From The Empire Strikes Back to The Rise of Skywalker, The Phantom Menace and Rogue One: the Star Wars saga has been classified.

From the first Star Wars that changed the world for many spectators in 1977, to The Rise of Skywalker, the conclusion of three trilogies and the most disappointing final bouquet for the Disney business, generations of dreamers have plunged into the universe created by George Lucas.

While the future of the saga in the cinema is defined with a film officially announced for Taika Waititi, and that the next steps will be on the side of Disney with The Mandalorian and other series, the editorial staff has classified all the episodes, from worst to better.

Warning: this classification is obviously subjective, the result of all the votes of the editorial staff, please do not take out the blasters and insults.

What’s happening: Ten years after The Phantom Menace, politics hurt and Senator Padmé Amidala escapes an attack. The grown-up Anakin is tasked by the Jedi council to protect her, and he falls madly in love with her. But he is Jedi, that is, a space monk, so love and marriage are impossible. Besides, he finds his mother dying, and slaughters a lot of people, because he has the anger Force in him.

Meanwhile, investigator Obi-Wan discovers the existence of an army of clones, secretly launched by the Trade Federation and Dooku, with Jango Fett in the gang. While Chancellor Palpatine obtains full powers to fight the separatists, he is captured, as are Anakin and Padmé who came to help him. It all ends in an arena full of CGIs, where they are saved by all the Jedi in the Galaxy. Despite Yoda Green Force, Count Dooku cuts off Anakin’s arm, escapes and rejoins his master Darth Sidious. On Naboo, Padmé and Anakin get married in secret.

What’s OK: It’s hard not to recognize here the generosity of George Lucas in the Star Wars show and magic. From Kamino’s visit to the twirling clash between Yoda and Dooku, to the final arena and Padmé lost in the factory, Attack of the Clones seeks to satisfy audiences by any means possible. Hence a host of Jedi, monsters, gunfire, combat and digital settings, where everything explodes, vibrates and moves to the delight of the senses. In addition, this second part of the prelogy develops not uninteresting political questions about the Galactic Republic and which establish rather effective parallels with the real world and our history.

What’s Wrong: First and foremost, the bland and boring love story between Anakin and Padmé, made up of excruciatingly awkward dialogue, deeply boring scenes, and overall too weighty in the overall story of the tale. The character of Anakin does not emerge victorious, because of the writing and therefore, of Hayden Christensen who cannot get much out of it. Attack of the Clones has also visually taken a very big leap of age, which more than ever highlights the limits of George Lucas’ directing, and his all-digital ambitions.

What happens: Surprise, Palpatine is still alive and Kylo Ren finds him on Exegol. He must convert or kill Rey, while the Sith prepares a final plan of attack with plenty of Destroyers.

Trained by Leia, Rey searches for Exegol and therefore, a trinket to locate her. Lando comes in to help them, Rey thinks he’s killed Chewbacca, C-3PO’s memory is probed for the trinket, Hux is revealed to be a nice spy, and Rey eventually finds out that she is Palpatine’s granddaughter. She confronts Kylo on the carcass of a Death Star and kills him, with magical help from Leia. Then resuscitates him, because the Force is also used for that apparently. Han-la-Force appears to put the son back on the right track.

Luke-la-Force encourages Rey to go confront Papi Palpatine, and Kylo (now Ben) comes to help him. Meanwhile, the entire Resistance is fighting in the sky with lots of large ships. With the Strength of all Jedi together, Rey finds the Strength to defeat Palpatine, and kisses Ben before he dies. At the end, Rey goes to Tatooine and buries the Skywalker Swords. An extra passes by, and asks her name: “Rey Skywalker”.

What’s Ok: J.J. Abrams is no penguin and runs this little mess with skill. Technically, the film is very solid, and the artistic direction is even sometimes very nice. The introduction, the dark Exegol, or the setting of the duel between Rey and Kylo Ren, offer sensational images.

What’s Wrong: At this point, it’s impossible to believe for a single second that the trilogy was prepared, even in broad outline. From Palpatine’s return to the reduced role of Rose (replaced by another under-exploited female character), to this guidance trinket or the Resuscitating Force, this conclusion stinks of improvisation and tinkering on every floor, with an outrageous desire to pick up the pieces, create the illusion of consistency, and calm fans with a host of dispensable tributes and appearances. Enough to suddenly create an avalanche of inconsistencies or questions, on the trilogy or even within the film.

Of course, the project had gone lame. Colin Trevorrow was fired and replaced by J.J. Abrams, and production was shorter than expected. The reception of the Last Jedi certainly motivated the team to return to the tracks of homage, in the tradition of the Force Awakens, even if it means forcing many elements in the story. But the result nevertheless remains incredibly bland, with a spectacular lack of emotion (the refusal to kill Chewbacca is as such a vast joke), action scenes which are sorely lacking in scale (the fault of the basic stakes), and an exasperating sense of repetition.

What happens: Loubar turned soldier for the Empire, Han Solo becomes a smuggler when he meets a wookie named Chewbacca and Benett’s gang. After a flight that turns into a massacre, the zinzins of space must redeem themselves by stealing a precious but explosive cargo. To save his skin, but also to win back his old love, Han Solo will demonstrate a sense of adventure and exceptional piloting skills. They will allow him to survive multiple betrayals, but not protect his beloved Qi’ra, under the thumb of the terrible Darth Maul. Having become a real smuggler, he embarks with Chewbacca for Tatooine, aboard a ship he has just won in the game, the Millennium Falcon. There, he intends to find a powerful trafficker, Jabba, who sets up a team.

What’s Good: Solo is meant to be an old-fashioned adventure film, paying homage to the 1940s and 1950s serials, where cartoonish but endearing characters embarked on spirited epics. The film is far from rediscovering this formidable simplicity and is sorely lacking in energy, but this note of intention at least allows it to vary the settings and set a more intense pace than many contemporary blockbusters.

Note also that the soundtrack of the film is probably by far the most inspired by recent Star Wars Disney-stamped productions (if we don’t count The Mandalorian). Epic, true to its origins, but more simply adventurous than usual, it would almost by itself save the scene from Kessel’s flight, a veritable dramaturgical and choreographic failure.

What’s Wrong: Directors Phil Lord and Chris Miller fired before the end of filming, Ron Howard hired to wrap it all up, a record-breaking and spectacular failure for the box office saga … Solo is a textbook case. A disaster whose stigmata are obvious here, since the actors seem to constantly ask themselves what they are playing, how and why, while the artistic direction turns out to be totally schizophrenic, sometimes flirting with the old-fashioned western, sometimes a vision. much darker, a la Rogue One.

In this context, the multiple winks and reminders to Star Wars canon systematically appear forced and contrived, as if Solo was trying to invite himself to a party like an ugly forcer. Finally, the debacle involves technique, which is a grim first for a Star Wars. Not that the special effects are messed up or the artistic direction unworthy (quite the contrary), but the film’s photography is so dark, as if battling against the DNA of the footage, that it makes some sequences virtually unobservable.

Add to that Alden Ehrenreich (who had a good CV so far, with the Coppola, Coen, Park Chan-wook, Woody Allen), and Emilia Clarke, unable to hold the boat despite solid supporting roles (Woody Harrelson, Thandie Newton , Donald Glover).

What Happens: Qui-Gon Jinn and Obi-Wan Kenobi, Jedis of the Galactic Republic, discover that the Trade Federation wants to invade Naboo. Helped by Jar Jar Binks, they free Queen Padmé Amidala, but crash into Tatooine, a desert planet. They spot Anakin, a child slave who will become the villainous Darth Vader.

Big pod race to earn the right to leave Tatooine, free the kid and face the super-cool Darth Maul, who is proof that the evil Sith are back. Padmé in the Senate loses patience and allows Palpatine, who is in real life the villainous Darth Sidious, to become chancellor. All the good guys are planning a war on Naboo to defend it. Quin-Gon is killed by Darth Maul, himself killed by Obi-Wan, who then takes Anakin as a Jedi apprentice.

What’s Wrong: This was the saga’s unexpected comeback, after 16 years of hiatus, and it was a major step in the disengagement of some of the audience. Star Wars Episode I is the symbol of a new era, where all digital has come to the head of George Lucas. Jar Jar Binks and midi-chloriens made it worse, the former flaunting the mercantile aspect of the saga (which was born from the original trilogy), while the other recalled the filmmaker’s tendency to redesign his creation, even if it means spoil it. So this is one of the most hated episodes, becoming too family-friendly, too silly and too ugly Star Wars symbol. If Disney had done it, we can’t even imagine what some fans would think.

What’s OK: Perhaps because it’s been crushed by tons of mockery, and dragged through the mud for years, the movie has gained a bit of charm. He oscillates between gravitas and pure cartoon, with obvious generosity. George Lucas has a desire to create and have fun with new aliens, new critters, new worlds; he clearly abuses the tools at his disposal, like a big kid with brand new (digital) toys, but manages to find, sometimes, a little of that epic breath, even of that regressive magic.

Between very beautiful themes of John Williams, a stylish Darth Maul (although very under-exploited), an inspired cast (Liam Neeson, Ewan McGregor, Natalie Portman), some spectacular duels and a political axis admittedly thin, but which has merit to explore another side of the galaxy, The Phantom Menace isn’t all that despicable after all.

What’s happening: See episode 4, but with different names and more old breathless lymphatic players.

What’s Ok: The Force Awakens may be a masked remake of Episode 4, but it is nonetheless a film crippled by great moments and vivid imagery. One thinks in particular of the attack on the village at the very beginning of the film, or the ruined AT-TT on Jakku. But the pinnacle is reached during the very good final duel (excellently put in parallel with the unleashing of nature), which makes the welcome choice to put heaviness and realism back into the blows after a prelogy rich in fairground pirouettes. Han Solo’s death is also a very well put together moment, well dramatized by the light.

J.J. Abrams has obvious know-how, shown on Mission: Impossible 3, Star Trek and Super 8, and he executes the mission efficiently, with some very solid aerobatic and staging moments.

Moreover, and even if the character creates debates, Adam Driver in Kylo Ren is for many a major asset.

What’s wrong: Beyond the fact that the idea of ​​a small remix of A New Hope is very boring, and already demonstrates the saga’s lack of ambition and appalling imagination, the real underlying problem of this episode 7 is that there are too many elements for one film, but not enough for two.

Many important aspects of this new universe are precipitated when they are not purely ignored, because it is necessary to obey a logic of action and chain of vicissitudes. It is therefore sad to realize that Phasma is of no use, neither is Poe, that the First Order is a completely hollow entity, and that the heart barely vibrates in the face of this threatened galaxy. No matter how talented the actors are, or the returns of yesterday’s heroes, this Force Awakens doesn’t create much emotion or excitement. The result sounds very cold, the fault of undefined characters, very classic stakes, and a lack of identity.

What happens: This is crap. The Republic is under threat, and Anakin and Obi-Wan finally manage to find Dooku for his birthday, because on top of that, he kidnapped Chancellor Palpatine, which isn’t really smart. To make matters worse, Anakin doubts. Because he loves Amidala, it’s super frowned upon among the Jedi, and besides, he’s knocked her up. And that’s exactly what Palpatine was waiting for to rally him to the Dark Side. This is smart.

As a result, Anakin was renamed Darth Vader, butchered much of the Jedi, forcing the survivors into exile. Obi-Wan takes it badly and decides to give him his birthday. Hurt him to death, he thinks he killed him when he didn’t. Amidala gives birth to Luke and Leia before dying and the babies are separated so that Anakin cannot find them. Reduced to an overcooked kebab, Anakin is saved by Palpatine who puts him in life armor. As he is a little surprised, he stumbles up and lets out a big fat “Nooooooon” which still makes us shudder today. And that’s the end of the prelogy.

What’s going: If the prelogy is far from unanimous, it still has some very beautiful moments. And by chance, most of them are together in Revenge of the Sith. Probably the most important episode of the entire saga because it finally shows us how Anakin Skywalker became Darth Vader, the film finally exposes us how the Dark side can pervert an already fragile mind. Whether it’s his forbidden love affair that condemns him to drift, or Palpatine’s decisive influence, the film simply shows us the downfall of a man with a great future. And the final confrontation with Obi-Wan only becomes more heartbreaking, with a sense of the tragic exploding against an apocalyptic setting.

Especially since there are some other beautiful dramatic moments, from the terrible death of Mace Windu to that of the many Jedi betrayed by the clones, through this moment of grace where Padmé and Anakin seem to exchange a silent and distant glance since their windows.

What’s wrong: It’s hard to patch up into a film what has been more or less damaged in previous films. Anakin is of course the first victim, and his dark gaze and tortured actions are not enough to erase his silly romance from the previous film. The birth of Luke and Leia, too, is odd, framed in a totally undramatic fashion when it should be one of the film’s strongest moments. And finally, of course, the final, incomprehensible, ridiculous “NOOOOOOO” which completes in a few seconds everything that the film tried to build just before.

What happens: In a long, slow chase, the Rebel Fleet attempts to escape the First Order, which slowly destroys them after nearly killing Leia, who has been plunged into a coma after a cosmic Mary Poppins ride. Finn and Rose, out of nowhere, secretly set off on a planet casino, in an attempt to find a pirate, to infiltrate the First Order ship, and prevent it from tracking the rebels. It all takes a long time and is useless.

Meanwhile, Rey harasses Luke the hermit on his Breton island, in order to become a worthy Jedi. The old man refuses, because he is traumatized by the failure of Kylo Ren (whom he hesitated to kill at the time), and feels in her an ambiguous Force, because of the enigma of his parents which obsesses him. . Rey eventually gets bored and flies off to Kylo Ren, convinced she can get him back on the right path. She throws herself in Snoke’s nets, who asks Kylo to kill her. But surprise, he kills Snoke and tries to rally Rey to his cause, to no avail.

Angry, Kylo, ​​supreme leader of the First Order, wants to kill all the rebels, trapped on a planet. Fortunately, thanks to the mystical intervention of Luke (who dies) in front of Kylo Ren. The Resistance managed to escape aboard the Falcon. And at the end, an anonymous kid lifts a broom, a sign of a Democratized Force.

What’s Ok: Technically speaking, Rian Johnson’s The Last Jedi is a success on so many levels. It opens epically in a dizzying streak with Poe Dameron’s X-Wings facing the Empire. Subsequently, the Homeric moments are numerous, and the film surprises, as with this memorable silent shot where Holdo blows up the First Order ship. The director of Looper even offers an impressive double climax, magnified by a very inspired photography and staging on the planet Crait.

Plus, the humor is cleverly balanced, like the Porgs, whose ultimately limited appearances are at the worst amusing, and at best very funny when played on pure gag.

What’s Wrong: The storyline, and the handling of characters and subplots. Between whole arcs that stretch for no reason (the whole quest of Finn and Rose, which accumulates the twists and turns and gives nothing, except a bad twist on this pirate who is obviously not reliable), characters shamefully under- exploited (Phasma, Maz Kanata), and curious choices (putting Leia out of the game, presenting Holdo), The Last Jedi often leaves an impression of stagnation, even filling.

He also fails to detach himself from the Skywalker family and the mythical figures in the story. The result, among other things, is a hideous and ridiculous scene with Leia, whose overall treatment is otherwise unfortunate. In the end, the 2.5 hour film is sorely lacking in rhythm, harmony and dynamics.

What happens: After severely calming the rebels and traumatizing Luke (and a whole generation), the Empire decides to rebuild the Death Star, except this time it will be called the Death Star. Meanwhile, Luke got his hands on (laughs) a new lightsaber, which will be green. He returns to Tatooine to free Han Solo and Leia, reduced to a teenage fantasy, and Jabba and Boba Fett are killed. Luke then visits Yoda, who dies.

The Emperor travels to the Death Star to lure the rebels into a trap. The rebels fall right in, except, bad luck for the Empire, there are Ewoks, and you wouldn’t believe that way, but an Ewok is pretty damn tough. Suddenly, the Imperial Army takes a big beating. The Emperor tries to lure Luke to the Dark side anyway, but it doesn’t work so well that Darth Vader switches back to the bright side. He dies taking the old man away, the Death Star is destroyed, everyone celebrates among the Ewoks, peace has returned to the galaxy.

What’s OK: More or less the whole movie. Having especially suffered from the comparison with The Empire Strikes Back, Return of the Jedi is a rather desperate opus that knows how to summon with talent a feeling of apotheosis and conclusion, in addition to knowing how to spare some welcome effects (the revelation on Leïa ).

Luke is thus at the peak of his form from the beginning of the film, which is one of the best moments of this episode directed by Richard Marquand, and the final duel in parallel with the rebel battle is a great Shakespearean moment, in addition to to be very inspired plastically. The music also reaches grandiose heights, including the theme of the emperor and the death of Darth Vader, moreover the real great scene of the film, brilliant in its simplicity, and yet devastating in its melancholy emotion.

What’s Wrong: What keeps it from being totally a great movie is the uncontrolled slippage in tone and disharmony as a result. Because in this dark and Dantesque grand finale, there are a lot of elements designed for a young audience, which clearly have no place in the film (and which are more messed up). George Lucas had the merchandising fiber from the first trilogy.

The main problem with the Ewoks, for example, who crystallize so much hatred, is not so much that they are cute: it is that they disband an army of soldiers and walking vehicles when they are 20 and fight with them. spears and slingshots. Or how to demonstrate a cartoony benevolence irrelevant in the face of the tragedy at play. But these little fluff are just symptoms of a systemic illness. We could add to that all the ridiculous gags at Jabba with the crying executioner, the screaming robot and above all, above all, this horrible Jedi Rock. Enough to slow down the momentum of the epic finale of an intergalactic epic.

What’s Happening: What we all know, namely the theft of the Death Star plans, which will bring New Hope. All of this could have happened thanks to Jyn Erso, whose father is the architect of the Death Star, who purposely left a loophole in its construction to destroy it. Surrounded by a team of daredevils, she’s off to planet Scarif to retrieve the blueprints and hand them to Leia. In the end, everyone dies.

What’s Ok: After chaotic production and substantial plot changes, there were concerns that this first Star Wars spin-off could turn into outright disaster. Total error, since if the blockbuster does not reinvent the genre, it offers entertainment remarkably well maintained from start to finish, whether in front or behind the camera. For the first time since The Empire Strikes Back, Star Wars allows itself to truly play the drama card, and especially to hold this tone until its final images.

Likewise, we will be grateful to Gareth Edwards (and Tony Gilroy, who came to finish it all), for not ignoring the fan service, while using this dimension with intelligence, and always a deep desire for cinema. Evidenced by the sequence where Darth Vader cuts through a gaggle of rebels, which allows the character to express a power hitherto mostly fantasized. And the film does not lack strong images, with a striking artistic direction and a desire for a change of scenery welcome in the saga.

What’s Wrong: Rogue One bears the wounds of his complicated creation, and cannot hide the changes made. Between the superb tableaux designed by the director of Godzilla, seen in the trailers but absent from the film, and the haphazard treatment of several important characters, the film betrays its unease and its modifications. The characterization of the heroes, the value of some supporting roles and the overall storytelling are the main weaknesses of the story.

It’s also a film that doesn’t fully embrace its 7 Mercenaries side by wasting a lot of time setting up its plot, to the detriment of its hothead squad. Hence a wobbly result, which seems to advance in spurts.

What’s Happening: It’s a mess in the galaxy, between the evil Empire and the gentle Resisters. Having recovered the Death Star’s plans in the future Rogue One, Princess Leia, pursued by Darth Vader, hides them in R2-D2, which she sends along with C-3PO to Tatooine.

Luke Skywalker decides to help them bring the message back to Obi-Wan, now an old desert bear. Darth Vader kills Luke’s family, who leave the planet with Obi-Wan thanks to Han Solo and Chewbacca. Luke flirts with the Force before the gang is captured by the bad guys. They free Leia, Obi-Wan confronts Darth Vader and prefers to fly away. With the plans, they find the Death Star’s weak spot, and with his talents, Luke smashes everything.

What’s going: It’s hard not to have a particular attachment to the very first episode of the saga, the one with which it all began. A more than risky and ambitious bet for George Lucas, noticed with THX 1138 and American Graffiti, Star Wars changed the face of Hollywood cinema dramatically, against all odds, and prognosis.

Birth of heroes, birth of a universe, birth of a dream: the first adventure of Luke, Leia and Han is a model in terms of smart show, which uses a limited budget (11 million, or 45 with inflation in 2018) wonderfully, and summons the great figures of mythology with sensational freshness. Between action, humor, small emotions and great epic breath, carried by a trio of fantastic actors (irresistible Carrie Fisher and Harrison Ford, very solid Mark Hamill), A New Hope benefits from an exemplary construction, and remains a great model of the kind.

What’s Wrong: Compared to other episodes, A New Hope is less dramatic and more square. Scrupulously obeying the classic adventure film scheme, placing the various pieces on the space chessboard with almost academic respect, George Lucas gives his film a very rigid appearance. And because he’s busy introducing the characters and the universe, he doesn’t have the space to actually enjoy it, like the sequel. Hence, for some, a sensation of small appetizer.

What’s Happening: After the destruction of the Death Star, things start to get serious for the Rebels because the Empire has done so damn badly. Between Luke who sees his perception of the Force increase and the Dark side gradually dawns, and Emperor Palpatine who finally makes himself known, it’s not really the party.

Sent to Dagobah to undergo Yoda’s training and become a true Jedi, Luke confronts his dark side and discovers his own fragility. A big worry for Leia and Han too, who go to Lando Calrissian in the City of Clouds to ask for his help. Bad luck, Lando is a traitor who sells them to the Empire, Han finds himself frozen and Luke learns that Vader is his father before having his hand cut off. We saw a more glorious Monday.

What’s going: If Star Wars deserves credit for initiating one of the greatest cinematic frescoes of all time, it was The Empire Strikes Back that gave it its power. , before establishing its legitimacy for several decades. Now totally reconnected to the great myths and in full control of its universe, Star Wars will expand its world and its network of symbols, and take advantage of the dramatic springs that are available to any central chapter of a self-respecting trilogy. The Empire Strikes Back makes the global work an essential chapter in the great human frescoes. An opus that encourages its viewer to grow with him, and to grasp the twists and turns of a reality darker than it seems, the better to rise there.

Irvin Kershner’s film is also a series of cult scenes from the start, with sensational confrontations and images about Hoth, which left a lasting mark on the imagination – in part thanks to the mind-boggling special effects. From Yoda on Dagobah to the big final reveal, this is a totally mastered episode, in both writing and directing.

What is less: Very difficult to find in The Empire Strikes Back any major flaws. But since you have to play the game, that would definitely be his place in the hearts of fans and his legacy. Indeed, his impact was so decisive for the rest of the saga that he has hovered like a ghost over the saga ever since. Each new chapter is then implicitly compared to this major film, as the Disney trilogy once again reminded us. This is perhaps the biggest flaw of The Empire Strikes Back: to have been so radical and powerful in its approach, that it gave each intermediate chapter of a trilogy the obligation to be darker and more adult than the others, thus positioning himself as the last, impassable frontier.

Find our flashback report on the critics of the time, at the release of the old Star Wars: has the press turned its jacket over over the years?

To learn more about the trilogy George Lucas dreamed of and which Disney swept aside, it’s in this article.

And to find out why The Last Jedi doesn’t deserve so much hate for us, it’s here.

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ranking of the whole saga, from the worst to the best Source link ranking of the whole saga, from the worst to the best

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