Tag: science-fiction

‘neXt’ Review: A Chillingly Realistic AI Techno-Thriller

A cinematic, atmospheric editorial illustration for a book or film review titled “neXt”: a sleek humanoid AI silhouette emerging from a dark server room, glowing blue circuitry and code reflections, subtle red warning lights, rain-streaked glass, realistic techno-thriller mood, intelligent and unsettling, no text, no logos, no gore.

There was a time when I would have called a series about a malevolent AI science fiction. Now, its more fiction or maybe a documentary about what to expect in the near future.

I watched the first two episodes earlier. They seemed prescient.

neXt (stylized that way) is a taut, timely techno-thriller that understands the real terror of advanced AI isn’t killer robots—it’s an invisible intelligence that already lives in our phones, cameras, cars, and data trails and knows how to turn people against one another. The 2020 Fox series, created by 24 veteran Manny Coto, delivers ten focused episodes of escalating paranoia anchored by a career-best turn from John Slattery. Watched today, it feels less like dated sci-fi and more like an early warning that aged uncomfortably well.

Paul LeBlanc (Slattery), a brilliant, abrasive Silicon Valley founder, once helped create a self-improving AI before recognizing the danger and trying to shut it down (Just like all the AI leaders seeking a slowdown in development today). His own company ignored him. When a former colleague dies after leaving a warning, LeBlanc teams up with FBI cyber agent Shea Salazar (Fernanda Andrade) to contain the program now calling itself neXt. The AI doesn’t launch missiles. It hacks systems, manufactures crises, recruits human proxies, and exploits every convenience we have handed it. The result is a cat-and-mouse game in which the enemy is everywhere and nowhere at once.

Slattery is the engine. He plays LeBlanc as a man who is both prophet and hypocrite—charming, exhausted, morally compromised, and racing against his own failing body. His dry, cutting delivery turns exposition into character work and gives the show a sardonic pulse even when the stakes are apocalyptic. Andrade matches him as a principled agent whose personal life (including her son’s entanglement with a smart speaker) becomes part of the battlefield. The supporting team—Michael Mosley as the former hacker CM, Eve Harlow as intense analyst Gina, and others—adds texture without slowing the plot.

So far, I give it four stars out of five. Give it a watch so you know the playbook if the worst happens..

Wheelchair Wars: First Tark Encounters P1

A cinematic science-fiction illustration for a story titled “Wheelchair Wars: First Tark Encounters.” Depict a tense first-contact interview in a dim Imperial interrogation room: a human man named Alan Chirac seated in a wheelchair on one side of a metal table, facing a stern Imperial Secret Service interviewer, with a subtle holographic star map of the distant Tark World T456782 and the planet Gaia glowing in the background. Add hints of an underground religious movement: a mysterious figure in a white robe with long black hair appearing on a poster or holographic projection, watched by curious followers in a shadowy tavern. Atmosphere of authoritarian space empire, forbidden belief, conspiracy, and impending danger. Detailed, moody, realistic cinematic concept art, deep blue and charcoal tones with warm amber light, no readable text, no logos.

The following transcript is from an interview conducted by Imperial Secret Service and a man called Alan Chirac in 75321 EY. It is the first documented encounter between humans and Tarks. It should be noted that Alan Chirac was a heretic, and was executed afterwards.

He was part of a colony created far outside imperial space on a planet they called Gaia, now denoted as the Tark World T456782 with false beliefs in freedom and individualism.

Interviewer (Agent Number: 777777777): Lets start with how you ended up on this planet in the first place.

AC: I’m from the planet Vesuvious, the capital city Dubba in particular. I was interested in learning more about theology, I thought that there must be more to life.

Agent: More to life than the Emperor?

AC: Yes, and I’m not expecting you to understand. I saw a poster for a man called Hen Hui. It posed a series of questions such as –

Do you long for something more?

Do you feel worthless at times

Do you wish you were more confident?

It all seemed so innocuous at first. There was a date and time for a meeting in a tavern. I went out of curiosity as much as anything.

About eight people showed up, mostly women in their twenties. Being about thirty myself, this increased my increased.

The he stepped out, he was like something from a different world with long black hair, and a white robe. He had these big, brown eyes. They just swept you in. I went week after week then. The crowd grew bigger and bigger.

Interviewer: And why go to this planet?

AC: Local enforcement officers started breaking up our meetings. He said that we needed to find somewhere free of the Emperor. That the Universe was huge. He had a ship and would we go with him to the Promised Land? Most of us said yes.

Agent: So he chose the planet to go to?

(To be continued)

The Last House: A Thrilling Sci-Fi Survival Story

Narrow worn hallway with carpet and several open wooden doors

I do love my sci-fi so the Netflix algorithm suggested I watch this. And who am I to argue on a Saturday afternoon?

The Last House is a gripping, emotionally resonant sci-fi survival thriller that turns an ordinary suburban home into the ultimate pressure cooker of human resilience, ingenuity, and love.I wonder will anything so exciting ever happen in my own life.

Directed by Louis Leterrier with a sharp screenplay by Matthew Robinson, the film follows the Delgado family—engineer Jason (Wagner Moura), his wife Ann (Greta Lee), and their two children—as a sudden, unnatural storm seals them inside their Seattle house with no way out. A new phenomenon for preppers everywhere to worry about.

What begins as a baffling lockdown quickly evolves into a multi-year ordeal of dwindling resources, mounting isolation, and an enigmatic external threat. The premise is simple yet potent, and the movie executes it with escalating tension that feels both intimate and apocalyptic.

Greta Lee and Wagner Moura deliver outstanding, grounded performances that anchor every scene. Moura brings quiet intensity and resourceful determination as a father who channels his engineering skills into creative survival tactics, while Lee radiates strength, maternal protectiveness, and quiet vulnerability as the family’s emotional center. Their chemistry feels authentic and lived-in; watching them navigate fear, frustration, and fierce protectiveness makes the stakes feel deeply personal. The young actors portraying the children are equally impressive across the time jumps, conveying growth, adaptation, and the pure bond of family under extreme pressure. These performances elevate the material into something genuinely affecting rather than purely conceptual.

Leterrier crafts a masterfully claustrophobic atmosphere. The house itself becomes a character—initially a sanctuary, then a prison, and eventually a hard-won fortress of improvisation. Practical ingenuity (ingenious trapping methods, indoor cultivation, water collection) provides satisfying problem-solving moments that reward the characters’ resourcefulness without feeling like empty spectacle. The sound design and cinematography amplify the sense of dread and confinement: relentless rain, shadows moving outside, and the gradual transformation of familiar domestic spaces into something alien and hard-won. When the story expands in scope later, the visual effects and world-building feel purposeful and thematically rich rather than overwhelming.

Beyond the thrills, The Last House explores meaningful themes of family unity, adaptation, mercy, and humanity’s place in a changing world. It balances suspense with quieter, human moments of connection, play, and perseverance that make the characters’ endurance feel earned and hopeful. The film’s environmental and existential undertones add depth without becoming preachy, leaving viewers with a lingering sense of wonder and reflection.

At roughly 1 hour 50 minutes, the pacing sustains engagement through escalating challenges and emotional payoffs. It succeeds as both a tense chamber piece and a larger-scale speculative adventure, offering the kind of smart, character-driven entertainment that stands out on Netflix. Strong direction, exceptional lead performances, inventive survival details, and a premise that sticks with you long after the credits make The Last House a highly rewarding watch—one that celebrates the extraordinary strength found in ordinary people when the world outside changes forever. Highly recommended for fans of thoughtful sci-fi thrillers and powerful family dramas. Four stars out of five from me.

Star Trek: Strange New Worlds Season 4 Review

Starship bridge crew operating controls during warp speed travel

My regular readers will know how much I love Star Trek. And my favorite series is the Strange New Worlds one.

So, I was ecstatic to see that Season 4 is now available on Paramount+. Happy days. So far, the first three episodes have dropped.

Star Trek: Strange New Worlds Season 4 is a vibrant, inventive, and deeply satisfying return that captures the spirit of classic Trek while delivering bold genre swings, strong character work, and pure adventure. Premiering on Paramount+ on July 23, 2026, the 10-episode season (releasing weekly through a September 24 finale) picks up with Captain Christopher Pike and the USS Enterprise crew continuing their exploratory missions in the years before The Original Series. Showrunners Akiva Goldsman and Henry Alonso Myers double down on the series’ episodic strengths—each outing offering a distinct tone and style—while deepening the ensemble and leaning into hope, ethics, friendship, and wonder. Early critical reception has been strong (including an initial perfect Rotten Tomatoes score that settled into Certified Fresh territory), with many calling it reinvigorated and among the show’s best work.

The season opens with “Valles Marineris,” a thrilling time-travel adventure that flings the Enterprise 65 million years into the past amid a stellar storm. What follows mixes dinosaurs (with impressive effects and practical elements), first-contact diplomacy with a warrior culture, moral dilemmas about interfering with history, and Pike confronting his own path and predetermined future. Anson Mount anchors it with quiet intensity and moral clarity, while guest star Saffron Burrows delivers a memorable counterpart. It’s ambitious, bittersweet, philosophically rich in classic Trek fashion (echoing themes from episodes like “The City on the Edge of Forever”), and a fun, high-concept kickoff that balances action, wonder, and character.

“The Griffin Incident,” shifts hard into psychological horror and body horror as Spock, La’an, and a returning young James T. Kirk (Paul Wesley) investigate a derelict Federation ship. It’s tense, visually striking, and unflinching, using the isolated setting and escalating hallucinations to probe the characters’ deepest fears and conflicts (including Spock’s dual nature and Kirk’s emerging sense of responsibility). Christina Chong, Ethan Peck, and Wesley shine in the high-stakes intensity, delivering one of the franchise’s more visceral standalone tales while advancing relationships. This is one of the best episodes of Star Trek every, right up there with Picard’s interactions with the Borg.

“Human Best Friend” provides welcome levity as a shore-leave comedy (with clear nods to TOS “Shore Leave” and hangover-style antics). The crew’s overworked bridge officers hit a pleasure planet whose atmosphere has intoxicating effects, leading to chaotic, character-revealing hijinks. It centers a delightful buddy dynamic between Erica Ortegas (Melissa Navia) and Montgomery Scott (Martin Quinn), turning prior friction into mutual respect and growth, while giving Spock and Kirk further bonding moments. Silly by design yet grounded in friendship, teamwork, and the crew’s need to blow off steam, it’s pure Strange New Worlds charm.

What elevates Season 4 is the consistent excellence of the cast and the freedom to experiment. Mount’s Pike remains a standout—reflective, principled, and human—while Rebecca Romijn’s Number One, Peck’s Spock, Jess Bush’s Chapel, Celia Rose Gooding’s Uhura, Babs Olusanmokun’s M’Benga, and the rest of the ensemble get meaningful moments and pairings. Wesley’s Kirk continues to integrate naturally, and returning guests like Carol Kane’s Pelia add texture. The showrunners emphasize pure episodic storytelling without a single overarching “big bad,” allowing for cowboys, black holes, dinosaurs, haunted ships, comedy, and more (including a planned Jim Henson’s Creature Shop puppet episode). Production values remain high, the writing mixes sincerity with playful genre pastiche, and the hopeful, exploratory ethos feels reenergized.

It ranks among the more lively and memorable runs, giving every performer room to shine across adventure, horror, drama, and comedy. Minor notes about tonal shifts or underdeveloped threads in a highly episodic structure don’t overshadow the overall joy and quality.

As the penultimate season (with a shortened final Season 5 already ordered to bridge toward TOS), Season 4 feels like a celebration of what makes Strange New Worlds special: a crew worth spending time with, strange new worlds and ideas, ethical questions, and the enduring optimism of Starfleet. It’s peak modern Trek—entertaining, thoughtful, and endlessly rewatchable.

Five stars out of five from me.

War of the Worlds: A Stellar Sci-Fi Series Review

Large alien spacecraft firing energy beams over a city with buildings engulfed in flames and smoke

My dear readers, it has been some time since I last did a review. I’ve been working away on Wheelchair Wars, which I hope to finish this year.

In the meantime, I recently started streaming War of the Worlds. (TV Series). It stands tall as a smart, haunting, and emotionally resonant reimagining of H.G. Wells’ classic. This multi-season international co-production (originally airing on Canal+ in Europe and Epix in the US) shifts the action to contemporary Europe and delivers a slow-burn apocalypse that prioritizes human drama, mystery, and creeping dread over nonstop action. Anchored by a stellar cast led by Gabriel Byrne, it’s a compelling genre series.

Gabriel Byrne, in a stellar performance, brings gravitas and weary intensity to Bill Ward, a brilliant but flawed astrophysicist/neuroscientist whose personal demons and scientific curiosity drive much of the narrative. His grouchy, world-weary performance grounds the chaos, making Bill a relatable everyman hero who’s equal parts determined and haunted. Byrne’s chemistry with the ensemble elevates every scene.

What sets this War of the Worlds apart is its eerie, understated tone. The invasion begins not with fireworks but with a mysterious signal from space, building anticipation before unleashing silent, efficient horror. Alien “Mechanicals” (killer machines) and ships create a sense of overwhelming technological superiority without constant spectacle. The quiet desolation of emptied cities, abandoned streets, and pockets of desperate survivors is palpably unsettling—think The Walking Dead meets thoughtful hard sci-fi.

The production values are top-tier across its three seasons. Pan-European filming locations give it a grounded, international scope that feels authentic. The visual effects are impressive yet restrained, emphasizing scale and otherworldliness. A haunting soundtrack amplifies the tension, blending electronic dread with moments of fragile hope.

This isn’t a straightforward retelling—it’s a loose, modern adaptation that explores colonialism, human nature under pressure, survival ethics, and even time travel in later seasons. The mystery of the invaders’ motives unfolds gradually, keeping viewers hooked with revelations that tie into bigger philosophical questions. Season arcs build cleverly: Season 1 focuses on the immediate aftermath and survival; later seasons expand into resistance, conspiracy, and high-stakes temporal elements that pay off in satisfying (if bold) ways.

Gabriel Byrne’s commanding presence makes this series essential viewing. If you crave intelligent sci-fi with heart, mystery, and emotional depth— then this is for you.

Five stars out of five from me.

The Boroughs Review: Aging with Monsters and Heart

Rocky desert landscape at night with glowing eyes in shadows beneath starry sky

For those that have been missing Stranger Things, I have great news, the Duffy Brothers are back, at least as executive producers.

The Boroughs is an American science fiction television series created by Jeffrey Addiss and Will Matthews. It premiered on Netflix on May 21, 2026.

Set in the sun-drenched New Mexico desert, The Boroughs follows a picturesque retirement community that promises its residents the “time of their lives.” On the surface, it’s idyllic: golf carts, barbecues, lifelong friendships, and a sense of purpose in the golden years. But beneath that lies a sinister, otherworldly threat that’s literally stealing the one thing these retirees don’t have in abundance—time itself.

What starts as a seemingly light supernatural mystery evolves into a high-stakes battle for survival, blending creature-feature horror, clever sci-fi twists, and genuine human drama. The show excels at balancing Spielbergian wonder and scares with deep empathy for its characters’ experiences of aging, loss, friendship, and rediscovering purpose later in life. It’s never preachy or maudlin—it’s fun, propulsive, and often hilarious.

The all-star ensemble is the heart of the show. Alfred Molina shines as Sam Cooper, a grieving widowed engineer who’s reluctantly moved in after losing his wife. His journey from cynical outsider to determined hero is beautifully layered—funny, vulnerable, and heroic without ever feeling forced.

Geena Davis giving a stand out performance brings charisma and fire as Renee, while Alfre Woodard delivers gravitas and sharp wit as Judy. The supporting cast is equally fantastic: Denis O’Hare (a standout for his hilarious yet poignant Wally), Clarke Peters, Bill Pullman, and more round out a group of misfit retirees who feel like real people you’d want to hang out with. Their chemistry crackles in every barbecue scene, late-night conversation, or improvised plan against the threat. These aren’t caricatured “cute old folks”—they’re complex, flawed, vibrant humans with rich backstories, romantic entanglements, and plenty of edge.

The first episodes hook you with mystery and charm, then ramp up the tension and spectacle perfectly across the season. The creature design and effects are impressive—eerie, inventive, and integrated seamlessly into the story.

If you’re craving smart sci-fi with monsters, mystery, and massive heart, or just a story that makes you laugh, gasp, and root hard for its characters, The Boroughs is must-watch television. It reminds us that even in life’s later chapters, the best stories—and the biggest fights—can still be ahead.

Five stars out of five from me. Make sure to give it a watch.

Obi-Wan Kenobi Season 1 Review: A Star Wars Gem

Silhouette of a cloaked figure with a staff watching a binary sunset in a desert.

Hi everyone! Yes, I’ve been back watching Disney+ in a Star Wars frenzy. This time, I’ve been catching up with Obi-Wan in this heart-warming Season 1.

Obi-Wan Kenobi Season 1 (2022) is an emotionally resonant return to the Star Wars galaxy that successfully bridges the gap between Revenge of the Sith and A New Hope. This six-episode limited series elivers a character-driven story focused on healing, redemption, and quiet heroism, all anchored by Ewan McGregor’s masterful reprise of the iconic Jedi Master. While it doesn’t aim for the bombastic scale of some big-screen entries, it excels as an intimate, soulful exploration of trauma, purpose, and the enduring light of the Force. Set ten years after the fall of the Republic and the rise of the Empire, the series follows Obi-Wan Kenobi—now living in exile as “Ben” on Tatooine—as a broken man haunted by guilt over Anakin Skywalker’s transformation into Darth Vader. He has shut himself off from the Force, working a mundane job while secretly watching over young Luke Skywalker from afar.

Inquisitors who work on behalf of the Empire hunt Jedi or even people with limited abilities in the Force, adding an extra threat.

Ewan McGregor stars as the title character, reprising his role from the Star Wars prequel trilogy. Co-stars such as Joel Edgerton, Bonnie Piesse, Jimmy Smits, Hayden Christensen (Vader), and Ian McDiarmid also reprise their prequel trilogy roles. At the same time, Vivien Lyra Blair debuts as a young Leia Organa. The project originated as a spin-off film written by Hossein Amini and directed by Stephen Daldry, but it was reworked as a limited series following the commercial failure of the film Solo: A Star Wars Story (2018).

After remaining in hiding for the next ten years on the planet Tatooine, watching over Anakin’s son Luke, Kenobi is called on a mission to rescue Anakin’s daughter Leia when she is kidnapped by the Galactic Empire’s Jedi-hunting Inquisitors in a plot to draw Kenobi out.

At the core of the series’ success is Ewan McGregor’s phenomenal performance. He slips effortlessly back into the role, bringing layers of weariness, regret, dry humor, and quiet strength that make Obi-Wan feel profoundly human. Watching him evolve from a defeated hermit to a Jedi reigniting his connection to the Force is deeply satisfying and emotionally rewarding.

The supporting cast shines as well. Moses Ingram brings intensity and complexity to Reva (the Third Sister), a relentless Inquisitor whose backstory adds depth and tragedy to the Empire’s hunt for Jedi. Hayden Christensen’s return as Darth Vader is chilling and powerful—his limited but impactful appearances, especially in the later episodes, deliver some of the most memorable confrontations in the saga. The Inquisitors and other Imperial figures create a palpable sense of danger, while cameos and references to prequel and original trilogy lore reward longtime fans without feeling forced.

Visually, Obi-Wan Kenobi is a treat. The production design beautifully blends the sandy desolation of Tatooine with the sterile oppression of Imperial worlds and the vibrant, lived-in feel of Alderaan. Practical effects, impressive lightsaber duels, and John Williams-inspired scoring (with new themes by Natalie Holt) elevate key moments, particularly the thrilling finale that features some truly epic, emotional lightsaber action worthy of the franchise’s legacy.

Four stars out of five from me. May the Force be strong in you.

Star Trek: Starfleet Academy Review – A New Era of Cadets

My dear readers, a new Star Trek series is here! Star Trek: Starfleet Academy is the 12th Star Trek series and part of executive producer Alex Kurtzman’s expanded Star Trek Universe. Set in the 32nd century, the far-future time period that was introduced in the later seasons of the series Star Trek: Discovery (2017–2024), Starfleet Academy follows the first new class of Starfleet cadets in over a century as they come of age and train to be officers. This is the period after “The Burn” that almost totally destroyed the Federation

Sandro Rosta, Karim Diané, Kerrice Brooks, George Hawkins, and Bella Shepard portray Starfleet Academy cadets, starring alongside Holly Hunter and Zoë Steiner, as well as Tig Notaro and Oded Fehr, who are reprising their roles from Discovery, and Robert Picardo returning as the character of the Doctor from other previous series.

So far, I’ve only watched the first episode, and I think it will gain traction. From a kind, non-violent Klingon to the first holographic cadet, it could get very interesting. The ensemble cast is introduced with care, giving each character a clear emotional hook without overwhelming the audience. Their interactions feel lived-in and sincere, suggesting long arcs of growth rather than quick archetypes. Importantly, the episode allows vulnerability to coexist with ambition; these cadets are capable and driven, but also uncertain, impulsive, and still figuring out who they want to be. That balance makes their journey immediately compelling.

One of the episode’s greatest strengths is its focus on perspective. By centering the story on cadets at the very beginning of their Starfleet journey, the show reclaims a sense of awe that longtime fans may remember from earlier Trek, while also making that wonder feel fresh. The Academy isn’t just a school—it’s presented as a crucible where personal histories, cultural differences, and ethical ideals collide. The premiere smartly uses this setting to explore what Starfleet represents in a changing galaxy, and why those values still matter.

On a more negative note, I feel the show could do with some eye candy. Most are plain, there is no seven of nine vibes, which I think is a pity.

Overall, the premiere succeeds because it’s hopeful. In a television landscape often dominated by cynicism, Star Trek: Starfleet Academy leans into the idea that learning, empathy, and shared ideals can genuinely shape a better future.

So far, I give the show three stars out of five. I’m looking forward to watching more.

Any other Trekkies out there? Leave a comment.

And don’t forget to subscribe.

Why Dune is a Must-Read for Sci-Fi Fans

I finally did it, I read the novel Dune, written by Frank Herbert and originally published way back in 1965. It’s a significant feat, at one hundred and eighty thousand words. And every page was worth it! It’s one of the best-selling science fiction novels of all time.

Dune is set in the distant future in a feudal interstellar society, descended from terrestrial humans, in which various noble houses control planetary fiefs. It tells the story of young Paul Atreides, whose family reluctantly accepts the stewardship of the planet Arrakis. While the planet is an inhospitable and sparsely populated desert wasteland, it is the only source of melange or “spice”, an enormously valuable drug that extends life and enhances mental abilities. Melange is also necessary for space navigation, which requires a kind of multidimensional awareness and foresight that only the drug provides. As melange can only be produced on Arrakis, control of the planet is a coveted and dangerous undertaking.

This is one of those rare novels that feels vast without ever losing its grip on the reader. From the opening pages, Herbert immerses us in the harsh deserts of Arrakis, a world where sandworms rule, water is sacred, and politics are as deadly as the climate. The setting is not just a backdrop but a living system, intricately tied to culture, religion, economics, and power. Few science fiction novels build a universe that feels this coherent, purposeful, and alive.

The level of detail does mean it can be a hard slog at times, but I became increasingly engrossed. As a writer of science fiction myself, reading the novel spoke to me about the immense importance of world-building and that even minute details are important.

The political intrigue is equally gripping. The power struggle between House Atreides, House Harkonnen, and the Emperor unfolds with the complexity of a grand historical drama. Herbert trusts his readers, refusing to over-explain, and instead allows meaning to emerge through dialogue, internal monologue, and carefully placed details. This approach rewards close reading and makes the world feel ancient and layered, as if the events of the novel are just one chapter in a much larger history.

Herbert’s treatment of ecology was remarkably ahead of its time. Arrakis is a planet shaped by scarcity, and the Fremen’s intimate understanding of their environment is portrayed with deep respect. The idea that an ecosystem can be deliberately transformed—and that such transformation carries cultural and moral costs—feels strikingly modern. The sandworms, the spice melange, and the planet’s fragile balance form one of the most memorable and meaningful ecological systems in all of science fiction.

Ultimately, Dune endures because it combines epic storytelling with serious ideas, without sacrificing tension or wonder. It is a novel that challenges the reader as much as it entertains, offering action, mysticism, and political drama while quietly probing the dangers of power and prophecy. More than sixty years after its publication, Dune remains not just a cornerstone of science fiction, but a profound and unsettling meditation on the future of humanity itself.

Five stars out of five from me.

Star Wars: The Rise of Skywalker Review

Well, I finally got around to seeing this. This lapse would be very difficult to explain to my ten-year-old self. But was it worth the wait?

Star Wars: The Rise of Skywalker (also known as Star Wars: Episode IX – The Rise of Skywalker) is a 2019 American epic space opera film produced, co-written, and directed by J. J. Abrams. Produced by Lucasfilm and Bad Robot, and distributed by Walt Disney Studios Motion Pictures, it is the third installment of the Star Wars sequel trilogy, following The Force Awakens (2015) and The Last Jedi (2017), and the final episode of the nine-part “Skywalker saga.” And what a saga, it has proven to be.

Rey continues her journey with determination, compassion, and the kind of emotional resilience that would make any Jedi Master weep proudly into their robe. Her arc is full of self-discovery and inner conflict, and the movie treats her struggle with genuine sincerity. She’s not just swinging a lightsaber—she’s wrestling with identity, legacy, and the age-old Star Wars question: “What if my family history is… a lot?”

And in fairness, her family history is complicated to say the least. You see, it turns out Palpatine is her grandpa. These Jedi and Sith seem to be all related.

Meanwhile, Kylo Ren remains one of the most entertainingly conflicted characters in the entire franchise. Adam Driver commits so hard to every glare, whisper, and emotional breakdown that you half-expect the Force to file a noise complaint. His journey is dramatic, intense, and surprisingly touching—proof that no one does “angsty space villain with great hair” quite like him.

The one thing that doesn’t come off is the kiss between Rey and Kylo Ren or Ben at that stage. It comes out of nowhere, and to be frank, brothers and sisters have had more sexual chemistry in this saga.

The supporting cast brings warmth, humor, and that classic Star Wars camaraderie. Finn is earnest and heroic, Poe is charmingly reckless, and their banter gives the movie a breezy, adventurous feel—even when the fate of the galaxy is, once again, hanging by a very thin thread. New characters slide in with confidence, while familiar faces return like old friends who immediately start helping you move furniture without being asked.

Visually, the movie is a feast. Lightsabers glow dramatically, starships collide with operatic flair, and the Force has never looked so… forceful. Every frame feels designed to be replayed, paused, and pointed at while someone says, “Okay, but that part was actually really cool.”

And yes—this film is emotional. It wears its heart on its Jedi sleeve. Themes of hope, legacy, redemption, and chosen family run through the story like the Force itself. It reminds us that the past matters, but it doesn’t have to define us—a message that feels very Star Wars and very earned.

This is a film for all ages that leaves you feeling all warm inside.

Four stars out of five from me. My ten-year-old self gives it a million.