Star Wars: A Complete Review

The final film in the Star Wars “Skywalker Saga” is hitting theaters in just a couple weeks, and tens of millions of people are buying tickets to see it. The event feels a lot like the release of Avengers: Endgame earlier this year, if Endgame had spanned 40 years instead of 10.

Undoubtedly, Star Wars – Episode IX: The Rise of Skywalker will not make as much money as that movie did, if for no other reason than Star Wars seems to be a uniquely American thing. Having launched the genre of the modern blockbuster in 1977, Star Wars has seized the attention and imagination of the United States for almost a half-century, but this enthusiasm has not spread overseas. The Force Awakens, still currently the highest-grossing movie ever domestically, made 45% of its earnings here at home (compare that to Avengers with only 30%). There’s something about this franchise that we love, and we’ll be sad to see it go.

In honor of the concluding saga, I offer here an analysis of the entire series—the main films, none of that “Star Wars Story” junk. We’ll go through what they meant to the franchise and what they did best (and worst), and if you can get through it all, there’s a ranking waiting for you at the end.

Episode 4: A New Hope (1977)

Originally lacking the episode number and subtitle, it’s hard to explain the momentousness of the movie entitled Star Wars. Created as an epic space-opera in the vein of Flash Gordon by writer and director George Lucas, Star Wars quickly grew to become the highest-grossing film at that time and continues to be the second-highest when adjusted for inflation. It received ten Oscar nominations (including Best Picture), was included in the Library of Congress’s National Film Registry as being “culturally, historically, or aesthetically significant,” and is regarded as one of the most important films in history particularly for its scope, world-building, scoring, and special effects.

Star Wars has become so pervasive that we often lose sight of its oddness. We don’t realize that Darth Vader is wearing samurai armor but that our setting is that of a Western. We ignore that we’re clearly watching a Sci-Fi movie but with a Fantasy’s tropes and structure. Lucas took pulp novels and Saturday morning television and made it the apex of cinematic culture. 

All this novelty aside, let’s discuss A New Hope as a standalone film. Episode IV is the only film of the original trilogy written and directed by George Lucas. Coming off the small-scale success of THX 1138 and American Graffiti, Lucas was able to let his creative impulses run wild in the creation of his new Star Wars world. It’s said, however, that his new movie was scattered and bloated with the creator’s ideas, and was only by the editing work of his then-wife, Marcia Lucas, that the film was saved. By her efforts we received the tight, straightforward script that launched the franchise.

This first film is famous for popularizing Joseph Campbell’s “The Hero’s Journey,” the story structure by which a hero overcomes challenges in order to fully realize their inner self. Star Wars was a story about a no-name moisture farmer from a no-name desert planet. A boy who previously dealt with the same angst and desire to escape as all teenagers is suddenly launched into a grand adventure and shown amazing power. This is also the movie that introduced us to the menacing villain, Darth Vader. He’s not at the top of the evil Empire’s hierarchy, but he’s certainly the most interesting of our hero’s foes.

Before moving on, it should also be mentioned how groundbreaking the production design for this movie was as well as the scoring. John William’s theme music is operatic—over-the-top even—and not soon forgotten. The special effects, mostly practical, were cutting edge, and the sound library created for the films is still in use today.

Episode 5: The Empire Strikes Back (1980)

And then we got the sequel that changed everything.

Empire is special in a few regards. First, it was one of the few follow-ups that demonstrated that a sequel could be just as good if not better than the original. It wasn’t just a cash-grab on the success of its predecessor—it was a giant in its own right. Second, it radically changed the theme of the series. Vader’s reveal that he’s Luke’s father is more than an iconic twist; it puts the “opera” in space-opera and sets the tone for every movie up to and possibly including The Force Awakens. By connecting our protagonist and villain in such an intimate way (and then doubling-down on it in the next installment), we are given a cinematic universe in which everyone is connected—destiny is a major player.

Part of the movie’s distinctiveness is assuredly the result of Lucas not being the director but rather Irvin Kershner. Lucas was still the creative force behind the film, but now someone with arguably a better directorial eye would be behind the camera. Together with writer Lawrence Kasdan, they developed a more complex story than the original more in line with a tragedy—again, unusual for a blockbuster sequel. Kershner also brought some of the series’s most striking visuals in his installment, with the stark white of Hoth, the mysterious green swamps of Dagobah, and the iconic Cloud City duel between Luke and Darth Vader.

Some of the other innovations of Empire, we miss because they seem so standard to the Star Wars universe. The menacing, polished look for Vader’s armor was not perfected until the sequel, nor was planet-hopping really a thing in A New Hope. Moreover, in The Empire Strikes Back, we start to get a better understanding of the force. While Old Ben had given us a brief explanation in the first movie, it’s not until the second film and particularly in Luke’s training with Yoda that the eastern philosophy behind the force is made clear.

Episode 6: Return of the Jedi (1983)

The third installment, while still popular, is for many the least respected of the original trilogy—is it too harsh to compare it to the Godfather trilogy? As already mentioned, we get Leia’s reveal and thus we ensure that everyone is connected and only important if they are somehow connected to the Skywalkers. Also this movie is essentially two different movies, with Jabba’s Palace taking up the first half and the Death Star and Endor comprising the second.

I’ve heard it speculated that some of the film’s weakness is due to Lucas bringing on more of a director-for-hire in Richard Marquand, someone with less of a vision than Kershner. But who’s to say? Return still gives us our first (and up until now, only) real look at the Emperor, a villain fantastic in his evilness, and an enthralling climax between Luke and his father.

Episode 1: The Phantom Menace (1999)

And then we had to wait sixteen years. Lucas had supposedly always planned on having a prequel trilogy, and I remember my brother explaining to me when I was young that he need technology to catch up with his vision of what those movies would look like. I’m sure he wishes he would have waited a little longer.

Again, the excitement from the Star Wars fanbase is hard to overstate. When the Phantom Menace trailer originally premiered before an otherwise slow fantasy drama, Meet Joe Black, the tickets for that movie soared as people went just to watch the new Star Wars trailer. Yet when the movie actually came out, fans were not quite as enthusiastic.

This disappointment can probably be traced to a few sources. First, Lucas was in complete control—more so than even with A New Hope. Now Lucas is the extremely wealthy, intellectual owner of the Star Wars franchise. None of his decisions were questioned as he wrote and directed Episode I. Second, teasers for things fans loved were scattered throughout the movie, but overall the film felt very different than the original. There was no Darth Vader, just a small child. No stormtroopers, just nasally robots. No Han Solo, just Jar Jar Binks. Yet maybe more important than either of these factors is the fact that the movie focused heavily on politics—lots of people talking about trade regulations and the word “federation” used far more than it should ever be in an adventure film.

Despite the poor critical and audience response, the movie still made a lot of money and had plenty of elements that people enjoyed. The use of CGI, though dated by today’s standards, was expansive and revolutionary. The pod-racing, while representing an unpopular segment of the Star Wars story, was undeniably fun. And the new mode for lightsaber battles—more choreographed and akin to fencing than broadsword fights—made for some truly exciting action scenes. In fact, the three-way duel between Darth Maul, Qui-Gon Jin, and Obi-Wan Kenobi is still one of the best scenes in the series, both in terms of excitement and visuals (especially the timed-gate scene).

Also worth mentioning is that the Prequels completely re-work the lore of Star Wars, demonstrating that Lucas did not truly have it all planned out. While this becomes more apparent by Revenge of the Sith, the need to start Jedi training as a toddler is probably the most laughable consequence of Lucas not understanding his own creation and attempting to rationalize Yoda’s comment in Empire that Luke was too old to begin his training. And on the point of lore, deciding to give Anakin a Messianic, virgin birth was an odd, albeit interesting choice.

Episode 2: Attack of the Clones (2002)

Three years later in real time and ten years in movie time, Anakin is grown; he’s a Jedi Knight now, and we’ve tried to forget the whole virgin-birth thing.

This movie certainly has a lot that I enjoy—it has bigger battles, and we’re introduced to the clone troopers (which were so cool they basically got their own television show). I also delve deeper into the mythology of the Star Wars universe and into the politics of our story. Seeing this as a child, I was just as bored this time around as in The Phantom Menace, but with age and reflection, I’ve come to appreciate the political maneuvering and the mystery of the Prequels. More and more it reminds me of complex works like Dune, and I think I begin to understand what these films are going for.

That said, this second installment by Lucas in his new trilogy is perhaps the weakest of the series. The dialogue is at its worst (and you can’t blame a child anymore), and the special effects seem more prominent and more distracting. This movie’s greatest weakness, though, is that it whores away that which is special about the Star Wars universe. No longer are the Jedi subtle ambassadors for peace and noble ideals, pious warriors operating at the wings, but rather we watch (a somewhat exciting) full-on attack by an army of Jedi on Geonosis. I could possibly be convinced that this is necessary characterization of this era of the Jedi Order as something that has reached critical mass and must fall, but I am less inclined to forgive how the movie treats Yoda. The Jedi Master, first introduced in Empire, was instantly revered by audiences because his connection to the Force made moot his physical shortcomings. He need not be a talented warrior, because his mind and its wisdom were his power. Attack of the Clones loses this the moment they give him a short, green lightsaber and have him flip around an old Christopher Lee.

Episode 3: Revenge of the Sith (2005)

This is the climax that makes all the politics and trade-talk and maneuvering finally worth it. The final installment in this trilogy is easily the most respected. (Would The Lord of the Rings be a fitting parallel?) As Emperor Palpatine’s plan come to fruition, we see all the cogs fit in place, and we’re forced to watch on as our characters’ stories end in tragedy.

Beyond that, I don’t have a lot to say about this movie. With a few minor exceptions, the final fight between Anakin and Obi-Wan is incredibly engaging and emotional for our heroes. This film also boasts, perhaps, the most dazzling and creative visuals of the series. For those, who see Lucas as a great storyteller but a weak filmmaker, check out this defense of Revenge of the Sith as his magnum opus.

Episode 7: The Force Awakens (2015)

And then we waited another decade. Presumably because George had grown tired of his creation and the negative fan reaction from the Prequels, he gave up his brainchild to the at-the-time-not-quite-as-massive media conglomerate, Disney, for $4.05 billion. They promised to take good care of his baby, and in 2015, under the directorial vision of J. J. Abrams, they gave us our first return to the Star Wars universe.

Is it getting old if I say the excitement was unprecedented? Before the movie was in production, they had open auditions for its lead parts. I remember talking with Harrison Waldron, whom many of my readers are familiar with, as he tried to find the perfect balance of Harrison Ford to incorporate into his audition. (I don’t think he ever actually went to the auditions; if he had, we would never have met the likes of Daisy Ridley.)

Abrams was already established at this point as a talented director, later to become famous for his “Mystery Box” approach to storytelling, his dynamic action, and his ability to copy the styles of other directors (something that assuredly helped him get the gig). He was tasked with making a movie that felt like the original trilogy, something he did very well with only a few rare references that the Prequels even existed. This movie also needed to update the franchise for 2015, diversifying the cast and delivering more complex characters.

The latter goal is probably the best part of The Force Awakens. For by it, we gain the conflicted Kylo Ren and the novel idea of a stormtrooper-turned-resistance-fighter. The filmmaking in The Force Awakens is made more subjective to highlight these character changes, and it’s just hard not to enjoy yourself watching this movie.

As we’re all familiar, the film had a little bit of backlash after a few weeks rocking the box-office (and by “rocking,” I mean becoming the #1 domestic film to this day). It was criticized for relying too much on the story of A New Hope and for its main protagonist being a Mary Sue of sorts—that is, a flat character with seemingly no flaws. Both of these criticisms are valid, but understandable given the environment of the film. Still, Rey’s instant ability would accelerate her character’s role in the series for the next few movies, feeling a little out of place given what we know from the other movies.

Episode 8: The Last Jedi (2017)

And last we come to our most recent installment and the source of all recent controversy. Disney intended with each new movie to bring on a new director and a new vision. For this film, they brought on the acclaimed director of Looper, Rian Johnson. And upon initial viewing, his movie was well-received—both financially and critically.

Notable for this eighth installment was its use of color (offering probably the most stunning movie yet), its action set-pieces (delivering a fight-scene second only to Maul’s in Episode I), its sense of humor (which was funnier than previous films but without changing the tone as some have suggested), and its surprises and theme development (which go hand-in-hand).

Most everyone can get behind those former attributes of The Last Jedi, but the real point of contention is regarding its twists and the motto that Johnson seemed to operate by—defy expectations. That Johnson would try to do this in his movie is understandable, especially given the flack that The Force Awakens received for rehashing the original film. But I would go further to say that, on top of the movie’s other attributes (color, action, humor, etc.) that already make it unique, Episode VIII is made to be one of the best Star Wars installments purely for how it handled the themes of the franchise.

You see, not only were the movie’s twists exciting at a cinematic level (anyone who saw The Last Jedi in theaters remembers the audience reaction to Holdo’s sacrifice), but they were instrumental in constructing a film that brought the franchise back to 1977’s Star Wars. By killing off Snoke and, more importantly, revealing that Rey’s parents were nobodies, Johnson reminds us that not everyone has some connection to past characters; it doesn’t always have to rhyme. And by that, we are given that same hope from the original again, that anyone—even if you’re a lonely farmboy—has the potential to be someone great. Undoubtedly, The Last Jedi has some dramatic shortcomings, but above all that the movie offers rich characters, exhilarating scenes, and the most thoughtful installment to date.

The Ranking

8. Episode II – Attack of the Clones

7. Episode I – The Phantom Menace

6. Episode VI – Return of the Jedi

5. Episode III – Revenge of the Sith

4. Episode VII – The Force Awakens

3. Episode VIII – The Last Jedi

2. Episode IV – A New Hope

1. Episode V – The Empire Strikes Back

(If you want to compare rankings, go here.)

I’m excited for this last movie. Though trying to remain reserved, I have high hopes. I was originally skeptical of bringing Abrams back to direct the final film—it seemed like a safe move (in a negative sense). But perhaps that’s what Star Wars needed after the disappointing box-office run of Solo and the mixed fan reactions to Last Jedi. I just hope he doesn’t recant what Johnson offered to the franchise. In any case, I wish him the best. Check back here in a couple weeks for an updated review of how it all turned out.

Addendum

Everyone by now should know the reaction to the Rise of Skywalker. Critics were generally disappointed and audiences were mixed. According to RottenTomatoes, the film suffered from a “frustrating lack of imagination,” manifested in the reintroduction of Palpatine, the Endgame-esque conclusion, and Abram’s doubling-down on the fan version of Star Wars. The movie also suffered technically from rushed scenes and uneven dialogue. Still, the chemistry between Rey and Kylo in this new trilogy is engaging, the emperor’s evilness fantastic, and a few of the action scenes propulsive. While I too was disappointed, the movie was strong enough to rank above the first two prequels.