Figured I might as well try a more positive (if still "TLJ sucks" adjacent ) thread for once, that's still debatable, I know, but that I think is more debatable than not.

The Force Awakens has sort of aged into a reputation for being a "hack remake of A New Hope by JJ Abrams" with nothing original, and a mediocre or sub-par Star Wars movie, often seen as being overshadowed by TLJ in discussions for and against the ST.

I'm going to argue that is the result of sort "retroactive history" that makes people forget or overlook where TFA stood as a popular film upon release and for about two years after, and that part of the reason for the viciousness in the debate about TLJ is that a large TFA fanbase felt "betrayed" by it, and they've just sort of been overlooked. So while I won't pretend

1. Great Character Arcs... Even Compared To The Best In Star Wars. I'm calling it: TFA has the best collection character arcs and interactions in the actually somewhat illustrious history of Star Wars regarding its ensemble casts - and with more originality than people remember. Finn's story is a top-tier, highly ambitious and original one for the genre, that goes further in a shorter amount of time than anyone else in Star Wars - they beat him when they get multiple films, but not in a one-on-one feature. Rey, meanwhile, has "I'm the main character" story that's actually about equal to Luke's in ANH, with plenty of flaws to her; her "abandonment issues" and denial form a solid psychological profile, and she gets actualized well at the end of the story. Kylo makes a strong case for just "flipping the script" on a classic villain, being a young, insane fanatic with self-destructive tendencies compared to Vader's sane, veteran pragmatist. Han, meanwhile, actually makes the most interesting (if still formulaic) version of The Mentor because of the sheer dramatic irony of the former Space Atheist being the one professing miracles and faith.

But arguably their real greatness is in how those arcs all interact and come together at the climax, coming to a greater harmony than other Star Wars films. Kylo plunges into a self-destructive but murderous spiral after he proves he's more ruthless but also unstable than Vader was, Han successfully passes the torch to Rey and Finn in fighting for the big picture, before solidifying Kylo's turn to the dark as his victim. Finn completes his transformation from faceless and nameless henchman frozen stiff by Kylo to screaming defiance and charging Kylo as he's already effectively saved the Galaxy as the most important figure in Starkiller Base's destruction - and still contributes mightily to Kylo's defeat. Rey, meanwhile, realizes her role to play in the coming events, overcomes her abandonment issues with a cathartic "found family" moment... only to have Kylo come along with their terrible cost for her new heroism, takes up the lightsaber, and stands against him, pulling off a hard fought victory.

2. Solid Cinematic Construction. This film has John Williams's best music for the ST; you can tell he actually had genuine enthusiasm for the film, unlike the others, where it feels a bit more strained. The film is also surprisingly excellent at "showing, not telling," from operatic, almost over-the-top moments (the light going out before Kylo kills Han) to simple, subtle, and significant (Finn looking back at the Hosnian System's destruction and realizing he must help.) You've also got, oddly enough, maybe the most patient of the ST films (Rey's introduction). The military plotline, while highly derivative, also comes off as a fairly effective plot for the film, with surprisingly intense but dead serious character actors and decent tension - closer to Andor in terms of portrayal of militray character than the rest of the ST.

A lot of this, and the character arcs, make a lot more sense when you remember this is a Lawrence Kasdan script, not just Abrams doing whatever he feels like. In some ways, that's probably why it's one of Abrams's best: he's genuinely competent at visual storytelling and great at cast management, but bad at narrative stuff... which Kasdan excels at.

3. Yes, the Mystery Boxes Caused Problems... But Were (mostly) Side Shows. The Mystery Boxes are infamous for what they failed to cover (how TFA connected to ROTJ) and for having either obviously good but too predictable answers, or just other, very bad options... but the fact of the matter is that the central character arcs, cast chemistry, and conflict of the film is actually pretty clear, and could easily be built on in the next film. Rey is still actualized and presented with an excellent premise of being trained by a sorrowful Luke, Finn has become a Big Deal character with a lot of potential still baked in (especially regarding other stormtroopers like he used to be), Kylo has proven himself exceedingly dangerous but unstable, and is, like Rey, promised training for the next movie.

And NONE of that is beholden to the Mystery Boxes.

How Rey integrates into the Skywalker Saga is in a Mystery Box; why Kylo's heroic family background has no impact on how he's evil is in a Mystery Box. Luke is in a Mystery Box.

But why you should engage with Rey and Finn vs Kylo is not - and that's the main thrust of TFA and(in theory) of a competent ST.

which brings us to this...

4. TLJ Retconned A LOT - And LFL Followed Through Afterwards. Regardless of whether someone likes or hates TLJ... the fact of the matter is that it demands an interpretation of TFA that is both extremely unkind, basic, and shallow, but also subject to extreme modification and retroactive changes in lore and characterization. Whether you liked TLJ or not, TLJ wanted you to have less regard and find less substance in TFA, and set about telling that story.

It retcons about everyone's characters, the type of military's struggle going on, and does much of it so that the story is reorganized; Finn's growth form about midway through TFA is denied so he can be shuffled to the background, and Rey likewise so that she can be unmotivated and need someone, even Kylo, to tell her what her "place in all this" is... which is apparently helping Kylo with his story, while Kylo acts largely the same but is presented as though he's the main focus of the films, Hux and Poe are rebooted, etc. Largely, this is done to make the main story of the ST (from TLJ's POV) be an epilogue for Luke and the tale of Kylo as a tragic protagonist... which is why all three of the TFA main characters (Rey, Finn, and Kylo) are overhauled.

Ignore TLJ, and TFA has a great deal of substance for a film that is still trying to play it safe. "Cooperate" with TLJ, and it requires lowering your interpretations (or flat out accepting retcons) of TFA. And LFL, as shown with other expanded universe stuff, would really rather you cooperate.

I may not be able to convince anyone its a "good" movie... but its better than its reputation suggests.