Star Wars Episode VII: The Force Awakens Movie Review

Released: December 18th 2015 (United States)

Length: 135 Minutes

Certificate: 12A

Director: J J Abrams

Starring: Daisy Ridley, John Boyega, Oscar Isaac, Harrison Ford, Peter Mayhew, Carrie Fisher, Adam Driver, Andy Serkis, Domnhall Gleeson and Mark Hamill.

Since its introduction in 1977, Star Wars has drastically varied in quality over the years. Many were left disillusioned and disappointed after George Lucas’s prequel trilogy and others believed there would be no more main entries in the far reaching, science fiction saga once it had come full circle. After a decade long wait, the sequel trilogy, and indeed an all-new cinematic universe commences with Episode VII: The Force Awakens, which succeeds at revitalising the long dormant franchise with flying colours.

Thirty years after the end of the galactic civil war, the New Republic has grown from scratch. But a new threat has entered the scene, that of the First Order; a sinister remnant of the Empire led by the ruthless Kylo Ren (Adam Driver), who is hell-bent on finding the last Jedi in the universe: Luke Skywalker. From this completely new canvas (which discounts the expanded universe), three new heroes from very different backgrounds named Finn (John Boyega), Rey (Daisy Ridley) and Poe Dameron (Oscar Isaac) all paint themselves into the Star Wars canon as they join up with a newly formed resistance to fight back against the darkness. We’re introduced to both sides of this conflict as the film cuts back and forth between character interactions, while sprinkling in heavy doses of action and drama for good measure. It’s appropriately hectic and very fast-moving much like the original 1977 film, making it an irresistible romp for audiences to dive straight into. It will grab your attention better than any of the prequels ever could. The one major issue I can raise about the plot and the film as a whole is that it sticks to fairly familiar territory where plot events and occurrences are concerned. Without giving anything away, you will find several familiar moments and story threads that have been incorporated from Episode IV: A New Hope; JJ Abrams previously mentioned that he’s a huge fan of the original film and while it might disappoint some long-term fans to see these elements make reappearances, this really didn’t have much of a negative impact for me. That’s because the characters do much to differ themselves from the cinema-goers originally grew accustomed to all those years ago.

Reverting back to the older practice of using relatively unknown actors, The Force Awakens really steps things up when it comes to varied and emotive performances. Daisy Ridley, John Boyega and Oscar Isaac are all equally brilliant; the new recruits own this movie, fitting into the roles and never allowing themselves to become overshadowed by the returning favourites we all know and love. The three main characters have their own memorable characteristics and backstories which work towards building intrigue as well as bringing them into the fold. In other areas, the swathes of nostalgia ring true as Han Solo (Harrison Ford) and Chewbacca (Peter Mayhew) among others make their long-awaited return to the saga and they’re played with the same great gusto they had before; not only that, but their latest incarnations really do feel like natural extensions of the originals, further immersing us in the story and their interactions with the newer characters. BB-8 is a wonderfully expressive and lovable new droid who slides perfectly into place alongside C-3PO and R2-D2. The villains are also well done, even if some are given more detail than others; at the centre of this opening chapter is Kylo Ren, a highly threatening and imposing villain who is definitely a worthy successor to Darth Vader. Episode VII takes things a step further with him however by channelling an internal conflict that grows clearer as things go on. Focusing on Ren was ultimately the right way to go; even though some of the other villains such as General Hux (Domhnall Gleeson) and Captain Phasma (Gwendoline Christie) don’t receive as much backstory, they still have enough of a presence to make an impact. The cast of The Force Awakens is more diverse and richer than anything seen before in the series, with actors from around the globe all pulling their weight into one of the biggest filmmaking efforts of the year.

Episode VII is a lovely film to look at, but this is a case where both digital and practical effects have coalesced, rather than conflicted to create a believability that hasn’t been seen in Star Wars in years. Whether it’s the actual BB-8 droid that trundles along in the sets or the on set models, the way Abrams and Lucasfilm have brought back practical effects is a nice touch that resonates throughout the film’s run time. The computer effects have progressed a great deal in the past ten years; the highlights this time around are the various dogfights between the classic X-Wing and Tie Fighter ships from Industrial Light Magic Vancouver which populate the film. I don’t usually point this out in reviews but I highly recommend seeing The Force Awakens in IMAX; the incredible sound design makes the film doubly impactful. John Williams also returns to compose the score for Episode VII and it once again fits the epic standard we’ve come to expect from the composer. The locations also remain relatively close to those seen in the original trilogy, the sandy deserts of Jakku forming a strong contrast with the environments that appear later in the film. By enriching the story and characters as well as respecting the vision of the original trilogy, the effects of The Force Awakens succeed at recapturing the sheer awe of Star Wars for cinema-goers and this is a very encouraging achievement.

Star Wars Episode VII is a fantastic film in every way, and a roaring start for the sequel trilogy; aside from treading fairly close to A New Hope, it brings the saga back to the peak it reached with the originals while taking all the right steps to bring new characters and dazzling moments to the fray. The saga is undoubtedly in capable hands from here on in.

Rating: 4.5/5 Stars

The Hunger Games: Mockingjay Part 2 Movie Review

Released: November 20th 2015

Length: 137 Minutes

Certificate: 12A

Director: Francis Lawrence

Starring: Jennifer Lawrence, Liam Hemsworth, Josh Hutcherson, Willow Shields, Woody Harrelson, Elizabeth Banks, Julianne Moore, Phillip Seymour Hoffman, and Donald Sutherland.

The end of another book adaptation is upon us; after four years of popularity, the big screen rendition of Suzanne Collin’s dystopian thriller bows out with Mockingjay Part 2. It isn’t quite the highest reaching entry of the bunch, but it does a perfectly serviceable job of wrapping things up.

Immediately following the somewhat unneeded part 1, the second half of Mockingjay comes to fruition as the united resistance districts gear up to make a fatal strike against the tyrannical President Snow and the residents of the Capital. Relegated to the position behind the main frontline, Katniss Everdeen (Jennifer Lawrence), Gail Hawthorne (Liam Hemsworth) and a recovering Peeta Mellark (Josh Hutcherson), along with the rest of their squad must navigate the treacherous, war torn streets leading to the Capital, which is filled with traps and triggers at every turn;  a makeshift 76^th Hunger Games if you will. With a tone largely centred on militaristic movements and a spot of propaganda here and there, Mockingjay Part 2 is divided up between tense escapes and slower reprieves. It doesn’t carry the urgency of a final chapter, but what I appreciate the most about Mockingjay Part 2 is how it becomes quite unpredictable from a narrative standpoint; if you were expecting a straightforward build-up to an epic final battle then you may well be pleasantly surprised. As the lines between friend and foe blur, the film becomes much more thoughtful than any other entry in the series, with themes surrounding civilians in war and the nature of seized power. It’s undoubtedly the darkest and most harrowing entry as well, with the most sinister obstacles being chucked at Katniss and company with reckless abandon. The plot is not without one major weakness though; without spoiling anything, several of the more emotional fatalities get brushed over a little too quickly, removing much of the emotional punch they could have had.

While the plot of Mockingjay Part 2 could have had more substance, the cast definitely brings some of its best performances. Jennifer Lawrence owns the role of Katniss just as she did in the previous films, another outstanding performance from beginning to end. Interestingly it’s often the supporting characters that undergo more detailed journeys; Gail reveals his true, often insensitive colours as a result of the war that rages on, whilst Peeta, mentally battered and manipulated by the brainwashing of the capital, must fight an inner battle to reconcile with his friends and this forms another emotional dynamic over the course of the film. Unfortunately the performances that were quite underdeveloped in part one haven’t managed to improve very much for this film. Where some key plot elements are rushed, the side characters such as Commanding Officer Boggs (Mahershala Ali) and propaganda officer Cressida (Natalie Dormer) aren’t really worth caring about, nor do they receive a proper send-off once the film comes to an end. I was hoping to learn more about these characters considering how they’re with the main leads for most of the plot but sadly the film doesn’t bother to fill in this gap left over from the previous film.

Continuing its predecessor’s adoption of destructive imagery, Mockingjay Part 2’s visuals are once again effective at portraying a world consumed by war. The crumbling streets that Katniss and company travel through carry a tense and foreboding atmosphere with their dull, unsaturated look that is matched only by the intensity of the action scenes that often catch the protagonists completely off guard. These sequences are well shot, with both peril and disorientation being captured well, particularly a deadly chase through a claustrophobic sewer system. The soundtrack is again brilliant, with some pieces bringing copious amounts of solemn and sombre notes to the final chapter.

Mockingjay Part 2 is a surprisingly subdued, yet effective close to The Hunger Games quad-trilogy. While some moments in the plot feel incredibly rushed and the lesser characters still can’t make their presence feel meaningful, the main performances and action sequences still impress.

Rating: 3.5/5 Stars

Star Wars Episode VI: Return of the Jedi Movie Review

Released: May 25th 1983

Length: 131 Minutes

Certificate: U

Director: Richard Marquand

Starring: Mark Hamill, Harrison Ford, Carrie Fisher, Billy Dee Williams, Peter Mayhew, Alec Guinness, Frank Oz, Anthony Daniels, Kenny Baker, and Ian McDiarmid.

Having reached a high peak in popularity, the Star Wars saga had become one of the biggest cinematic hits of all time with two exceptional films under its belt. After The Empire Strikes Back, audiences were left salivating for the final entry in the original trilogy. Released in 1983, Return of the Jedi proved to be another great entry in the saga, even if it is a slight step down from Episodes IV and V.

Return of the Jedi begins around a year after Episode V; Han Solo has fallen into the clutches of the crime boss Jabba the Hutt, and Luke Skywalker (Mark Hamill), Princess Leia (Carrie Fisher), Chewbacca (Peter Mayhew) and Lando Calrissian (Billy Dee Williams) all team up to rescue him. While this is going on, the Empire is in the process of constructing a new death star, with the Emperor (Ian McDiarmid) himself arriving to oversee the operation of the new battle station alongside his apprentice Darth Vader. A final confrontation is coming, and our heroes must pull everything together, not to mention enlist the assistance of a few unexpected allies to finally liberate the galaxy. Unlike the previous episode which was always moving forward, Episode VI is much more irregular in its pacing; there’s plenty of action for sure, but there are also many more moments where things slow down for more quiet and intimate character interactions. It’s the calm before the storm for our three heroes, a fitting pace before the final act arrives, where some of the most extravagant and important action takes place. A theme of darkness also seeps into the Episode’s final scenes, particularly with the Emperor’s entrance into the proceedings. Overall, Return of the Jedi delivers a satisfying ending, delivering both powerful emotions and stirring set piece moments where it counts.

Episode VI marks the end (At least until The Force Awakens) of the character arcs that fans became so invested in over the course of six years and some characters receive more attention than others. Luke, whose personal story is at the centre of the film, shows a substantial distance from who he was before; he’s no longer a simple farm boy, nor is he an over-confident padawan who interrupted his training. Instead he’s a strong-willed warrior, one who even seems ruthless in some places. Luke appears ready for a second confrontation with Vader, but there is also an unpredictable dynamic that lingers over his character; which side of the force will he swing towards? That is the main question the audience is forced to ponder. Han and Leia’s relationship remains on a relatively straightforward course, but when the revelations surrounding Luke are eventually revealed, Carrie Fisher injects much more emotion into her role than in previous films. Lando, Chewbacca, and Wedge maintain the likeability and charisma they had before, the stories of Obi-Wan Kenobi (Alec Guinness) and Yoda (Frank Oz) both come full circle and the newer characters, such as Admiral Ackbar (Timothy M. Rose) and Mon Mothma (Caroline Blakiston) convey a surprising amount of authority despite their relatively slim time on screen. The villains also reach the pinnacle of their character arcs; Darth Vader, supposedly the most evil being in the galaxy starts to show subtle yet poignant hints of humanity within him. That’s because he has been almost supplanted by an enemy far greater than himself. Ian Mcdiarmid is every bit as excellent as he was in the prequels; the unnerving ways he moves, speaks and toys with Luke, he’s practically the dark side incarnate and almost demonic in his appearance.

Episode VI ends up being a mixture of old and new with its special effects. After a brief foray back to the deserts of Tatooine, the main on-location spot this time is the forest of Endor, which is brilliantly captured with the Redwood National Park. The creature effects are also the best yet with a welcome throwback to the original cantina scene through the weird and wacky creatures in Jabba’s palace; the frightful rancor still looks massive even to this day and Jabba himself, along with the Sarlaac pit are both suitably ugly and repulsive things in both appearance and noise. Not so impressive however, are the silly little Ewoks. They were the first aspect of Star Wars that were geared almost entirely to children, something that would eventually be taken to its most ridiculous level in Episode I sixteen years later. The film does get quite creative with the battle they partake in, but nevertheless it does put the brake on the tension a bit when you see a platoon of armoured soldiers get bested by a primitive tribe of teddy bears. But where the combat on the surface of Endor falters, the other sequences are fantastic in their execution. The space battle around the second death star is a fierce and desperate battle between ships, frigates and the massive space station. And then we have the final duel between Luke and Darth Vader, which is quite possibly my favourite moment of the entire series so far. It’s such a powerful scene, with the psychological battle that the protagonist is caught up in, the way he throws himself at his father with full force, and the incredibly emotive score. It signifies more than any other scene that this is where it ends for the original trilogy and we anxiously await the final outcome. This is a case where the story and stakes succeed in driving the action and the final film in the original trilogy is all the better for it.

Return of the Jedi is a superb conclusion to a trilogy that has enthralled thousands for decades. It sits just beneath the films that came before because of a few goofy and underhanded moments, but when the film reaches its ultimate climax, the result is some of the most memorable and suspenseful moments in the whole franchise. With luck, it should be a worthwhile springboard for what is soon to come.

Rating: 4.5/5 Stars

Star Wars Episode V: The Empire Strikes Back Movie Review

Released: May 21st 1980

Length: 124 Minutes

Certificate: U

Director: Irvin Kershner

Starring: Mark Hamill, Harrison Ford, Carrie Fisher, Alec Guinness, Anthony Daniels, Kenny Baker, James Earl Jones, David Prouse, Frank Oz, and Billy Dee Williams

Star Wars was a smashing success, even though some didn’t have the most faith in the project to begin with. Everyone was talking about the film and soon afterwards a sequel was announced and the excitement began to build. With a different director at the helm, The Empire Strikes Back was able to exceed the original, while also immersing fans even more into the saga.

Beginning three years after the Rebel’s victory over the death star, Episode V wastes no time in living up to its namesake. The Empire really is coming down on the rebellion like a ton of bricks, having forced them out of their base on Yavin IV and pushing them to a final planetary base on Hoth. After a devastating armoured assault that puts the rebels on the run, Luke Skywalker (Mark Hamill), Han Solo (Harrison Ford) and Princess Leia (Carrie Fisher) head off in opposite directions. Luke, with R2-D2 (Kenny Baker) in tow plots a course to Dagobah to enter the more intensive aspects of his Jedi training, while Han, Leia, Chewbacca and C-3PO (Anthony Daniels) evade the Empire’s grasp, all the while contending with a faulty Millennium Falcon. By dividing the film into these plot threads, Episode V gives and seamlessly shifts between two distinctive tones; Luke’s story builds further intrigue in the nature of the force, whilst Han, Leia and company is like an endless chase sequence, one which never loses its fast-paced intensity. The way in which the Empire relentlessly pursues our heroes gets us emotionally invested in their struggle and serves another reminder that the villains are more determined than ever to crush the rebels. The two stories eventually meet up, building to what is easily the most shocking twist in film history; suddenly the entire mythos of the Star Wars universe is flipped on its head, leaving the audience blown away and begging for more. With its leaner and darker plot, Episode V does what any great sequel should, continue the story and continue to surprise and thrill film-goers at every turn.

Episode V expands massively on the already memorable characters of the trilogy while also introducing a few new ones. Yoda (Frank Oz) is a puppet made to perform in front of the camera, and yet he’s such a fascinating and likeable character. Despite his humorous yet senile outward appearance, what lies on the inside is a massive wealth of knowledge and heart that draws you in to Luke’s training in the force. On the opposite end of the film, we have Lando Calrissian (Billy Dee Williams) a terrifically suave character who plays off Han Solo really well before eventually jumping into the action. The three main characters from A New Hope are split up for most of the film, and this allows the narrative to home in on each of their personal stories. Luke undergoes a change which is more psychological than physical in this movie; he desires to learn and train in the use of the force, but his insecurity, anxiety and somewhat overconfident attitude raises doubts about the path he is taking. There are moments where you wonder if the protagonist has made the right choices and this makes him that much more relatable. Han and Leia undergo a very believable and well realised emotional journey that builds over the course of the film; by the time the more sinister events begin to befall our heroes, it creates a strong emotional punch that again highlights how powerful the Empire really is. Whilst the heroes have gone deeper in their relationships with each other, the villains have grown more menacing. Vader (James Earl Jones) has become twice as ruthless as he was in the first film; he will not tolerate failure and this is clearly shown as he severely punishes his lieutenants for their errors. He commands every scene whenever he is present, the Imperial officers watching with their nervous faces and body language wondering who will be next to feel his wrath. Empire Strikes Back also introduces us to the Emperor (Ian Mcdiarmid) and even though it’s very brief, you’re left wondering what role he will play and how deep his evil reaches. The characters of Episode V are ultimately more memorable and investing, their personal stories becoming far more prevalent than they were before.

Staying true to what worked in the original, the special effects in The Empire Strikes Back are more progressive than innovative in their execution. That’s not to say that the effects have taken a step back from the original film. Far from it in fact as the practical models convey an increased scale. The lumbering behemoth AT-AT walkers feel both powerful and imposing in the way they easily best the rebels in the film’s first action sequence. Space battles have also received an upgrade with the asteroid field serving a brilliant source of tension, upping the stakes and making us fear for the character’s survival. While most of the filming was done using practical sets and effects, the highlights of which being the hallways of Cloud City and the swamps of Dagobah, the on-set shooting in Norway goes far towards getting across the chilling and icy surface of Hoth. The greatest leap forward though comes from the music; John Williams really outdid himself here. The Hoth and Imperial March themes add an even higher degree of power to the Empire’s presence this time around, whilst Yoda’s theme is more simplistic, highlighting the Jedi Master’s subtle and deceiving identity.

The Empire Strikes Back is an excellent sequel to Star Wars in every way, but to leave it there would be doing it a great disservice. This is a film that stands head and shoulders above every other main entry in the saga, bringing its plot and characters to the forefront. Of all the films, games and numerous other contributions to George Lucas’s epic space opera, there is nothing I can recommend more than this film.

Rating: 5/5 Stars

Star Wars Episode IV: A New Hope Movie Review

Released: May 25th 1977

Length: 121 Minutes

Certificate: U

Director George Lucas

Starring: Mark Hamill, Harrison Ford, Carrie Fisher, Alec Guinness, Anthony Daniels, Kenny Baker, David Prouse, and Peter Cushing

Released in 1977, Star Wars (The Episode IV: A New Hope subtitle was added later) changed cinema forever by revolutionising and innovating what audiences would come to know as the modern movie blockbuster, a film which dominates the box office both in ticket sales and critical reception. It’s been nearly forty years since the saga began, and it remains a masterclass in why we all go to the movies.

Over two decades have passed since the events of the prequel trilogy; the Jedi are all but exterminated and the Galactic Empire rules over the galaxy with the villainous Darth Vader as its iron fist. But this dictatorship has let critical plans regarding its ultimate weapon slip into the hands of Princess Leia (Carrie Fisher), and as the film begins, it’s clear that they must be delivered to the rebellion in a desperate bid to end the tyranny. The audience is dropped straight into the action involving a tense chase over an unknown planet between a puny cruiser and a massive star destroyer, which firmly grabs the audience from the offset. Another interesting thing about the plot is that it opens from the perspective of the two bumbling droids C-3PO (Anthony Daniels) and R2-D2 (Kenny Baker); by having this outside look, the film almost has an element of discovery to it. Just as the droids are exploring Tatooine, so too is the greater universe gradually revealed to the audience. As an opening chapter, Star Wars does a fantastic job of introducing the audience to its world. Each character and setting enters the overall plot in a very natural and believable way. We see characters like Luke Skywalker (Mark Hamill and Han Solo (Harrison Ford) enter the fray and their detailed character arcs are placed front and centre over the course of the episode. With a combination of tense moments, thrilling action sequences and effective emotional moments, the film is quite literally a rollercoaster ride, rising and falling with such perfect pacing and gusto that you never take your eyes off of the proceedings; it’s that compelling.

The characters are some of the most iconic in cinema for a reason in that they go through a specific arc. Luke Skywalker starts off as a lowly desert farmer, seemingly unwilling to get involved with matters greater than himself, but through the guidance of Obi-Wan Kenobi he begins to accept and embrace the first steps on path he takes towards becoming a Jedi. Obi Wan’s wise and calm mannerisms are beautifully crafted by the performance of Alec Guinness, who typifies the older mentor character that has since become a fixture in other film franchises. Han Solo (Harrison Ford) is just as engaging; he’s a bit of an ass in this film, only in on things based on the reward he’ll get at the end. Yet despite this characteristic he’s still incredibly charismatic and funny, the kind of likeable rogue who dives straight into the action like a bat out of hell. The final piece of the popular trio, Princess Leia, plays off Hamill and Ford for some humorous banter and makes her presence felt as a strong female character. As one of the best and most recognisable villains in cinema history, the combination of David Praus and James Earl Jones is a chilling mix for Darth Vader; the dark lord of the Sith is both imposing and calculating, demonstrating his power through his mastery of the force and his surprising skill in space combat.

Without the technology to render massive worlds and planets, the older special effects were accomplished on a closely knit and intimate level and they are still staggeringly creative in their execution. The animatronics on the creatures are vibrant and imaginative, along with the frankly gargantuan amount of props and models that were all transplanted into the film’s cinematography. The practical effects coalesce seamlessly with the environments which made use of real world locations such as Tunisia and Guatemala for Tatooine and Yavin IV respectively. Often times though it’s the little things which really allow the world to come alive; the strange serpentine skeleton C-3PO wanders by in the Tatooine desert, the many imaginative alien faces that populate the Mos Eisley cantina and the technology that fills the Imperial Death Star all contribute massively to the universe the film creates. You get the sense that more must exist beyond the first film and as a result you want to find other morsels about this galaxy far, far away, uncover its secrets and see just how deep it goes. That’s one of the greatest things that Star Wars did; place its audience into its world and sparking their imaginations like no other science fiction series has. The forever recognisable soundtrack is distinctive in the way it shifts and alters depending on characters, setting and action; from the sweeping overture of the opening credits to the foreboding Death Star Motif, the work accomplished by composer John Williams piles constantly instils a feeling of awe in the viewer. The technical specs of the original Star Wars cannot be underestimated; the special effects employed are so immersive that they fully complement, rather than hinder the plot and characters.

The very first Star Wars movie is one of the most timeless pieces of cinematic fiction ever made, even if some believe it has been tainted by some of the changes that have been made to it over the years. The superb plot, fascinating characters and dazzling universe make such an impression that they continue to stand leagues above hundreds of modern films today.

Rating: 5/5 Stars

Post-Viewing: The Star Wars prequel hype cycle

We’re just a week away from the release of Star Wars: The Force Awakens and I’ve been going back through the saga in chronological order. Those of you who have seen my recent reviews will know that I’ve been very critical of certain aspects of the prequels and this is the commonly accepted perception. Many Star Wars fans, particularly those who have been into the saga from the very beginning see episodes one through three as terrible films with no kind of redeeming qualities whatsoever. We can all agree that they can’t hold up against the originals, but they certainly aren’t awful films; I’ve seen plenty of cinematic tripe over the years that stoops below the prequels. Hopefully I'll try to figure out why George Lucas's presumably final effort into Star Wars is so infamous and how hype culture fed into that negative reputation.

So why do people hate the prequels so much? I think it comes down to both fan expectations and the jarring transition from one set of filmmaking techniques to another. When The Phantom Menace and the prequel trilogy was announced, people were going crazy for it. They had seen the original films, they knew how amazing the saga had been up to that point and couldn’t believe that they were going to be getting more feature films, straight from the man who started it all back in 1977. Not only that, but the marketing campaign exploded with merchandise, food, toys, books and more were all released simultaneously, further adding to the massive hype train that continued building towards the film’s release in 1999. It became so intense that fans even started paying to see other movies simply because they had a teaser or trailer for Episode I before the main presentation. It can be argued that there was no other movie more anticipated back before the turn of the new millennium and thousands of fans the world over lined up in droves to see it when it finally arrived.

Depending on when you were exposed to Star Wars, you’ll form differing opinions on each individual film. Given that I was born in the nineties and never saw the originals in theatres, I saw the films in a fairly random order both at the cinema and on TV every now and again. As a result the differences in filmmaking between the originals and the prequels weren’t nearly as pronounced or protruding for me. When you compare my perspective to that of someone who grew up watching episodes 4, 5 and 6, you begin to see why they hold such disdain for the newer films. The older movies utilized incredibly unique and creative special effects for their time and they were used to both compliment and build upon the already engrossing stories and lovable characters. The practical effects on the creatures, planets and other elements also sparked the imagination of thousands, creating images so iconic that they remain etched in fans memories to this day. When The Phantom Menace arrived, filled with all kinds of digital effects, those who saw the original trilogy couldn’t help being put off by every single shot having some sort of computer effect. In the nineties, CGI was still in its infancy and often it was used as a crutch; to have a film based almost entirely within computerized graphics came off as quite shocking for some, falling far below the believability of the first three films.

Early reactions to Episode I from the common fans were mostly positive; they wanted to believe that the film they watched was every bit as good as it had been over a decade ago. But after repeated viewings, discussion and word of mouth quickly spread over how disappointing the opening chapter was. Ultimately, all the hype amplified the disappointment from the fans; this in turn fueled the fires of apathy that the prequels now possess and the dislike the fans have towards them. This disappointment carried on through Attack of the Clones and even Revenge of the Sith to some degree.

In a way the same cycle of anticipation is repeating itself for Star Wars: The Force Awakens. Tickets are mostly sold out at numerous cinemas all over the world, the action figures are already rolling out and the seeds are being planted for an even larger cinematic universe filled with spin-off films and other media. The sequel trilogy faces an even greater set of expectations; to not only sit on the same level as the originals but also avoid and rise above the mistakes George Lucas made with the prequel trilogy. Several creative decisions over the past few years such as the appearance of a fully practical BB-8 droid at film events, as well as the recent assurance that Jar Jar Binks will be unceremoniously dropped from the sequel trilogy appear to be highly geared towards the mega fans to keep them appeased before the first act finally drops. At the moment it’s looking quite optimistic for Episode VII, but I’ll reserve my judgement for when I finally see it. With the internet having opened the floodgates for legions of fans to voice their love or displeasure at every major release, the pressure has and will continue to mount for both Disney and the newly appointed directors to deliver and then some.

As for the prequels, all three of them have their flaws, but I feel it’s rather overzealous to jump on the hate bandwagon; they’re not the worst films ever made. They instead suffer from some bad decisions and a lackluster cinematic vision that dragged them down. Regardless of such, I’m looking forward to The Force Awakens, as well as experiencing the original trilogy once again in the lead up to its release.

Star Wars Episode III: Revenge of the Sith Movie Review

Released: May 19th 2005

Length: 140 Minutes

Certificate: 12A

Director: George Lucas

Starring: Hayden Christensen, Natalie Portman, Ewan Mcgregor, Ian Mcdiarmid, Anthony Daniels, Frank Oz, Chrisopher Lee, and Matthew Wood

George Lucas hadn’t done a very good job on Star Wars in the six years between 1999 and 2005; two films in and audiences were really growing tired of his misguided choices and questionable attitude. But for the third and final part of the prequel trilogy, the divisive director and his company sought to improve on the mistakes Episode I and II had made. Did they succeed? Straight and to the point, Revenge of the Sith is almost everything you’d want to see in a Star Wars film, at least in my book.

Three years on from Attack of the Clones, the galaxy is now completely embroiled in a war between the clone armies of the Republic and the legions of battle droids under the command of the Sith lord Count Dooku (Christopher Lee), as well as the cyborg General Greivous. Anakin Skywalker (Hayden Christensen), his wife Padme (Natalie Portman) and Obi-Wan Kenobi (Ewan Mcgregor) have fought many a hard battle both physically and psychologically over this time. But as the war nears its end, Chancellor Palpatine (Ian Mcdiarmid) puts his final plans into motion to destroy the Jedi and place himself in command of a new galactic order; the Imperial Empire. Episode III starts off with a bang and rarely lets up through its runtime; the action is both impactful and gripping, while the emotions successfully reach their highest zenith yet. There’s a palpable feeling of poignancy and tragedy as we see Anakin fall to the dark side, transforming into the powerful Darth Vader. Furthermore we also see a number of concepts raised in the previous prequels coming to fruition; most notably Yoda’s warning that “Fear is the path to the dark side”. Compounding this positive trend are the action scenes which are given copious amounts of impact; when you watch the furious lightsaber battles between Anakin and Obi-Wan, juxtaposed with the duel between Yoda and the Emperor, you feel a rush knowing that the fate of the galaxy hangs in the balance, something not seen since the original films. Ultimately Revenge of the Sith’s plot feels both more immediate and more realised than both the previous episodes put together, and it provides a satisfying seg-way into “A New Hope”.

The cast this time is most definitely standing to attention when it comes to delivering the emotions associated with a tragedy of this scale. Hayden Christensen’s portrayal of Anakin is much improved for the final act, yet ironically this mostly comes through the moments which lack dialogue; the scenes where Anakin is alone in the Jedi temple looking across the city and thinking of Padme, as well as standing motionless in the factories of Mustafar accomplish and convey a great deal of internal conflict with Christensen’s detailed facial expressions. Natalie Portman is still a victim of some poor dialogue at some points, but she brings to bear the heartbreak and sadness of seeing the one closest to her fall into darkness. Revenge of the Sith also makes worthwhile progression with characters who were already done well; Ewan Mcgregor not only pours all his heart and soul into his last performance as Obi Wan, but he also channels a performance that forms a strong bridge between him and the performance of Alec Guinness from the original films. Revenge of the Sith is also the film where Ian Mcdiarmid really comes into his own as the mastermind responsible for the fall of the republic; you can feel the pure, unfettered evil that radiates from his character. Whenever he’s on screen, he’s incredibly sinister and manipulative, planting thoughts and twisting Anakin’s mind. Aside from some unnecessarily over the top or corny pieces of dialogue, Episode III makes an impression with characterisation where the other prequels failed.

Episode III also sees fit to show off the best and most extravagant special effects in the prequels. The computer effects have received additional layers of detail and now give off a greater sense of believability; a more extensive use of explosions and a greater number of troops on screen at once pulls the audience in, absorbing them into the deadliest battles of the Clone Wars and upping the scale to the highest level. The new locations are just as detailed as others introduced previously; the humongous battle cruisers of the warring armies, deep sinkholes of Utapu, and the raging lava pit of Mustafar are all grand avenues for some of the most action packed battles of the entire saga. Then there’s John Williams’ score, and what a soundtrack this is. Revenge of the Sith wouldn’t create half the emotion it does without the incredibly haunting and chilling songs that dominate and signify the more heart-wrenching moments of the film. Not only is it the best soundtrack of the prequels, it also comes pretty close to standing alongside the iconic tracks from the original trilogy. Just as the acting has progressed to its highest level in the last piece of the prequels, so too does the technical presentation. It’s great to see the filmmakers really deliver in this regard.

Revenge of the Sith is the best of the prequel trilogy by a country mile, not to mention a sizeable redemption for George Lucas’s flawed cinematic vision. It’s still a tricky proposition to gloss over some iffy dialogue here and there, but ultimately this entry is the one that recaptures that Star Wars magic, not to mention appropriately taking the saga into the deepest and darkest of places.

Rating: 4/5 Stars

Star Wars Episode II: Attack of the Clones Movie Review

Released: May 16th 2002

Length: 142 Minutes

Certificate: PG

Director: George Lucas

Starring: Hayden Christensen, Natalie Portman, Ewan Mcgregor, Ian Mcdiarmid, Anthony Daniels, Temuera Morrison, and Christopher Lee

The Phantom Menace was a strong success financially, something which mostly came down to the massive hype surrounding it; yet despite the mixed reactions to the film in 1999, fans nevertheless remained hopeful for the middle chapter of the prequel trilogy. Episode II marked the moment we were introduced to Anakin Skywalker as a young man, the form he possessed before falling to the dark side. While Attack of the Clones does make some minor improvements, scars that remain from the first film still hold it back.

Attack of the Clones picks up ten years after Episode I; tensions are rising in the Republic with several races and planets leaving to form the Separatist movement. With a massive droid army at their disposal, both the Galactic Senate and the Jedi Council are concerned that war is approaching. Whilst this political struggle is going on, Anakin Skywalker, deep in training under Obi-Wan Kenobi (Ewan Mcgregor) grows closer to Padme Amidala; (Natalie Portman) he is assigned to protect her from assassination while his master attempts to investigate who ordered the hit. From the offset, it’s clear that there’s a lot more going on here and while Episode II still has its moments of boring, drawn out scenes, most notably the scenes with Anakin and Padme, it does a better job of breaking these up with more action packed moments. From the city chase through Coruscant to the brief showdown between Obi-Wan and Jango Fett, much of the action feels much more extravagant and sustained than Episode I. Not only that, but you can see the strings of the Chancellor’s plans slowly coming to fruition with the entrance of the Clone Army and his careful manipulation of the Senate. In its latter half, Episode II begins a build-up process, laying the foundations for something which culminates in the Clone Wars and the film’s sequel Revenge of the Sith; this is greatly personified with Anakin losing his mother to the Tusken Raiders around halfway into the film. We can feel the seeds of anger growing within him and this gives the audience a first glimpse into the gradual downfall of the character. Much like The Phantom Menance, Episode II explodes into action towards the end, only this time working to incorporate in more characters and factions into the proceedings.

While the narrative has taken a step forward or two, the characters unfortunately have not. The most glaring flaws in the cast this time come through Hayden Christensen and Natalie Portman respectively. This really is some of the most awkward, forced and clichéd romantic dialogue that has ever been put on film; it’s impossible to believe or take their so called “romance” seriously and yet it takes up a good portion of the film, distracting from the far better done action scenes. Hayden Christensen isn’t a particularly bad actor; I’ve seen him give a strong performance in Shattered Glass, but here the material given to him drags the film down from good to simply average. What exacerbates things here is that he’s the main protagonist, the one person that we’re supposed to root for. How can we do this when he’s constantly alternating between dull emotionless dialogue and moaning at people? For every moment of genuine emotion, there are five which fall flat. Thankfully, the other characters are again present to make up for things; McGregor’s performance is great once again, creating a believable and varied portrayal of Obi-Wan. The Jedi Council isn’t just sitting around in this film; they have a more realised participation in Episode II. The final member of the cast is Christopher Lee as Count Dooku, who brings a relatively good performance with subdued conversation and solid swordplay to the film; considering that he’s introduced towards the film’s final act, I only wish he was given more to do.

Building on what was established in its predecessor, Episode II continues to introduce more diverse planets and locations to the series; the water soaked cloning labs of Kamino have a particularly gloomy atmosphere to them and on the opposite side of the coin we have Geonosis, a run-down, dusty and gritty setting which serves a strong backdrop to the opening battle of the Clone Wars. We are also given a wider insight into the Jedi temple on Coruscant and go further afield in Naboo; it’s a strong step towards creating a greater scale and more far reaching worlds. These newer planets are accompanied by an expanded selection of theme songs which are swapped seamlessly depending on the location. While the computer effects worked into every shot still aren’t the best in class, there are far fewer moments where characters are shoved in front of the camera, lessening the negative impact they had previously. With a few tentative steps forward in presentation, Attack of the Clones can make a stronger claim to immerse the audience, something which would be much improved in Episode III.

Attack of the Clones is really a film of two halves; one made of frantic, fast paced action sequences and the other riddled with painfully stiff and pretentious “romantic chemistry”. It succeeds at standing above The Phantom Menace, but that isn’t really saying much when you consider how flawed the two central leads are. Just as the film sits in the middle of the prequel trilogy, it does the same in terms of overall quality.

Rating: 2.5/5 Stars

Star Wars Episode I: The Phantom Menace Movie Review

Released: May 19th 1999

Length: 133 Minutes

Certificate: PG

Director: George Lucas

Starring: Liam Neeson, Ewan McGregor, Jake Lloyd, Natalie Portman, Ian Mcdiarmid, Ahmed Best, Anthony Daniels, and Ray Parks.

Star Wars is an undisputed sci-fi classic and when the announcement of a prequel trilogy came over twenty years ago, the anticipation was enormous. When the new series of films finally arrived in 1999 with The Phantom Menace, fans were left disappointed by George Lucas’s new vision for his grand space opera. With the release of “The Force Awakens” bearing down on us, I think it’s time I shared my own thoughts on every main entry in the Star Wars saga, beginning with Episode I.

The Phantom Menace kicks off the prequel trilogy with the invasion of Naboo by the Trade Federation and their army of battle droids, who aim to capture Queen Amidala (Natalie Portman) and force her to sign a treaty over a trade dispute. In the midst of this political scuffle, two Jedi Knights, Qui-Gon Jin (Liam Neeson) and his apprentice Obi-Wan Kenobi (Ewan McGregor) must uncover the true force behind the invasion, while also coming to terms with the discovery of a young boy remarkably gifted with powers of the force named Anakin Skywalker (Jake Lloyd). Judging by the plot summary I have just given, you may be left scratching your head at the themes the film homes in on. That’s because The Phantom Menace doesn’t do a very good job of drawing the viewer into its story and it continues to commit this critical mistake across much of the running time. Episode I is a plodding exercise in frustration when compared with the original films, where just about everything that happened was interesting and relevant to the plot. Aside from a few scant moments of excitement, the ultimate issue with Episode I is that it’s dull; when the action heats up at the end of the film, I really get into it but almost everything else is all talk and no engagement. I can see what they were trying to go for here; they wanted to capture the more civilised age of the republic, to show how careful and politicised everything was before the Empire’s big takeover. But instead of immersing us in the varied and expansive worlds that are introduced with the modern filmmaking technology, the plot instead repels and jars the audience with endless chatter and political rhetoric which doesn’t tell us anything about the characters, factions or lore that were hinted at in the original trilogy.

The characters of The Phantom Menace are sadly just as boring as the plot; to this day, I’m not too sure what kind of filmmaking mind-set caused an almost complete elimination of any emotion or acting substance, but it’s here to stay for this movie. Qui-Gon is a blank slate, never changing his emotions in any way over the course of the film, Jake Lloyd’s acting is horribly wooden and the same goes for Queen Amidala, making the little chemistry they have together almost entirely useless. The Jedi Council is also very disappointing, a basic set of robed figures that do little more than sit around in a room for most of the film. And then there’s Jar Jar; what was once a serious point of contention for racial stereotyping and overzealous child marketing is now merely a serious annoyance that endlessly sticks out like the sore thumb he is. Even the characters in the film seem annoyed by his presence, but try as they might to weed him off, he just doesn’t go away. While most of the characters fail, there are a couple that redeem the cast; Ewan McGregor as Obi-Wan has a light sense of charisma which the other actors fail to bring to their roles. Darth Maul however is by far the best aspect of the entire film. What is it that makes him a solid villain? From you moment we first see him, you can tell that he means business; he has a very intimidating and sinister image and this is backed up by his ferocity in battle. Ray Parks gives a brilliant physical performance filled with dazzling stunt work and to top it all off, he is a man of few words and as a result, his presence is never diminished by awkward dialogue.

The computer generated imagery used in the Star Wars prequels have long been a topic of criticism and in Episode I, they definitely show their age in certain areas. The most notable of these are characters such as Watto, the Gungan leader Boss Nass and the battle droids; when they’re right up in front of the camera, looking like a video game cut-scene, it’s obvious that they aren’t actually there and this really hurts the film’s believability. Despite this issue, when the computer effects are kept at a distance, I feel that they don’t get in the way nearly as much. What the special effects do best though is introduce us to countless new worlds, not to mention give off a tremendous sense of scale. From the expansive landscape of the Naboo capital to the vast metropolis of Coruscant, the film does work in this regard to draw the viewer into its universe. In addition, the film also boasts some brilliant cinematography, editing and music. Duel of the fates by John Williams is an astounding compliment to the final lightsaber battle, while the action itself is fluid and organised, with many long shots of the environments placed alongside panning and medium shots of the characters. It’s a well-produced film that ends up being dragged down by its weak plot and underwhelming characterisation.

It’s endlessly debated among the fans, but in my eyes, The Phantom Menace remains the weakest entry of the entire saga; the plot is slow and tedious, the characters are mostly flat and by the time the film finally does get interesting in the third act, you’re left wishing that the film made more of an effort to keep you invested. A few good performances alongside some well thought out production values just barely keep it from being wholly unwatchable.

Rating: 2/5 Stars

The Viewing Experience Episode 2: Canada

It’s been over a year since I last wrote an entry in this series, but finally I’m getting back into it. Since coming to Toronto, Canada I’ve checked out a film or two down at the local Cineplex and I’d say it’s time I took a look at what makes the business of visiting them tick. The film was Spectre and the place was the Scotiabank Theatre down on Richmond Street.

Differences and a few other quirks

• ·      Keeping films on for longer, depending on success

In most common cinemas I’ve been to, every film has a set amount of time to be shown at a cinema; this is usually a maximum period of four weeks. But for Cineplex in Canada, a film will keep on going if it proves to be successful. Take the wildly popular Jurassic World for example, a summer blockbuster which has raked in millions this year. It premiered in June and yet was still being shown as late as September. This, I feel could a bit of a double-edged sword; on the one hand, it ensures that popular films get recognition and that both the theatres and the filmmakers can have a better opportunity to break even with profits. But on the other hand, it makes it easier for bad films such as Transformers: Age of Extinction to rake in much more than they deserve in specific regions.

• ·         The VIP experience

While I skipped over it due to its higher price, the VIP package is an interesting proposition indeed; rather than simply having premium seats, Cineplex goes a step further by offering fully-fledged meals and drinks both before the film and then delivered to your seats. Limited to adults only, VIP definitely seems to add a kind of upper class flair to the cinema experience, with a hangout lobby and an extensive bar, turning cinema-going into a fully-fledged night out. From a business standpoint it’s another means to boost profits beyond the common cinema-goer, but from my point of view, it’s an intriguing option which could definitely build on what you usually get from going to the movies.

• ·         Mini-games before the film

Cineplex’s SCENE points program works similar to that of an ODEON premier card; you collect points which can be used on discounts and other additional items. But in addition to adverts and trailers that play before the main feature, there are carefully selected games that make use of an app and playing them can earn audience members even more points. For example, when I saw Spectre, there was a poll that asked the audience to vote for the best performance of James Bond and those who chose the most popular answer (In this case Daniel Craig) earned more points. Other games include a tie-in with the local Blue Jays baseball team in Toronto and a brief quiz or two. It’s an interesting component of the SCENE strategy that you’ll have to try out for yourself to see if you appreciate it. Personally I felt it was another obstacle that came in between the audience and the film they came to see.

Things that could be better

• ·         Adverts

Adverts are a common fixture in any cinema; that’s been true for years, but the ads down at Cineplex went far beyond any I had seen before. What it all comes down to is that so many connections and collaborations exist in a city as big as Toronto. Taking your cinema ticket over to the massive CN Tower gets you a discount and in return, the tourist attraction places it’s marketing into the theatre for example. Audiences play a mini-game about the Blue Jays and as a result, more attention is directed towards the baseball team. The adverts also extend beyond the screen, with the foyer and reception littered with all kinds of ads catering to the newest big film; Jame’s Bond’s newest watch in Spectre flanked the entrance to the screen we saw the film in for example. Advertisements may be the most commonly used method to expose a product or service, but Cineplex really does go overboard on their use and placement.

• ·         Refreshment prices

Refreshments are outrageously overpriced at Cineplex and this is again down to numerous collaborations and partnerships. Everything sold in the foyer is an official brand which makes for good choice, but it also drives the prices up to a pretty ridiculous level. The bundle packages which include large popcorn bags, a packet of sweets and a large drink are grouped together to offer SCENE points for those who fork out the high prices for them, and rather suspiciously, very few prices for these refreshments are displayed on the Cineplex website. Thinking back to what I said about the viewing experience in Greece, it’s probably too much to ask for both a wide choice of refreshments, plus reasonable prices to support it. I recommend you stick to the common practice of bringing your own cheaper food and drink with you on this occasion.

• ·         Raising prices over weekends

This is a more frustrating bone I have to pick with Cineplex; why do they have to raise cinema ticket prices over the weekend? It’s a fairly easy money grab for the company, to up the prices over the period where most people generally tend to take in a movie. When prices vary depending on the day of the week (the cheapest being Tuesday), it comes off as quite inconvenient for the audience. It’s a small gripe, but one that also takes away from things a bit.

In closing

Heading to the cinema in Canada gives an audience plenty of choice in both refreshments and viewing, but there are several aspects which end up distracting and detracting from the overall experience. The adverts are long and extensive, and the games to earn points will be an unwanted annoyance to some, but if you can get past these issues, the Cineplex is still a worthwhile place to visit to get your movie fix.