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Finn (John Boyega), a renegade stormtrooper of the nefarious First Order (a military wing inspired by the Empire), teams up with Poe and crash-lands on Rey’s planet. There’s also Poe Dameron (Oscar Isaac), a captured rebel pilot who is being tortured aboard a Star Destroyer by Kylo Ren (Adam Driver), a Darth Vader-ish bad guy.

But let it be said that the action occurs 30 years after the end of “Return of the Jedi.” There’s a young woman, Rey (Daisy Ridley), who scavenges on a desert planet and is as feisty and formidable as a cross between Annie Oakley and Lara Croft. Reviewing this movie entails such a potential minefield of spoiler alerts that, for self-preservation, I think I will dispense here with most of the niceties of plot description. With sequels and spinoffs stretching ahead as far as the eye can see, Disney will undoubtedly make it all back many times over.

Ironically, George Lucas was not creatively involved in the new film, which was directed by J.J.Abrams and co-scripted by “Star Wars” veteran Lawrence Kasdan and is being distributed by Disney, to whom Lucas sold the franchise in 2012 for billions. The good news is that “Star Wars: The Force Awakens” is easily the best movie in the franchise since “The Empire Strikes Back.” Unlike the dismal prequel trilogy that preceded it, or the too-slick “Return of the Jedi,” “The Force Awakens” has much of the spirit and inventiveness of the original two installments, “A New Hope” and “Empire,” its sequel. After watching them for many hours, he suddenly couldn’t spare another minute to make sure? It’s a hilarious moment in a film which is otherwise a thought-provoking and profoundly unsettling watch.So it’s finally here, as if you didn’t know. Shyamalan’s own character, tasked with monitoring the beach’s victims from afar, decides to pack up his equipment and leave when the last two people dipped underwater for just a couple of minutes – apparently deciding that no-one could possibly survive that long. It’s a small shame, therefore, that the film’s ending hinged on one of the most bizarre plot contrivances in recent years. M Night Shyamalan’s 2021 sci-fi drama, about a beach that makes people age rapidly, was twisty, fun and original. The idea that the experience wouldn’t have a greater effect on a young life is, frankly, absurd, and jars with much of what the rest of the film is trying to say.

There were lapses, however, such as the moment when Kutcher’s character goes back in time to stab his childhood self through the hands – which led him to the exact same adult circumstance, only with hand scars. This poorly received thriller starring Ashton Kutcher was pretty solid in its understanding of the butterfly effect at points, showing how small changes to a moment in time can have far-reaching consequences.