wars – Fate of the Jedi: Conviction
by Aaron Allston (Random House, 2011)
Allston makes little allowance for the passing of time, allowing (grandparentally) old favourites Han, Leia and Luke to nimble about the Star Wars Expanded Universe, having adventures just like they did back in the day. As non-demanding escapism goes, it’s not bad.
Star Wars Downunder
dir. Michael Cox (2013) [http://swdufanfilm.com/]
This 30-minute fan film is a parody, conflating Star Wars, beer commercials and cringeworthy Australian stereotypes. Given the excellent production values, it seems a shame that Cox and company didn’t stick with just the first two, omitting the slang and silly voices.
Rogue One: A Star Wars Story
dir. Gareth Edwards (2016)
Vader seems oddly diminished and the Ewok-on-a-hot-tin-roof scene-cutting may bamboozle new viewers; but other than this, Rogue One is rousingly true to the sea change of ’77: SF, action, drama, comedy. Alan Tudyk steals the show as the mordant, Marvin-like droid K-2SO.
Star Wars – Aftermath: Life Debt
by Chuck Wendig (Del Rey, 2016)
Wendig writes in the present tense (a corollary of his game design work?) and in an oddly chummy manner. His characters have proper Star Wars personality, yet the story — nominally Han Solo’s liberation of Chewbacca’s home world — jinks evasively before making planetfall.
Star Wars – Battlefront: Twilight Company
by Alexander Freed (Del Rey, 2015)
Though somewhat removed from the main Star Wars narrative, Twilight Company offers both well-written military SF and a gritty rounding out of what has been shown of the Rebellion circa The Empire Strikes Back. Alexander Freed imbues his company with case-hardened fatalism.
Star Wars: Bloodline
by Claudia Gray (Del Rey, 2016)
With much of the Star Wars expanded universe now rendered non-canonical, Claudia Gray’s novel — a serious backstory to The Force Awakens, focussing on Leia’s political struggles within an ailing New Republic — subtly apprises readers of what is, and is no longer, recognised.