Dirty Rotten Scoundrels.

Review #1489: Dirty Rotten Scoundrels.

Cast:
Steve Martin (Freddy Benson), Michael Caine (Lawrence Jamieson), Glenne Headly (Janet Colgate), Anton Rodgers (Inspector Andre), Barbara Harris (Fanny Eubanks), Ian McDiarmid (Arthur), Dana Ivey (Mrs. Reed), and Meagen Fay (Miss Trumble) Directed by Frank Oz (#521 - The Muppets Take Manhattan, #795 - Bowfinger, #1468 - The Dark Crystal, and #1482 - Little Shop of Horrors)

Review: 
"The greatest thing you can do is surprise yourself."
"I love comedy. I love to make people laugh. If I hadn't been an actor, or an architect, which I really wanted to be, I'd have been a stand-up comic."

To have a good duo film, you need a good pairing to begin with, particularly when it comes to a comedy since pairings really happen only once and just that nowadays. Steve Martin, for example, was a fairly established comedy star at the time, having gone from television writing (such as The Smothers Brothers Comedy Hour) to stand-up (defined by self-referential riffs alongside banjo playing) and television work to eventually starring in his own films with The Jerk (1979). As for Michael Caine, he had done over a decade of work in films and television before coming to prominence in the late 1960s that included films such as The Ipcress File (1965) and The Italian Job (1969) that has continued with starring and character roles for over five decades. It is a remake of the 1964 film Bedtime Story, which had starred Marlon Brando and David Niven that had been written by Stanley Shapiro and Paul Henning. This time the two wrote the screenplay with Dale Launer. There were a few changes made while keeping the basic core of two con artists that bump into each other in the French Riveria that goes from apprenticeship to contest, most notably with the resolution (which had originally ended with one of the cons turning good and romancing the one being played...so I suppose that makes sense). This would serve the basis for a musical of the same name in 2004 (featuring John Lithgow) and another remake of the material was done in The Hustle (2019).

However one views the material, this is a fairly well-paired film. It makes for a good natured time with its balanced pair of timing and zippy lines in a relaxed setting that allows for chemistry between its actors without smothering them in complications. With a run-time of 110 minutes, the film runs fairly well for itself in staging amusing situations and bits for Caine and Martin to run free with (of sorts) making general humor that is fairly cheerful in making a decent setup. Martin is quite enjoyable here, jumping at the chance of playing off Caine with enthusiastic contrast that leads to quite a handful of moments to look upon him and laugh, whether that involves him struggling for a name or trying to scare off someone for an act (including a corked fork). Caine proves just as handy for generating snappy charisma and quick chemistry with Martin that does manners on the fly that seems fairly effortless, whether to ladies or gentlemen. Headly makes for a fair foil between the two, not quite too assuming nor too much of a mark to forget in the background, particularly for the last scene together. In general, if you like the movie enough, the last scene helps seal the deal in a charmer (if not however, welp). The supporting cast is a mix of dupers and dupes that do just fine, such as a subtle Rodgers. What we have here is a clever game of tricks and humor that generally work out well in pace and buildup with two likable scoundrels that maneuver gags with reasonable timing that seems well-suited for its era as a fine time for all and a fair piece for both Martin and Caine to have fun with along with a good show for Oz as well.

Overall, I give it 8 out of 10 stars.

Star Wars: The Rise of Skywalker.

Review #1311: Star Wars: The Rise of Skywalker.

Cast: 
Carrie Fisher (Leia Organa), Mark Hamill (Luke Skywalker), Adam Driver (Ben Solo / Kylo Ren), Daisy Ridley (Rey), John Boyega (Finn), Oscar Isaac (Poe Dameron), Anthony Daniels (C-3PO), Naomi Ackie (Jannah), Domhnall Gleeson (General Hux), Richard E. Grant (Allegiant General Pryde), Lupita Nyong'o (Maz Kanata), Keri Russell (Zorri Bliss), Joonas Suotamo (Chewbacca), Kelly Marie Tran (Rose Tico), Ian McDiarmid (Palpatine / Darth Sidious), and Billy Dee Williams (Lando Calrissian) Directed by J. J. Abrams (#009 - Star Trek, #150 - Super 8, #665 - Star Trek Into Darkness, and #769 - Star Wars: The Force Awakens)

Review: 
Well, isn't this an interesting day. Nine years of Movie Night in written form, and I celebrate it with the ninth (and last) film of the Skywalker Saga (alongside being #98 in the Theater Saga). It sure has been quite a ride over these 3,287 days - basically a review every 2.5 days. The best is yet to come ahead for Movie Night 2020 (or Season X, if you will). If I am not mistaken, this may actually be the longest review yet. May the force be with you. 

How did you picture the last Star Wars movie in a trilogy was going to end? That's a question you can now ask three times and get three different answers. One trilogy conclusion had the burden of closing the loop on what was thought to be a six film saga while also sealing up loose ends of its own. Another trilogy conclusion had the burden of ending its story with its beloved characters that made for a worthy space fantasy adventure worth telling again and again. This trilogy conclusion has the burden of sealing a trilogy of trilogies once and for all - 42 years and nine main films with various actors tasked with interesting (for the most part) characters and worlds. Some landed better than others, but there are plenty of people who can say they grew up with a Star Wars trilogy, for better or worse. It is the journey that counts in the end when it comes to Star Wars, really, where George Lucas used his imagination alongside inspiration to cultivate a film all those years ago. He loved his comic books, his fairy tales, his Saturday morning serials, and he loved creating a mythology for a new generation. Everything gets picked apart in the age we live in nowadays, but it doesn't diminish the basic core of what made this series endure for so long. It will be nice to have a rest from these films for a little while, I must admit. After five films in five years, one can appreciate something else taking over the landscape for a bit (for those who refer to television, I have my own things to cycle through). This may seem like an elegy for Star Wars, but it really isn't. I am trying to express my train of thought when it comes to the realization of seeing a saga come to a close yet again and how it ended up following up not just its "polarizing" predecessor film (The Last Jedi, which I ran out of time in regards to re-watching it before doing this) but the others as a whole. Look, the last film had Leia pull herself out of space through the Force and then decided to kill off its big bad villain suddenly (complete with a jump to lightspeed to obliterate a ship because...[BLANK]) and wrote itself into a corner with mawkish sentiment. An intriguing corner, but still a corner that is not easy to pull out from without some sort of effort.

Could it really do a better job at closing a saga that Return of the Jedi did three decades prior? Honestly, it didn't. It sure tries hard to seal it all into a big ball of entertainment, and I applaud the effort - but the film is a mess. However, I enjoy big messes when there is enough positivity to go around (or camp), and this has that in spades. It becomes evident right from the very opening, where text crawls say the dead rise and get things rolling with quick editing and plenty of shots to go around. This is a 142 minute movie (somehow being ten minutes shorter than its predecessor), yet it sure feels like a big roller coaster ride that doesn't want to end. It tries to please everyone and may very well have a different kind of result. That doesn't mean it will go down as a monumental thing to ridicule, it just means it will go down as something to argue for/against when it comes to imagination for a space opera about laser swords and space beliefs. At a certain point, one has to wonder if this is meant to be a comeback on the scale of Elvis, where fan service deliver greatest hits very much like Abrams' previous work in this trilogy - wrapped with a tinge of bittersweet fervor. You know it is the end, I know it is the end - but it wants to throw everything at the void to make sure the end doesn't come easy. If the last one was inherently too ham-handed to stick to its principles in the face of the past, this one is inherently determined to glue everything together to land certain twists down without making too much laughter come out than needed. Allow me to use one pop culture analogy here: this is essentially the equivalent of when Homer Simpson tries to build his own barbecue pit and frantically tries to build it before the wet cement makes it stick permanently, just replace the grill with story toolbox and Homer with...you get the idea. Seriously, the film has four credited writers: Abrams and Chris Terrio for the screenplay while the story credit went to Derek Connolly, Colin Trevorrow (the initial director slated to direct this film before leaving production due to creative differences), Abrams and Terrio.

Golly, there sure a whole bunch of actors and characters present. Some are given their time to shine, some are thrown in there all of a sudden, some are given a bit less to do from before, and some are somehow back in the thick of things (for better or worse). You really have to just roll the dice and see what works and what doesn't, honestly. I didn't so much see a bad performance as I saw actors trying their hardest to stick through a big sprawling adventure with plenty of skepticism and fear circling around. I find that the best ones to come out of it are Ridley and Driver, a duo with their odd own kind of bond of vulnerability and fear over who they think they are and what they must face to step forward beyond their doubts. They definitely do well when it comes to lightsaber fighting, graceful despite rocky environments like a bit of water to get in the way. Granted, their paths seem a bit easy to draw out, where I wonder if it had been better to have swapped the focus to Driver as the main focus (or perhaps better framing to have a trilogy that spans more than a year in movie time). Boyega and Isaac try to fend off being wooden with humor, which goes off okay. They felt better together four years prior with the seventh film, but I do find myself at least going along with them on essentially a scavenger hunt, where characters pop out to wedge their own part to play, because I suppose one needed to try and give some sort of backstory/shared thing for people we just met to people we barely know much of through three films. It is quite striking to see Fisher appear on screen for a few minutes (in the sense just as much as she did for the other two films), where the re-purposed footage of her works for what is needed and gives her a fair way to make farewell without going overboard. It is nice to see Daniels get a bit more scenes to chew upon for another trip down the lane for our favorite fussy golden robot, who delivers a chuckle or two that is welcome here. The sudden new blood of Ackie, Grant and Russell prove alright, moreso for the latter two in that one can seep right into an obvious villain trap without having to get outside and the other can just wear a mask and beat some nobodies for a bit. Gleeson, Nyong'o and Tran seem like they drew small straws when it comes to "Who gets to be in another Star Wars film but doesn't have much meaningful things to say?" (which proves amusing if thought as essentially being Jar-Jarred out of importance). McDiarmid and Williams return to their roles with ease, in that neither have to really move too much to deliver their lines to serve the plot, where it is nice to see them again, if not for the camp of the former and the smooth charm of the latter. Granted, it barely makes sense to see either come back - but why not? The film feels like a whole batch of why nots. One might wonder how much of this is a hand-wave of what happened before - the jokester in me is slightly delighted at the idea of shaking the head-turning predecessor, even if that means more predictability. A good adventure is all that it takes, and this does fine with that. It won't be the kind of thing that inspires navel gazing or anything when it comes to analysis, but always take to heart four words: It's just a movie. Turning off my brain a bit for some ridiculous things in a Star Wars film didn't give me a headache as it did just help my throat get some chuckles.

At least the effects work themselves out pretty good. Sometimes you really need a bunch of flashing lights on a stormy dark world to really make something ooze out well, really. You don't need spoilers to know that the film will fling whatever it takes to make things work - a Skywalker has to stand triumphant after all. It isn't like anyone actually thought this would end on a downbeat note (much like how Lucas liked his happy ending for VI) - by golly one has to sell this product somehow (besides, Rogue One wedged in hope even with its downbeat stuff). One does tend to get tired of saying "X was better than Y", so I'll try to refrain from said comparisons too much. What we have here is an okay sequel trilogy, packed firmly between what was done before through Lucas and others - and that's okay. I'll probably look at these films in retrospect as ones that had their moment in the sun and did what they thought made sense - churning some nostalgia and Internet frothing for better or worse. They aren't the best or worst things to happen to the franchise, that much is for sure (a statement one could even see someone saying about the previous trilogy). Everything moves in a flash to get to some sort of point that matters, and I liked more than what I shook my head at. If you want to see something with space action and a bunch of things that relate to the stuff of the past, go right on ahead. If you want something a bit deeper or perhaps more fitting for the end of a space opera, consult oneself first. In my heart I enjoyed this weird little film, but I know the rating it really does deserve - it's an average film, but at least it isn't a complete mediocre one for the books.

Overall, I give it 7 out of 10 stars.

Sleepy Hollow.

Review #1295: Sleepy Hollow.

Cast: 
Johnny Depp (Ichabod Crane), Christina Ricci (Katrina Van Tassel), Miranda Richardson (Lady Mary Van Tassel and The Crone Witch), Michael Gambon (Baltus Van Tassel), Casper Van Dien (Brom Van Brunt), Jeffrey Jones (Reverend Steenwyck), Christopher Lee (The Burgomaster), Richard Griffiths (Magistrate Samuel Philipse), Ian McDiarmid (Dr. Thomas Lancaster), Michael Gough (Notary James Hardenbrook), Marc Pickering (Young Masbath), and Christopher Walken and Ray Park (The Headless Horseman) Directed by Tim Burton (#040 - Batman, #107 - Beetlejuice, #132 - Alice in Wonderland, #196 - Charlie and the Chocolate Factory, #262 - Corpse Bride, #316 - Batman Returns, #969 - Planet of the Apes (2001), and #1257 - Pee-wee's Big Adventure)

Review: 
Sometimes you really need something eccentric when it comes to horror and old folktales. It should only prove fitting that Tim Burton served as director for a film like this, which started out originally intended to be directed by Kevin Yagher (known primarily for his special efforts work such as the Crypt Keeper for Tales from the Crypt) from a script by Andrew Kevin Walker (writer of Seven) that would be a low-budget slasher based off the short story "The Legend of Sleepy Hollow" by Washington Irving. There had been a few adaptations of the story done before, such as The Headless Horseman (1922) and The Adventures of Ichabod and Mr. Toad (1949, narrated by Bing Crosby), but this is certainly the most lavish attempt involving the story. The film takes plenty of liberties with the original story, ranging from the occupation of its main character to its climax, while having plenty of heads rolling around in a film that has plenty of style and a bit of humor that blend fairly well as its own thing. It pulls off a few frights together (particularly when combined with all the present fog), holding ground for most of its 105 minute run-time, with stand-out makeup and a fairly dynamic drive that feels reminiscent of Hammer horror films. The vibrant blood shots certainly help in that department, with well-executed gore and an interesting monster to boot. Depp seeps right into his part with tight conviction that would fit just fine in the traditional horror films of yesteryear without being lost in having a good time with such a squeamish yet compelling role. Ricci proves fine for a storybook type of role while having a bit of chemistry with Depp. Richardson proves to have a wicked time, playing two parts that come together just right. There certainly is an interesting cadre of supporting actors, ranging from Gambon and some fair theatrics to Hammer veterans Lee and Gough (who each get a scene each that plays out fine), and there really isn't a bad performer in the bunch to deter from the tense atmosphere the film wants to pull off. Walken may not say an actual word when it comes to the Horseman, but he sure has the chops to make it compelling to watch each and every snarl. The cinematography by Emmanuel Lubezki is exquisite, where the color only serves to help make its fantasy/horror trappings stand out more than the usual expectation, particularly when the Headless Horseman lurks around (the music from Danny Elfman is helpful as well with that intent). The climax does tend to feel a bit convenient when it comes to having to close off its telling of the legend (namely when its big bad tells someone the nature of their scheme that involves the horseman as well), but at least it can fall back on spectacle (exploding windmills? Why not?) to make it all seem worth it without having to beat you over the head with ridiculousness. On the whole, this proves to be an alluring experience, inviting you in with an interesting atmosphere and some capable acting that makes a different mark on a classic folklore without becoming lost in clichés or being anything other than a nice fright for the horror folks.

Next Review: The Evil Dead.

Overall, I give it 8 out of 10 stars.

Redux: Star Wars: Episode III – Revenge of the Sith.

Redux Review #144: Star Wars: Episode III – Revenge of the Sith.

Cast: 
Ewan McGregor (Obi-Wan Kenobi), Natalie Portman (Senator Padmé Amidala), Hayden Christensen (Anakin Skywalker), Ian McDiarmid (Supreme Chancellor Palpatine), Samuel L. Jackson (Mace Windu), Frank Oz (Yoda), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Christopher Lee (Count Dooku / Darth Tyranus), Jimmy Smits (Senator Bail Organa), Matthew Wood (General Grievous), Silas Carson (Ki-Adi-Mundi / Nute Gunray), Temuera Morrison (Commander Cody), and Peter Mayhew (Chewbacca) Written and Directed by George Lucas (#113 - Star Wars, #141 - American Graffiti, #142 - Star Wars: Episode I – The Phantom Menace, and #143 - Star Wars: Episode II – Attack of the Clones)

Review: 
Countdown to 150 Reviews: 10, 9, 8, 7, 6...
At last, the end. The best of the bunch of prequels gets what I hope to live up to with the standard review, especially a redux - even if is more a blend of praise and slight criticism this time around. Enjoy.

Admittedly, finishing a trilogy can prove daunting, particularly when it is the culmination of a saga of a character as memorable as Darth Vader. This time around, there actually seems to be a real emphasis on making a tragedy alongside being entertainment. There are plenty of spectacle sequences along with a bit of depth - while also still having things to make light of. It isn't as inconsistent as the other two films, managing to find a heart of darkness that does seem to make this trilogy mostly worth it. For one thing, I actually seemed interested to view Anakin on screen beyond just lightsaber dueling. Sure, he always seemed to have problems with impulsiveness, anger issues, jealousy - and occasional lapses into ridiculous line reads. Christensen still struggles at times with the clunkier aspects of the dialogue at times - such as when he nonchalantly says to his wife that she'll die in childbirth. He shines best when conversing with McGregor or McDiarmid more so than Portman, who mostly is around just to linger in one set at a time without as much to really do. Their chemistry together isn't really too great, middling above teenage lyric posts on the Internet. McGregor proves efficient as ever, filling the noble roots set by Alec Guinness and completing the circle with charm. McDiarmid takes his time to go the ham of an actor on stage set by himself with Return of the Jedi (1983) - and I enjoy it just the same. Instead of being a phantom menace (pardon the pun) to the events around him, now he gets to be involved with actual fights, complete with snarls and cackles. Jackson gets something to do (and say), which I do enjoy when it comes to the film's key point for its first hour. Oz keeps the interest flowing as expected. Naturally, Lee is given four lines, disposed as quickly as expected from a trilogy that likes to jump from adversary to adversary before allowing its true puppet master to try and shine through. I would say that it might have been more interesting to have one villain throughout a whole trilogy before being disposed of (ignoring any sort of middle ground television show, of course) - but we're past that point of complaints, I guess. Smits is fairly serviceable; Wood is okay as a mediocre threat, which is quite the thing to say about a cyborg with four arms. Once the film disposes with the pretense of trying to build paper threats and actually showcases the true threat and Anakin's descent is when the film really does become an actual winner, complete with a worthy climax to alongside it.

I had forgotten to mention John Williams and his music score throughout these films, which it goes without saying are pretty well, but it really does shine here with the mood and pacing throughout the movie here, such as the aforementioned climax but also subtle moments such as the rumination sequence, where it carries a 90-second moment that shows off on a visual level with effective choice in composition. It isn't a perfect film by any means. It still meanders with wooden dialogue on occasion, while also feeling a bit too ridiculous with its justifications for Padme's fate (losing the will to live being a thing only a robot doctor would assume, I guess), but at least there is an actual sense of adventure present without being completely lost in a virtual screen. Sure, it does try to be a bit tidy with its ending, trying to seal things up with plenty of connections to before (much in the same vein that the other two had done), which does seem a bit overboard - but at least it sure has a well-done last shot to close on. Revenge of the Sith strives for a glut of action and story in a 140 minute run-time with plenty of drive and spectacle, managing to succeed on the last go on the prequel merry-go-round with very little in terms of hitches to interrupt the ride.

Overall, I give it 8 out of 10 stars.

Redux: Star Wars: Episode II – Attack of the Clones.

Redux Review #143: Star Wars: Episode II – Attack of the Clones.

Cast: 
Ewan McGregor (Obi-Wan Kenobi), Hayden Christensen (Anakin Skywalker), Natalie Portman (Senator Padmé Amidala), Ian McDiarmid (Chancellor Palpatine), Christopher Lee (Count Dooku / Darth Tyranus), Samuel L. Jackson (Mace Windu), Temuera Morrison (Jango Fett), Frank Oz (Yoda), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Daniel Logan (Boba Fett), Leeanna Walsman (Zam Wesell), Silas Carson (Nute Gunray and Ki-Adi-Mundi), Ahmed Best (Delegate Jar Jar Binks), and Jimmy Smits (Bail Organa) Directed by George Lucas (#113 - Star Wars, #141 - American Graffiti, and #142 - Star Wars: Episode I – The Phantom Menace)

Review: 
Countdown to 150 Reviews, 10, 9, 8, 7...
As promised, a redux of the second prequel film. I described it as better than the first film, but not by much, and not much really does change, does it? At least these are reviews I can feel proud of, which I hope you enjoy.

These films, if distilled into a basic premise of the portrayal of the rise and fall of Anakin Skywalker, from adolescence to adulthood, could have made for some weird and wonderful tragic drama. The first film proved that trying to cover details from the past mixed with ill-advised story choices made for a film that collapsed under its own weight of hubris and anticipation from others. The only thing that changes this time around is that the anticipation is more of a dead calm, and the film manages to find time for improvement at the pace of a snail. While Lucas once again served as director and writer, Jonathan Hales was brought in to help co-write for the film, refining the script until right before production was to begin. The dialogue can't quite help the actors out again, a villain is introduced and wasted once again, and story motivations seem more appropriate for an opening film than a middle movie. You really could skip the previous movie and not really lose too much grip on the story, since you could basically sum up key events in one line or less. As I mentioned earlier, having to switch actors for your main character doesn't help matters, especially since the dynamic between McGregor and Christensen only really comes into focus on occasion. In trying to make a grander, more epic scale Star Wars with plenty of plot-lines, Lucas has succeeded in making two mediocre movies to drive his trilogy, finally finding some sense of focus by the time of its climax, with its Clone Wars aspect.

The film builds itself on the blooming relationship dynamic between Christensen and Portman's characters, having the passion of lines spoke by a computer program. A film romance works best when it actually seems the actors are truly invested in what the script wants them to say. The previous trilogy had a romance that was subtle without being overbearing in the slightest. Lucas wanted something more than just a scoundrel and a princess - a forbidden romance with a Jedi involved. Again, this works best when I actually feel that these actors really seem invested in what they want to do, and it slowly rises from slightly weird to slightly palpable, but that isn't enough in a film that plods along for 142 minutes. The acting still plays hit-and-miss, but McGregor and McDiarmid do turn out to be the key winners of the bunch, the former seeming much more interesting to be around with this time around - whether when bantering with Christensen like an odd couple or in battle, and the latter being as conniving as ever. Christensen doesn't fare too well with such a big role to fill as the eventual Darth Vader, feeling a bit too flat and occasionally grating, falling into the same trap as Lloyd had with being stuck with offbeat lines that make a shadow of a character. Portman is okay, but not too particularly inspired as the other side of the token, faring a bit better when running onto an action set than on some grass trying to talk about politics. Highlights include complaints about sand, attempts at humor that go hit-and-miss, and eventual action sequences on dusty planets that can't help but be like cutscenes once again. Lee is criminally wasted as the main adversary behind the true power, a character cut from bare cloth that isn't too particularly menacing, even with a legend like Lee. The fight with him and Yoda is amusing to picture and weirder to try and describe, since it's a CGI muppet against a mix of Lee (then in his late seventies) and a stunt double. Morrison is quiet, but alright for the necessary time needed. Jackson and Oz are given a few lines to carry, so that's a nice repeat of before I guess. The action sequences here doesn't seem as involving as one would hope, and the political drama is only slightly less pale this time around. The question isn't so much if this is a better film than the previous one as is it really a question of how it took so long to drive the story to some sort of meaningfulness. Lost in a shroud of effects, flashy costumes, and questionable motivations, Attack of the Clones is a mediocre sequel to a mediocre movie that is made lesser by comparisons of past and future of Star Wars films. I wasn't exactly bored by what I saw - I just felt much of the same mood that I did the last time.

Overall, I give it 6 out of 10 stars.

Redux: Star Wars: Episode I – The Phantom Menace.

Redux Review #142: Star Wars: Episode I – The Phantom Menace.

Cast: 
Liam Neeson (Qui-Gon Jinn), Ewan McGregor (Obi-Wan Kenobi), Natalie Portman (Queen Padmé Amidala), Jake Lloyd (Anakin Skywalker), Ian McDiarmid (Senator Palpatine / Darth Sidious), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Pernilla August (Shmi Skywalker), Frank Oz (Yoda), Ahmed Best (Jar Jar Binks), Oliver Ford Davies (Sio Bibble), Hugh Quarshie (Captain Panaka), Samuel L. Jackson (Mace Windu), Ray Park (Darth Maul, voiced by Peter Serafinowicz), Terence Stamp (Supreme Chancellor Finis Valorum), Keira Knightley (Sabé), Silas Carson (Nute Gunray), Brian Blessed (Boss Nass), Andy Secombe (Watto), and Lewis MacLeod (Sebulba) Written and Directed by George Lucas (#113 - Star Wars and #141 - American Graffiti)

Review: 
Countdown to 150 Reviews, 10, 9, 8...
Well, it has now been 20 years since the release of this film, the first of the three Star Wars prequel films. Fans may remember the revised editions of the Original Trilogy reviews (originally published 3/30-4/1, 2012) back in 2016, in light of Star Wars: The Force Awakens being released months earlier. I figured it was time to revise some admittedly okay reviews (original publish date of 5/19-5/20, 2012) right before Star Wars: The Rise of Skywalker comes out. I hope you enjoy these reduxes. 

Review: 
It goes without saying that Star Wars is one of the biggest media franchises of pop culture. It has transcended film, television, and beyond over the decades - the original trilogy is still beloved by many, whether from people who seeked it out upon original release or found it playing somewhere on their screen in the present day. Return of the Jedi was the last of these films for 16 years, with Lucas not being inspired to do further films of his saga until the advent of CGI led him to believe it could help him do what he felt was needed. The result proved polarizing, especially in the age of a growing Internet - and age doesn't really help make this film seem too much better. This is a film that bears more on spectacle and details than a fully developed adventure. Perhaps Lucas fared best when he had at least one other writer trying to guide story ideas into something more than just an assortment of old arch-types and myths. The space opera has now shifted into one with mixes of action and politics - which makes for a somewhat stilted result. Like before, there are plenty of creatures and worlds to look at, even if it seems a bit less involving to stick for. I appreciate the effects for what they try to deliver, since they hold up well for 1999 - but wondering what is a blue/green screen and what isn't does get a bit distracting sometimes. The story seems spread too thinly, distracted over whether to be a movie about the Republic or Anakin, spending too much time to really drive itself forward. To say nothing of the logistics of electing a queen at 14, or midichlorians (which is still something to ridicule even with the dawn of a further trilogy), or referencing things from the previous films (did you know who built C-3PO? Weird, I know), and so on. Making fun of these aspects is more interesting to do while watching the film rather than spend a paragraph writing, one must say. The film does fine with spectacle pieces like the pod race sequence or the Darth Maul duel, but the former verges on meandering and the latter is nearly distracted from its other battle at the same time to have the right impact. With all of these characters (new and familiar), only a select group seem truly necessary, but the dialogue doesn't give them many favors. The trilogy is meant to be a tragedy of Anakin Skywalker, and yet the first film can't really plant many seeds to make that start to bloom, perhaps since the initial focus is on a kid (after all, Lucas moved his age from initially being 12 to 9 to try and fit the effect of him separating from his mother better). It didn't need to be a rehash with him being a young adult like Luke, but Lloyd is fledged with an unenviable task of playing an eventual Darth Vader in only one go. Having just one actor (and a change in pace, no less) for three films might have made them roll with more impact - at least we would have been spared a kid Anakin asking someone if they are an angel.

In a sea of interesting acting choices, it should only prove fair to have them seem routine behind some sets and screens. Neeson seems a bit too pallid to evoke much drama, with his final fate not having as much impact as it likely could have. McGregor doesn't quite have his familiar role pinned down here, and the lack of a dynamic between him and his future student in Anakin doesn't help much. Portman is hindered more by a ridiculous decoy plot than anything, but at least she does make some sort of curious impression. Lloyd doesn't quite have the conviction to make this role work, but how can anyone turn dialogue such as "Now this is podracing" really work (while being on a starfighter - long story) without ridicule? Any time with him and Portman is just weird in general. McDiarmid does well with playing the subtle kingmaker of his own doing without hitting a snag. August is quietly effective, even when occasionally lost in the spectacle background. Best plays a role that Buster Keaton would likely laughed off as too clownish with effort - it may not work out well, but at least he isn't the only fault present. The others (including a criminally underused Stamp) are pretty forgettable, and Darth Maul proves to be a fair but not too inspiring threat. Obviously the real threat is supposed to be the bigger one to look into (even if you already know who said threat is), but it only served to make for a trilogy of cut-scene quality adversaries. The droids don't prove too imposing, either, just big stick-looking things to fill the screen. By the time it gets to its climatic battle sequences, it proves to be a glut of overload, though the Maul fight is a bit nice. At least the lightsaber fights stick out for their attempts at finesse. In the end, the movie is a mish-mash of old story types, a dash of hubris, and ultimately something ridiculous to behold for each generation of fans, old and new. Some can rush to defend it for its quirks, and I understand that basis all the same - to me, this is an average adventure compounded as a disappointing Star Wars film.

Overall, I give it 6 out of 10 stars.

Redux - Special Edition: Return of the Jedi.

Review #115: Return of the Jedi.

Cast
Mark Hamill (Luke Skywalker), Harrison Ford (Han Solo), Carrie Fisher (Princess Leia Organa), Billy Dee Williams (Lando Calrissian), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Peter Mayhew (Chewbacca), David Prowse (Darth Vader (voiced by James Earl Jones), Sebastian Shaw (Anakin Skywalker), Ian McDiarmid (The Emperor), Alec Guinness (Obi-Wan Kenobi), Frank Oz (Yoda), Denis Lawson (Wedge Antilles), and Timothy M. Rose (Admiral Ackbar, Sy Snootles and Salacious Crumb) Directed by Richard Marquand.

Review
In my original review (#115 - April 1, 2012), I had given the movie a 9/10 rating, and while I stand by the rating, I regretted not saying more about the movie, with regards to the characters, action and effects. Because of this, I decided to finally make a Redux - Special Edition (which I had done for A Christmas Story, Halloween, Licence to Kill, and On Her Majesty's Secret Service). 

Now, with May 25, 2023 on the horizon, it is time for a bit more editing. Don't worry, it's just the addition and subtraction of certain sentences to give better clarity. Enjoy.

Decades after its release, Return of the Jedi always seems to be lumped in as the lesser of the three films of the so-called Star Wars Original Trilogy. On an emotional level, the movie is a bit too safe, particularly with the ending. Granted, The Empire Strikes Back is a tough act to follow, because that film basically saw the series grow up a bit when it came to the stakes being even higher in terms of space opera while separating its characters into neatly defined plots. I maintain of course that the original 1977 film is the one with the most punch in terms of "first-time joy", but with Return of the Jedi, it does have the benefit of closing its door of a story not one of simple rebellion, but of one with father and son. Howard Kazanjian replaced Gary Kurtz as producer. The director would be Richard Marquand, who had directed The Legacy (1978), Birth of the Beatles (1979), and Eye of the Needle (1981), with the latter being cited by Lucas as key to hiring. This time around, Lawrence Kasdan and George Lucas wrote the screenplay with Lucas providing the story (Kasdan used tape transcripts of him, Lucas, Marquand, and Kazanjian in conference discussing ideas to help make the script). The film was a tremendous success, although for Marquand, having to direct with Lucas looming on set frequently when it came to handling effects certainly must have been a challenge. Marquand directed three further films after Jedi before his death in 1987 at the age of 49 following a stroke. 

Of all the cast in the movie, the one actor with the most impact is the one with little screen time and only 24 words, Sebastian Shaw, who manages to evoke the dying words of a redeemed but withered man with such little time and be one of the more memorable aspects of the film. The Emperor, after being seen briefly in Empire Strikes Back (voiced by Clive Revill in 1980 but replaced by Ian McDiarmid with computer-generated imagery for the 2004 alteration), is given his time to showcase his power over the Empire and Vader himself. McDiarmid plays this master of deception with an unsettling tone of voice that makes the villain more than just a hammy bad guy, compelling even without much revealed about him (until the prequels, anyway, which let him play a double act). Hamill's best scenes are with McDiarmid & Jones, and they make for compelling entertainment, with the lightsaber duel being a key highlight. While the trio of Hamill, Ford & Fisher doesn't really cover any new ground, it is nice to see them again. It's interesting that Ford wanted his character to die as a "self-sacrifice" for a character that progressed from a rogue who didn't particularly care about the Rebellion (while caring mostly about himself) all those years ago to one who decides to die for his friends; Kazanjian had got Ford to return to the role and actually agreed with Ford's suggestion to kill the character off, but Lucas refused. The reveal of Leia being Luke's sister isn't a bad scene, but after everything the two characters had gone through (such as the kiss in Empire to make Han jealous - at least I hope so), it comes off as somewhat strange, especially with Leia stating that she apparently always knew. Circle of life and all. The movie ends with everyone happy (complete with celebratory music in both the original and Special Editions), but does an Empire truly end just because you take down the leader? By this point, Lucas wanted to end the trilogy and curtail any plans he (supposedly) had for Episodes VII-IX and just end it, even if it wasn't as poignant as it could've been. My thoughts on the film have shifted the tiniest bit when it came to the Ewok battle on Endor, since a group of teddy bears that believed a golden robot was a deity manage to take down Empire soldiers with logs and...overpowering them seems more and more amusing when considering the idea of a technological empire losing to a primitive tribe was evidently Lucas deciding to evoke the Vietnam War. Hell, he calls the Ewok sequences a "distraction", not a win, so keep that in mind. The opening rescue sequence on Tatooine with the loathsome Jabba the Hutt is a delightful way to spring adventure from the get go.

Of course, the space dogfight is as fun as ever, probably more so when considering how the series would do them in later years (to say nothing of the Special Editions, which are most apparent here, from the ridiculous song in the first half to the ending); Richard Edlund, Dennis Muren, Ken Ralston and Phil Tippett were each given a Special Achievement Academy Award for their work in the film in effects. Once again, the music by John Williams is excellent, being entertaining (any of the themes from the Battle of Endor, with one of my favorites being "Into The Trap", but "Emperor's Throne Room" is also a chilling brilliant one). For all I said about how it seems too safe at times, Return of the Jedi an enjoyable film, full of spectacle that has enough fun to mostly overcome its emotional shortcomings. Is it slicked in more commercial flavor than the other two? Sure, but it still an enjoyable adventure, one that showed what is fun about making space adventure that turns old cliches into new enjoyment for all to see.

32 years later, Star Wars: The Force Awakens bridged its continuation to the old and new generations of fans, doing a fine job as a beginning of a new trilogy. Time will tell how the new trilogy (and spin-off films) will go, but as someone who saw Episode VII on opening day and enjoyed himself, I sure can't wait.

Overall, I give it 9 out of 10 stars.