So... Force Awakens.
Good news is, it's not terrible. You can probably guess what the bad news is. It's marginally better as a straightforward watch than the best of the prequels, but discernably worse than any of the original trilogy. The dialogue doesn't clunk as loudly as Lucas' frequently baffling efforts, but lacks any punch or wit or personality.
That's true of the movie in general: everything's played totally safe, stripped of flavour and conviction, and left to wander from scene to scene, hoping the action provides sufficient distraction from the fact what little plot there is has been copied wholesale from New Hope (only BIGGER!) and the small number of new ideas, while giving the movie a welcome if faint breeze of freshness, seem to have nowhere to go but into further repeats of old, already completed character arcs.
Visually, the movie's by far the least interesting of the seven to date. Abrams may copy the plot, arc and wiped transitions of previous movies - and, of course, John William's phenomenal original score and some solid new material - but has no grasp of the conceptual or visual language that makes space operas sing. While not as soulless as Abrams' previous work, there's no vision or thematic purpose to guide Force Awakens to a higher path. It simply plays out its sequence of action scenes - not always coherently - then promises a sequel and ends. Space opera has never really been about plot. It's about larger-than-life tropes playing out in fascinating landscapes and cultures, billowing with grandeur and melodrama. Force Awakens may be a little dustier than the over-polished prequels, but the series' character has been ruthlessly sanitised and hollowed out.
The planets in Force Awakens exist only to necessitate a change of scenery: there's little of the weird, the macabre, the salacious, the noble or the grotesque about them. For all Lucas' flaws, his movies, prequels included, felt lived-in and tangible, where every planet was full of weirdness bumping into strangeness, an appealingly messy mix of disparate cultures, politics, traditions and prejudices in both the margins and the machinations of the central storyline. Abrams offers little of that, relying on a half-hearted reprisal of the famous cantina scene to do the job.
Of the main cast, Harrison Ford is the most engaging, recapturing just enough of Solo's sarcastic sparkle to offer one of the few traces of genuine personality to survive the relentless purges. Carrie Fisher looks uncomfortably frail and Mark Hamill, well... he's in it. John Boyega's the best of the newcomers on the light side, though like the stiff but adequate Daisy Ridley, doesn't have much by way of a character to play: I could tell you more about Amidala or Anakin's personality and beliefs in the prequels than I could either of those two, and Ridley in particular is undermined by immediately having to play through some painfully self-conscious I DON'T NEED NO PATRONISING MAN material that is funny first time (Boyega gets a diversity joke of his own, amusing if strainingly contrived) and irritating when repeated over and over again in the space of a minute or two. You don't deserve credit for social consciousness if you're constantly demanding validation rather than letting the work and characters speak for themselves.
On the dark side, Adam Driver's unusual casting works in the movie's favour, drawing laughs at his first unmasking but turning that disconnect between his masked and unmasked selves into something more interesting. Domnhall Gleeson is hilariously terrible as Moff Mk.II and Andy Serkis' Emperor Mk.II looks like a steam-ironed Gollum or discount Voldemort and suggests none of Palpatine's political insidiousness or manipulation. Gwendoline Christie's Phasma is barely an afterthought, getting maybe four lines and a few minutes of screentime at most.
Lifelong Star Wars fans will probably ride a wave of relief that they're seeing an entry in the series which is merely repetitive and flat, rather than actively, challengingly, interestingly bad. Force Awakens never rises above passable and only occasionally descends below that same level, although its tone-deaf bungling of its ballsiest move verges on the unforgiveable. I suspect that once the hype dies down, the movie will start taking some hits when judged on its own merits. Having re-watched all six previous Star Wars movies prior to this one, Lucas at least somewhat mitigated his myriad flaws as a writer by creating a universe as lively as it was vast, a work of unquestionable personal passion and vision. Abrams hasn't just wiped the Expanded Universe from the canon, he's contracted Lucas' one.