Much has been made of the fact over the past week that this year's ALCS rematch between the Toronto Blue Jays and the Kansas City Royals is a rematch of their 1985 ALCS meeting, one which is considered by many to be a classic series. But the similarities between the two end there. After the Royals went up 2-0 after the first two games, many sports writers and fans began drawing parallels to that 1985 series when the Jays were up 2-0. They would go on to be 3-1, needing only one more win in the final three games to advance to the World Series. The Royals would stage a historic comeback, winning the three remaining games to knock out the Blue Jays to go onto the World Series.
With Game 5 about to start and the Jays facing elimination, many Jays fans are looking to that 1985 series to flip the script. Many parallels have been drawn, with the Jays winning game 3 at home just as the Royals did in '85. Unfortunately, and I say this is a life long Jays fan, don't expect history to be flipped this year.
While the Jays probably have the best lineup in the big leagues this year, in their nine postseason games this year, they've struggled. With the exception of the four games they've won, their offense has been very dormant in the rest, silenced by the pitching staffs of both the Rangers and Royals. In fact, the Jays owe their ALDS victory to the three 7th inning errors by the Rangers offense which led to Jose Bautista's monster game winning home run. Before those errors, the Rangers' starting pitcher had kept the Jays at bay.
So has been the case not just with the Royals starting pitching (with the exception of Game 3's starter Cueto), but their frighteningly effective bullpen as well. Outside of the eleven runs the Jays scored in Game 3, their offense has only produced five runs. And even their victory in Game 3 was closer than it needed to be as the Royals scores four runs in the 9th inning to make it am 11-8 game. The Royals have produced most of their runs in the final three innings of each game in this series, with nine runs produced in the 7th, 8th and 9th last night. The Royals have proven that they are very effective late in the game, while the Jays have done more damage in the beginning.
But the biggest factor, I believe, is that while the Jays might be able to win tonight's game to force a Game 6 in Kansas City, I just don't see them winning both Game 6 and Game 7. One or the other, sure, but considering their current position, they won't have that luxury. As postseason - starved as the Jays and their fans are, the Royals and their fans want this more after last season. The Royals are playoff hardened, having been here before. They've had a taste, gone the distance but just missed it. So they have the hunger more than the Jays who are doing this for the first time since 1993.
In order for the Jays to be serious contenders, they need to get a taste and lose it just as they did in 1991 before winning in 1992 and 1993. From what I've seen, the Royals want it, they've tasted it and are ready to take all of it this year.
Maybe next year, Jays.
Wednesday, October 21, 2015
Friday, October 16, 2015
And the Winner Is...
The 2015 Postseason is well underway. 26 teams have been knocked from contention. Some rather unceremoniously, others in incredibly dramatic fashion. Now we are left with four teams competing in two separate League Championship Series to see who will go on to the World Series. There are plenty of predictions out there as to who will beat who and go all the way, the craziest coming twenty-six years ago when it was said that the Chicago Cubs would win the World Series (see Back to the Future II), something that's not so far-fetched anymore.
All four teams are trying to overcome postseason droughts that span decades. Of the four teams still in contention, the most recent World Series Champions are the Toronto Blue Jays of 1993! Yikes! The last time the Mets won in 1986, I was just about my son's age. The Royals won in 1985 (the year the first Back to the Future came out, by the way). And the last time the Cubs Won It All, Theodore Roosevelt was President and the Titanic was still three-and-a-half years from its doomed maiden voyage!
So regardless of who goes all the way, somebody's drought is going to end in the coming weeks.
So, I thought it was time to throw in my two cents, even though the first round is already over. Though I didn't put anything in writing a week ago, I have to say my LDS predictions weren't too far off.
Blue Jays v Royals
In a rematch of the 1985 ALCS where the Royals overcame a 3-1 deficit to take the series from Toronto, both teams are pretty evenly matched. Both have a way of coming from behind to win in dramatic fashion in the late innings, and each had very similar records.
However, while the Royals topped the Jays during the regular season for best record (95-67 over 93-69), the Jays had a far stronger second half and nearly overtook the Royals for home field advantage. Not to mention, the Blue Jays feature one of the best offenses in the history of the game as well as some pretty powerful bats. If anything helps balance however, it's the Royals' home field advantage. If the series goes to a final do-or-die Game 7 in Kansas City, I don't see the Blue Jays coming out on top.
Still, Blue Jays in 6.
Cubs v Mets
There's no doubt that there's something special about these two teams. Both the Cubs and Mets have struggled in recent years, each posting multiple losing seasons before coming into this season. So to say that this season has been a turnaround for both teams is an understatement. Both are youthful and charged with energy, but there's something special about the Cubs this season that is undeniable.
Cubs in 5.
Blue Jays v Cubs
Admittedly, this is my dream match up for the World Series. And to be honest, as much as I love the Jays, the Cubs are the one team I wouldn't mind seeing beat them. Both teams have been swinging powerful bats lately with plenty of monster home runs to boot, particularly in their LDS clinching games. Both are fairly evenly matched with the key to success coming down to whose pitching staff better restrains the other's offense. I see this series going all the way, with it easily going either way. However, only one team has displayed a tendency for clutch heroics...
Blue Jays in 7.
All four teams are trying to overcome postseason droughts that span decades. Of the four teams still in contention, the most recent World Series Champions are the Toronto Blue Jays of 1993! Yikes! The last time the Mets won in 1986, I was just about my son's age. The Royals won in 1985 (the year the first Back to the Future came out, by the way). And the last time the Cubs Won It All, Theodore Roosevelt was President and the Titanic was still three-and-a-half years from its doomed maiden voyage!
So regardless of who goes all the way, somebody's drought is going to end in the coming weeks.
So, I thought it was time to throw in my two cents, even though the first round is already over. Though I didn't put anything in writing a week ago, I have to say my LDS predictions weren't too far off.
Blue Jays v Royals
In a rematch of the 1985 ALCS where the Royals overcame a 3-1 deficit to take the series from Toronto, both teams are pretty evenly matched. Both have a way of coming from behind to win in dramatic fashion in the late innings, and each had very similar records.
However, while the Royals topped the Jays during the regular season for best record (95-67 over 93-69), the Jays had a far stronger second half and nearly overtook the Royals for home field advantage. Not to mention, the Blue Jays feature one of the best offenses in the history of the game as well as some pretty powerful bats. If anything helps balance however, it's the Royals' home field advantage. If the series goes to a final do-or-die Game 7 in Kansas City, I don't see the Blue Jays coming out on top.
Still, Blue Jays in 6.
Cubs v Mets
There's no doubt that there's something special about these two teams. Both the Cubs and Mets have struggled in recent years, each posting multiple losing seasons before coming into this season. So to say that this season has been a turnaround for both teams is an understatement. Both are youthful and charged with energy, but there's something special about the Cubs this season that is undeniable.
Cubs in 5.
Blue Jays v Cubs
Admittedly, this is my dream match up for the World Series. And to be honest, as much as I love the Jays, the Cubs are the one team I wouldn't mind seeing beat them. Both teams have been swinging powerful bats lately with plenty of monster home runs to boot, particularly in their LDS clinching games. Both are fairly evenly matched with the key to success coming down to whose pitching staff better restrains the other's offense. I see this series going all the way, with it easily going either way. However, only one team has displayed a tendency for clutch heroics...
Blue Jays in 7.
Thursday, October 15, 2015
Rangers v Blue Jays: The Magnificent Seventh
I think it's pretty safe to say that the 7th inning of Game 5 of the ALDS between the Toronto Blue Jays and Texas Rangers in Rogers Centre in Toronto will go down as one of the wildest, craziest, most obscure and any other word you can find in a thesaurus in the history of baseball.
Now, I know much will be made of the collapse of the Rangers defense in the bottom of the 7th that allowed the Blue Jays to load the bases. Poor Elvis Andrus (who botched three plays but was only credited with two errors) will need to find a new team, just as Mitch Williams needed to follow Game 6 of the Blue Jays' 1993 World Series victory. However, I don't think Andrus should receive as much of the blame as he will during the off-season.
Instead, I would look to Rangers manager Jeff Banister.
That's right. You see, after Russell Martin's return throw to Aaron Sanchez bounced off the bat of Shin-Soo Choo and base runner Rougned Odor scored, the home plate umpire called the play dead. Credit must be given to Odor who not only played a terrific series but also committed an excellent heads up play by running home (keep an eye on him in coming years). He crossed the plate even after the umpire called the play dead and returned Odor to third base, a call that was wrong. Banister ran out of the dugout to challenge the call, which was overturned after a conference between the six umpires under the Unintentional Interference Rule. Odor scored, giving the Rangers a 3-2 lead an elimination game and Rogers Centre erupted in fury.
I dare not defend the crowd in Toronto for their behavior. They acted very poorly. It is understandable that they be upset. After, it's the Blue Jays' first postseason appearance since 1993 and there was already plenty of angst regarding some of the umpiring in Game 2 on Friday afternoon. A too-close-to-call play at second base (again involving Odor) on the 14th inning was upheld in the Rangers favor resulting in a Rangers victory, in addition to an inconsistent strike zone which resulted in a higher number of strike three calls against the Blue Jays than is normal. So the umpires were already not popular in Toronto. Still, though the outcome was undesirable, the call was correct. But, it gave the Blue Jays the much-needed spark they'd been lacking the entire game.
Had Banister not challenged the call, it's likely that it would've been Texas who felt robbed. They probably would've picked up an extra spark and scored the go-ahead run in the 8th or 9th innings. Considering the Blue Jays were struggling against Cole Hammels (they were lucky to score the 2 runs that they did, in my opinion), they probably wouldn't have overcome the deficit. Instead, it would be Texas gearing up for the ALCS in Kansas City on Friday night and not the Blue Jays.
But having already felt robbed of Game 2, the Blue Jays and their fans would not be robbed of Game 5 and have their first postseason since 1993 robbed of them by judgment calls by the umpires. When the Jays came to bat in the bottom of 7th, down by one, they came out swinging like they hadn't done the entire game. Yes, Andrus' numerous errors helped, but it's probable that with the Triple Threat of Donaldson, Bautista and Encarnacion coming up somewhere in the 8th and 9th, the Jays may have had the necessary spark to come back and win. Bautista monster home run is evidence enough of the energy that the Blue Jays possessed, an energy they would never have gotten had it not been for the weirdest yet most simple play in the top half of the inning.
Though Texas benefited in the short term, by the end of the 53-minute Magnificent Seventh Inning, Banister's decision benefited the Toronto Blue Jays. He may have been correct, but that doesn't mean it was the best decision.
Nonetheless, Gane 5 of the ALDS between the Jays and the Rangers was easily the most tense, most exciting games of baseball I've watches since 1993. Watching the Blue Jays play the best they have in decades has brought back memories of my childhood that are filled with joy. I'm still holding our for the perfect World Series between the Jays and the Cubs, the only team I wouldn't mind seeing defeat Toronto. For now, I look forward to the ALCS against the Royals in a rematch of the 1985 series where Kansas City came back from a 3 games to 1 deficit to eliminate the Jays and ultimately go on to win the World Series.
As for things with Texas, a series that was filled with emotion and is still being talked about thanks to Jose Bautista's home run and bat flip, I'd like to paraphrase Casablanca: I have the feeling this is the start of a beautiful rivalry.
Now, I know much will be made of the collapse of the Rangers defense in the bottom of the 7th that allowed the Blue Jays to load the bases. Poor Elvis Andrus (who botched three plays but was only credited with two errors) will need to find a new team, just as Mitch Williams needed to follow Game 6 of the Blue Jays' 1993 World Series victory. However, I don't think Andrus should receive as much of the blame as he will during the off-season.
Instead, I would look to Rangers manager Jeff Banister.
That's right. You see, after Russell Martin's return throw to Aaron Sanchez bounced off the bat of Shin-Soo Choo and base runner Rougned Odor scored, the home plate umpire called the play dead. Credit must be given to Odor who not only played a terrific series but also committed an excellent heads up play by running home (keep an eye on him in coming years). He crossed the plate even after the umpire called the play dead and returned Odor to third base, a call that was wrong. Banister ran out of the dugout to challenge the call, which was overturned after a conference between the six umpires under the Unintentional Interference Rule. Odor scored, giving the Rangers a 3-2 lead an elimination game and Rogers Centre erupted in fury.
I dare not defend the crowd in Toronto for their behavior. They acted very poorly. It is understandable that they be upset. After, it's the Blue Jays' first postseason appearance since 1993 and there was already plenty of angst regarding some of the umpiring in Game 2 on Friday afternoon. A too-close-to-call play at second base (again involving Odor) on the 14th inning was upheld in the Rangers favor resulting in a Rangers victory, in addition to an inconsistent strike zone which resulted in a higher number of strike three calls against the Blue Jays than is normal. So the umpires were already not popular in Toronto. Still, though the outcome was undesirable, the call was correct. But, it gave the Blue Jays the much-needed spark they'd been lacking the entire game.
Had Banister not challenged the call, it's likely that it would've been Texas who felt robbed. They probably would've picked up an extra spark and scored the go-ahead run in the 8th or 9th innings. Considering the Blue Jays were struggling against Cole Hammels (they were lucky to score the 2 runs that they did, in my opinion), they probably wouldn't have overcome the deficit. Instead, it would be Texas gearing up for the ALCS in Kansas City on Friday night and not the Blue Jays.
But having already felt robbed of Game 2, the Blue Jays and their fans would not be robbed of Game 5 and have their first postseason since 1993 robbed of them by judgment calls by the umpires. When the Jays came to bat in the bottom of 7th, down by one, they came out swinging like they hadn't done the entire game. Yes, Andrus' numerous errors helped, but it's probable that with the Triple Threat of Donaldson, Bautista and Encarnacion coming up somewhere in the 8th and 9th, the Jays may have had the necessary spark to come back and win. Bautista monster home run is evidence enough of the energy that the Blue Jays possessed, an energy they would never have gotten had it not been for the weirdest yet most simple play in the top half of the inning.
Though Texas benefited in the short term, by the end of the 53-minute Magnificent Seventh Inning, Banister's decision benefited the Toronto Blue Jays. He may have been correct, but that doesn't mean it was the best decision.
Nonetheless, Gane 5 of the ALDS between the Jays and the Rangers was easily the most tense, most exciting games of baseball I've watches since 1993. Watching the Blue Jays play the best they have in decades has brought back memories of my childhood that are filled with joy. I'm still holding our for the perfect World Series between the Jays and the Cubs, the only team I wouldn't mind seeing defeat Toronto. For now, I look forward to the ALCS against the Royals in a rematch of the 1985 series where Kansas City came back from a 3 games to 1 deficit to eliminate the Jays and ultimately go on to win the World Series.
As for things with Texas, a series that was filled with emotion and is still being talked about thanks to Jose Bautista's home run and bat flip, I'd like to paraphrase Casablanca: I have the feeling this is the start of a beautiful rivalry.
Thursday, August 6, 2015
Jindal Has Incredible Internet
According to his press secretary, Louisiana Governor Bobby Jindal plans on highlighting "his bandwidth" during the Happy Hour Debate on Fox News this evening. Now, unless bandwidth refers to something besides Internet that I'm not aware of, Mr. Jindal must have some incredible Internet access for him to boast about to us average Americans. How this will help him be President, I don't know. I guess we'll find out.
Just saying...
Just saying...
Sunday, August 2, 2015
Review: Star Wars: Attack of the Clones
Thursday, July 30, 2015
Review: Star Wars: The Phantom Menace
Facing insurmountable expectations, it's no surprise that The Phantom Menace disappoints even the most casual of fans. Even in hindsight that disappointment is well justified. George Lucas's return to a galaxy far, far away is a visual treat filled with groundbreaking visuals and gripping action. However, it's lack of a strong plot and the deep characterizations and charm that made the original Star Wars trilogy so beloved keeps it from achieving it's promised heights. Click for my full review 60 / 100
Wednesday, July 29, 2015
Donald Trump: The Candidate the GOP Asked For But Didn't Want
Let's be honest. There's something rather entertaining about watching the Republican Party establishment squirm at Donald Trump's unlikely success. And the funniest part? They only have themselves to blame.
Trump has tapped into the anger and anti-Washington sentiment that many Conservatives have felt for years now and ridden it to the top of state and national polls. He's spoken out in ways that almost every politician can't because he isn't a politician and thus not bound by their "code of conduct", so to speak. He doesn't care who he offends or how he does it as long as he's speaking what he feels to be the truth.
Trump is the kind of candidate the Republican Party has been asking for. Only, they had hoped that through political consultants and polling-generated messaging they would be able to create such a candidate from within, one who they would still have a handle on. This candidate would give the party the outreach they wanted to win elections while still holding true to Conservatism. They'd hope for Jeb Bush and would've settled for someone like Scott Walker.
Ever since John McCain and Sarah Palin painted themselves as "rogues" running to change a broken system in Washington, the Republican Party has tried to take up the mantle of being anti-establishment. According to them, the Democrats and even certain members of their own party (specifically, moderates) were the reason for Washington's dysfunction. As a result, Conservatives openly embraced the Tea Party Movement and pulled the party as a whole to the right, gradually bumping out those who didn't exhibit their ideology all the time. The party blasted the media for their political bias and refused to show any sign of bipartisanship. The only compromise would be if Democrats were to bow completely to their will.
The strategy worked well in 2010 and Republicans had a good chance of unseating Barack Obama in 2012. The problem, however, that Mitt Romney (once a moderate) had moved so far right to win the nomination that he was outside Americans's comfort zone for someone to serve as President. The loss shocked the party who ignored the polls and warning signs because of their belief that the system was against them. Some Conservatives went as far as to hint at voter fraud on the part of Democrats.
The party establishment assessed the situation and recognized that they had to change their approach and subsequently who they nominated. Rumblings began almost immediately for Jeb Bush to run, hoping that he would be moderate enough to win the White House in 2016. This, of course, angered Conservatives who were both unhappy with the last toe Bush presidencies but also weary of a third. But the idea of preprdsining Bush as the candidate of choice only pushed things further and led to Conservatives to up their calls for a pure Conservative to run against both the media and the GOP establishment. The GOP leadership, in their eyes, was now the problem especially as Speaker John Boehner and Senate Majority Leader Mitch McConnell began yielding to President Obama even as Republicans controlled both houses of Congress.
This brought about the rise of Ted Cruz, an unyielding Senator willing to buck party leadership and crusade against the "liberal" media. Cruz single-handidly shutdown the Federal government over Obamacare. It didn't matter that Cruz hadn't been part of any major legislation since joining the Senate. Cruz was the Conservative Champion trying to stop bipartisanship to uphold their values.
Until Donald Trump entered the race. With rambling, probably improvised speeches filled with rhetoric that insulted Mexicans and John McCain and Lindsey Graham's phone number, Trump became the anti-establishment, anti-media candidate Conservatives had been looking for. He immediately jumped to the tops of polls despite efforts by members of the media and the establishment to downplay his candidacy as a joke. This, however, has only served to energize Trump and his base even further.
Conservative voters have been searching for years for someone to tell it how it is in unrelenting fashion and not be sorry about it. Trump has yet to apologize for any insult he has made, despite calls from his fellow candidates to do so. Conservatives have grown to view the other candidates as being part of the problem as they're already part of the system. Trump, however, is no politician. He's a straight-talking businessman who says what he means and means what he says. He doesn't answer to anyone, whether it be party leadership or the media.
In other words, Conservative voters's dream candidate.
Trump has tapped into the anger and anti-Washington sentiment that many Conservatives have felt for years now and ridden it to the top of state and national polls. He's spoken out in ways that almost every politician can't because he isn't a politician and thus not bound by their "code of conduct", so to speak. He doesn't care who he offends or how he does it as long as he's speaking what he feels to be the truth.
Trump is the kind of candidate the Republican Party has been asking for. Only, they had hoped that through political consultants and polling-generated messaging they would be able to create such a candidate from within, one who they would still have a handle on. This candidate would give the party the outreach they wanted to win elections while still holding true to Conservatism. They'd hope for Jeb Bush and would've settled for someone like Scott Walker.
Instead, they got Trumped.
With The Donald now trumping the competition, the party leadership is no longer seeing their candidates trying to expand their outreach through thoughtful and meaningful debate. Instead, the inflammatory rhetoric and over-the-top antics that the Conservative base loves has been kicked up to new heights. With Trump dominating the news, the other candidates are trying to get a piece of the headlines. Rand Paul took a chainsaw to the tax code. Lindsey Graham smashed his cell phone. Rick Perry has gone head-to-head with Trump and called him a cancer. Mike Hucakbee has invoked the Holocaust in discussing the Iran nuclear deal and, in Trump fashion, has refused to apologize for it even when his own party has called for him to do so. And Ted Cruz, the once-Conservative Champion who has seen his thunder stolen the most by Trump, took to the Senate floor to attack Senator McConnell as "flat-out lying" to every Republicsn Senator and the media in what amounts to a violation of Senate rules.
Did he apologize for his speech? No.
The Republican Party have gotten the anti-media, anti-establishment Conservative Champion they asked for but didn't really want; Donald Trump. Now they don't know what to do with him.
The White House might have to wait until 2020.
Tuesday, July 28, 2015
Review: Return of the Jedi
Directed by: Richard Marquand
Produced by: Howard Kazanjian
Screenplay by: Lawrence Kasdan & George Lucas
Story by: George Lucas
Story by: George Lucas
Executive Producer: George Lucas
Cinematography by: Alan Hume
Production Designed by: Norman Reynolds
Edited by: Sean Barton & Duwayne Dunham & Marcia Lucas & George Lucas
Costumes by: Aggie Guerard Rodgers & Nilo Rodis-Jamero
Music by: John Williams
1983 / 134min / Rated PG (for Sci-Fi Action Violence)
Summary
A long time ago, in a galaxy far, far away...
Luke Skywalker returns to Tatooine in order to rescue Han Solo from the clutches of Jabba the Hutt. Meanwhile, the Rebel Alliance prepares for a surprise offensive against the Empire's latest weapon; a new, more powerful Death Star.
Background
The Empire Strikes Back proved a big enough success that George Lucas moved forward with his plans to finish his trilogy, once again personally financing the next film. Lucas brought back Lawrence Kasdan to help him write the script while tapping Richard Marquand to direct. The third and final film in the trilogy was given the title Revenge of the Jedi, as Kasdan felt that Return of the Jedi was a "weak title". However, despite promotional materials being produced in the lead-up to the movie's release, Lucas retitled it Return of the Jedi feeling that Jedi don't seek revenge.
While leads Mark Hamill and Carrie Fisher had already been contracted for a third movie, Harrison Ford was not and doubt arose as to whether or not he would return for the finale since his star power had greatly risen following the success of Raiders of the Lost Ark. Ford returned, however, though he believed that Han Solo should be killed partway into the picture, with both he and Kasdan believing it would instill doubt about the fate of the rest of the characters. Lucas disagreed, wanting to provide a happier, more uplifting ending in order to encourage merchandising. Many elements of the original script were dropped or changed; most famously, the moon of Endor was to be home to the Wookies, but they were changed to the smaller Ewoks.
Return of the Jedi's climactic third act was to also serve as an epic finale to the trilogy as a whole, calling for huge special effects sequences that had never been done before. To help give Industrial Light & Magic as much time as possible to produce the effects, producer Howard Kazanjian scheduled principal photography as soon as possible, leading some members of the crew to doubt their ability to prepare in time.
With the father/son relationship between Luke and Darth Vader at the heart of the story, Lucas has said that Return of the Jedi is the most emotionally charged of the three original Star Wars films.
Review
Over the years Return of the Jedi has often been derided by the fan community as the weakest of the original Star Wars trilogy, with many calling the film either ok or outright bad. While some of the criticsms leveled at Jedi are justified, others are exaggerated, fueled by the disappointment that it didn't live up to it's predecessors's standards. Without a doubt, Return of the Jedi isn't on the same level as Star Wars or The Empire Strikes Back, but it is nevertheless still a strong but flawed outing that still provides a satisfying conclusion.
The biggest flaw in Jedi can be found in it's plot. While Star Wars and Empire were both tightly-written and plotted affairs, Jedi is somewhat thin. The first act is dedicated entirely to resolving Empire's cliffhanger as to the fate of Han Solo. While the sequence of Han's rescue from the clutches of Jabba the Hutt is entertaining, it feels rather detached from the rest of the movie. The first act of both Star Wars and Empire not only served as an entertaining adventure but also helped launch the main plot of each movie. Aside from wrapping up Empire's loose ends and displaying Luke's new Jedi skills, the first act does little to the movie's Big Picture, acting as it's own separate adventure and forcing the rest of the movie to restart and build it's own momentum.
This wouldn't be so much of an issue if it wasn't for the thin plot that dominates Jedi's middle portion. Recycling the use of the Death Star only emphasizes that Lucas had not originally intended to destroy it at the end of the first film, having done so in the event that the original did not warrant a sequel. Having a second Death Star is fine and increases the stakes, but it's destruction becomes the whole point of Jedi, the concept feeling rehashed. Not helping matters is that the Endor plotline is thin and does little advance the characters.
Which is probably Jedi's second biggest flaw; character development is at a minimum. Aside from Luke's journey which is still done convincingly and remains at the heart of the picture, the rest of the characters feel like pawns being moved from one place to the next as the plot demands. Han and Leia's relationship takes a backseat with little done to push them beyond where they were at the end of Empire. Also an issue is Han's characterization, which seems to have been softened and lost a lot of the bite that made his character so charming and loveable.
Also disappointing is Darth Vader's diminished role as he takes a backseat to the Emperor, played chillingly by Ian McDiarmid. Vader's turmoil over his feelings for Luke and his loyalty to the Emperor is necessary and part of the story's heart, but it seems to lessen the menace that made him so terrifying in the last two pictures. Perhaps that's the point, but it would've been better if it had been more gradual than how it was done here.
The performances of the cast are once again excellent, though they seem to be lacking the same fun pep of the previous installments. Harrison Ford seems slightly off in his performance, having lost some of his sharpness. Carrie Fisher is once again excellent as Leia, though she too seems to be lacking some pep. The rest of the cast is still on point in their supporting roles, with Billy Dee Williams relishing in a more crucial part than in Empire. As mentioned before McDiarmid as the Emperor is excellent and steals every scene he's in, giving the Emperor enough menace that it's understandable as to why even Darth Vader would now to him.
When all is said and done, Return of the Jedi is Mark Hamill's film, with Luke's growth and maturing in the middle. Hamill does excellent work with the material, though at some points when the drama is at it's peak his range seems a little limited. Still, he convincingly portrays Luke's development, the character who has come the farthest since their first introduction in Star Wars.
It all leads, of course, the third act, a special effects bonanza of a finale that interweaves three simultaneous battles that proves fittingly epic to wrap up the trilogy. The special effects are once a big improvement over what's been done before, with Industrial Light & Magic's work proving second-to-none. The action is breathtaking and gripping, the stakes having never been higher. The third act is the film'a highlight, though is still not perfect.
Many fans take issue with the presence of the Ewoks and the role tht they place in Jedi. While they don't bother me as much as many people, I do take minor issue with their presence in the final battle. It's not so much that they fight side-by-side with Han, Leia and Chewie, but the surprising level of preparedness they display for such a last-minute endeavor. I find it somewhat hard to believe that they could prepare battering rams and cut down so many large trees, moving them into such perfect position to use against the Imperial soldiers with such little notice. Still, it's still fun to watch and John Williams's forest battle music is amongst my favorite of the series.
Each of the three battles is resolved quite satisfactorily, with the battle between Luke, Vader and the Emperor proving the emotional high point. The ultimate resolution and Vader's climactic acts are poignant and believable, accentuated perfectly by Williams's score. The final scene between Luke and his father is quite touching and a very satisfying conclusion to the story. Of course, it's the space battle that provides the requisite explosions and finishes the trilogy with quite a bang for a very fitting conclusion.
Enhancing it all is John Williams's fantastic score, which masterfully weaves together each of the series's themes in such seamless fashion while successfully adding new ones to the mix. Of note is the powerfully emotional theme for Luke and Leia, signifying the new development in their touching relationship, while a theme for the Emperor is quite haunting, especially in it's use at the end of the movie. The Ewok theme borders of cloying but Williams keeps it restrained enough to still be fun. The thirty minutes of nonstop action for Jedi's finale is quite a feat and the performance of the London Symphony Orchestra is top notch.
Despite it's flaws, Jedi receives too much of a bad rap. After the high standards set by both Star Wars and The Empire Strikes Back, it would be near-impossible for the conclusion to not disappoint on some level. Still, Return of the Jedi is quite entertaining and provides a very satisfying conclusion to one of the best movie trilogys of all-time.
Writing
Story: 4 / 5
Plot: 6 / 10
Dialogue: 4 / 5
Characters
Characterization: 7 / 10
Development: 6 / 10
Acting: 17 / 20
Entertainment
Pacing: 4 / 5
Tone: 4 / 5
Overall Enjoyment: 8 / 10
Production
Music: 10 / 10
Visuals: 10 / 10
TOTAL: 80 / 100
Sunday, July 26, 2015
Review: The Empire Strikes Back
Produced by: Gary Kurtz
Screenplay by: Leigh Brackett & Lawrence Kasdan
Story by: George Lucas
Story by: George Lucas
Executive Producer: George Lucas
Cinematography by: Peter Suschitzky
Production Designed by: Norman Reynolds
Edited by: Paul Hirsch, George Lucas & Marcia Lucas
Costumes by: John Mollo
Music by: John Williams
1980 / 124min / Rated PG (for Sci-Fi Action Violence)
Summary
A long time ago, in a galaxy far, far away...
Despite the destruction of the Death Star, the Empire has the Rebel Alliance on the run as Darth Vader hunts down young Luke Skywalker. Continuing the path set for him by Obi-Wan Kenobi, Luke finds Jedi Master Yoda who begins instructing him in the ways of Force so that he can become a Jedi. Meanwhile, Han Solo and Princess Leia try to outwit the Empire as Darth Vader hopes to capture them in an attempt to lure Luke to him so that he can lure him to the Dark Side of the Force.
Background
Following the incredible and unexpected success of Star Wars, George Lucas set out to continue his space saga. Having negotiated ownership of any sequels in his deal with 20th Century Fox, Lucas had full control of the series. As a result, Lucas did what most producers don't do; he personally funded the entire budget of The Empire Strikes Back.
Due to his role of having to juggle multiple production aspects, Lucas chose not to direct the Star Wars seque, approaching his former-college professor Irwin Kershner to direct instead. Kershner initially refused, feeling that no sequel could come close to being as good as the original. It was Kershner's agent who convinced him to accept.
Lucas met the screenwriter Leigh Brackett to turn his handwritten treatment into a screenplay. Lucas was unhappy with Brackett's first draft but she died from cancer before they could make revisions. Lucas reworked the script himself, adding the surprising revelation of Darth Vader's identity and deciding that it was "Episode V", not "Episode II" as he fleshed out the saga's backstory. Working with Kershner, writer Lawrence Kasdan wrote subsequent drafts and approached the sequel as a darker, more adult-theme story, stepping away from the light adventure of the original film.
Review
The best decision that Lucas and company made while making The Empire Strikes Back was to not fall into the trap of many sequels which is to try to copy the original film. Instead, Empire charts it's own storytelling path with a darker, more engrossing story that steps out of its predecessor's shadow. On it's own Star Wars is a fun, light-hearted Science-Fiction adventure. But it's The Empire Strikes Back that transforms the series into a sprawling space opera packed with power and emotion.
Instead of attempting to duplicate Star Wars, Empire instead builds upon the story established by it's predecessor and goes deeper into both the mythology and the characters themselves. Each of the characters is pushed to grow and developer beyond where they are at the start of the movie, something that is essential when telling an ongoing saga. Here, it's done in a way that's both natural and quite engrossing.
The story splits into three parts, with none being given greater dominance over the others. It's difficult to say which plot is the A-story and which is the B-story, as Kershner's direction of Brackett and Kasdan's script finds excellent balance in the three stories, seamlessly interweaving them together until they all come together in The Empire Strikes Back's powerful finale. Such an approach risks each storyline starting and stopping and never gaining momentum, but that's not the case here thanks largely to Kershner's sure-handed direction.
Luke's storyline finds him delving not only into the powers of the Force and his own training to become a Jedi, but forces him to examine who he is and the way that he has lived his life. The introduction of Yoda is superbly handled. The detail of the character's appearance is so masterful and his characteristics so engaging (thanks largely to a vocal performance by Frank Oz) that it's easy to forget that the character is merely a puppet. Mark Hamill's performance is spot on as he not only conveys Luke's growth and inner-conflict but does so against a puppet. The exploration of the Force and it's powers is well-handled and adds to the mysticism that was only touched upon in Star Wars. Indeed, Luke's storyline forms the heart and soul of the picture.
The storyline following Han and Leia as they're pursued by the Empire is equally great, packed with action in addition to character depth. The interaction between Harrison Ford and Carrie Fisher is natural, continuing on from the wonderful chemistry they displayed in Star Wars. The romance that gradually develops between them is quite believable, given a strong dose of tragedy and heartache in the film's ultimate climax. The bickering and exchanges between Han and Leia (and also Threepio) is witty and fun, especially as the Millennium Falcon rattles around them in action sequences that don't miss a beat, providing plenty of thrills and visual treats while always keeping the focus on the characters.
The introduction of Billy Dee Williams's Lando Calrissian comes late in the film but works very well, especially considering it's importance in the overall plot. Williams does a formidable job of conveying Lando's conflict as he tries to protect his friends while also having to work with Vader. Despite the character's decisions, Williams makes Lando a likable and welcome addition to the series.
The third storyline is that of Darth Vader as he pursues Han and Leia with the ultimate goal of capturing Luke. Vader is given a much larger and more menacing role than in the original film. James Earl Jones's voice work is superb while David Prowse always conveys the appropriate amount of intimidation in every scene. The Empire Strikes Back belongs to Darth Vader and it's due to this movie that he has become such an iconic villain.
The convergence of the three storylines is well done for a finale that is pulse-pounding and leaves you on the edge of your seat. The action is steps above that of Star Wars, likely because the emotional investment in this movie also takes a step up. The lightsaber duel between Luke and Vader is gripping and a pleasure to watch, culminating in one of the most iconic moments in movie history. Even after growing up with these movies, having seen them countless times, Vader's shocking revelation is just as powerful as it was the first time I saw this movie.
I've heard some say that they have issue with the lack of resolution at the end of Empire. I can understand that problem as it's one often faced by movies that fall in the middle of a trilogy. Yet, I find The Empire Strikes Back so fun and engrossing that I find the lack of resolution only adds to it. You're left wanting more and that's always a good feeling.
John Williams returns with the London Symphony Orchestra to deliver another powerhouse of a score that features larger-than-life themes that expand upon his work for Star Wars. His theme for Darth Vader is unforgettable, while his Yoda theme is touching and delicate. Meanwhile, the often-overlooked love theme for Han and Leia is sweeping and powerful and one of my favorite themes from the franchise. The score for Star Wars is a classic and sets a high standard for all movie scores to strive for, but I believe that Williams's score for The Empire Strikes Back is a superior work because he builds upon what he has done before.
It's a tribute to George Lucas and his team for The Empire Strikes Back that they put together such a timeless movie that managed the seemingly impossible; made a sequel that is superior to the original. Every aspect is greatly improved. The visual effects are excellent, with the chase through the asteroid field especially incredible to watch. The acting and the writing are also improved, something that's hard to do considering the quality of Star Wars. The dialogue is greatly improved upon, thanks largely to Lucas taking a step back on the later-script work and letting others hand that aspect of the writing. The performances grow yet are always packed with drive and energy, maintaining the same sense of adventure from the first film. Everyone here is at the top of their game.
It's been a long time since I first watched The Empire Strikes Back and to this day I can't get enough of it. It exceeds it's predecessor in every regard, no difficult feat considering how strong a movie the original Star Wars is. It's not only my favorite of the entire sage, but one of my all-time favorite movies.
The story splits into three parts, with none being given greater dominance over the others. It's difficult to say which plot is the A-story and which is the B-story, as Kershner's direction of Brackett and Kasdan's script finds excellent balance in the three stories, seamlessly interweaving them together until they all come together in The Empire Strikes Back's powerful finale. Such an approach risks each storyline starting and stopping and never gaining momentum, but that's not the case here thanks largely to Kershner's sure-handed direction.
Luke's storyline finds him delving not only into the powers of the Force and his own training to become a Jedi, but forces him to examine who he is and the way that he has lived his life. The introduction of Yoda is superbly handled. The detail of the character's appearance is so masterful and his characteristics so engaging (thanks largely to a vocal performance by Frank Oz) that it's easy to forget that the character is merely a puppet. Mark Hamill's performance is spot on as he not only conveys Luke's growth and inner-conflict but does so against a puppet. The exploration of the Force and it's powers is well-handled and adds to the mysticism that was only touched upon in Star Wars. Indeed, Luke's storyline forms the heart and soul of the picture.
The storyline following Han and Leia as they're pursued by the Empire is equally great, packed with action in addition to character depth. The interaction between Harrison Ford and Carrie Fisher is natural, continuing on from the wonderful chemistry they displayed in Star Wars. The romance that gradually develops between them is quite believable, given a strong dose of tragedy and heartache in the film's ultimate climax. The bickering and exchanges between Han and Leia (and also Threepio) is witty and fun, especially as the Millennium Falcon rattles around them in action sequences that don't miss a beat, providing plenty of thrills and visual treats while always keeping the focus on the characters.
The introduction of Billy Dee Williams's Lando Calrissian comes late in the film but works very well, especially considering it's importance in the overall plot. Williams does a formidable job of conveying Lando's conflict as he tries to protect his friends while also having to work with Vader. Despite the character's decisions, Williams makes Lando a likable and welcome addition to the series.
The third storyline is that of Darth Vader as he pursues Han and Leia with the ultimate goal of capturing Luke. Vader is given a much larger and more menacing role than in the original film. James Earl Jones's voice work is superb while David Prowse always conveys the appropriate amount of intimidation in every scene. The Empire Strikes Back belongs to Darth Vader and it's due to this movie that he has become such an iconic villain.
The convergence of the three storylines is well done for a finale that is pulse-pounding and leaves you on the edge of your seat. The action is steps above that of Star Wars, likely because the emotional investment in this movie also takes a step up. The lightsaber duel between Luke and Vader is gripping and a pleasure to watch, culminating in one of the most iconic moments in movie history. Even after growing up with these movies, having seen them countless times, Vader's shocking revelation is just as powerful as it was the first time I saw this movie.
I've heard some say that they have issue with the lack of resolution at the end of Empire. I can understand that problem as it's one often faced by movies that fall in the middle of a trilogy. Yet, I find The Empire Strikes Back so fun and engrossing that I find the lack of resolution only adds to it. You're left wanting more and that's always a good feeling.
John Williams returns with the London Symphony Orchestra to deliver another powerhouse of a score that features larger-than-life themes that expand upon his work for Star Wars. His theme for Darth Vader is unforgettable, while his Yoda theme is touching and delicate. Meanwhile, the often-overlooked love theme for Han and Leia is sweeping and powerful and one of my favorite themes from the franchise. The score for Star Wars is a classic and sets a high standard for all movie scores to strive for, but I believe that Williams's score for The Empire Strikes Back is a superior work because he builds upon what he has done before.
It's a tribute to George Lucas and his team for The Empire Strikes Back that they put together such a timeless movie that managed the seemingly impossible; made a sequel that is superior to the original. Every aspect is greatly improved. The visual effects are excellent, with the chase through the asteroid field especially incredible to watch. The acting and the writing are also improved, something that's hard to do considering the quality of Star Wars. The dialogue is greatly improved upon, thanks largely to Lucas taking a step back on the later-script work and letting others hand that aspect of the writing. The performances grow yet are always packed with drive and energy, maintaining the same sense of adventure from the first film. Everyone here is at the top of their game.
It's been a long time since I first watched The Empire Strikes Back and to this day I can't get enough of it. It exceeds it's predecessor in every regard, no difficult feat considering how strong a movie the original Star Wars is. It's not only my favorite of the entire sage, but one of my all-time favorite movies.
Writing
Story: 5 / 5
Plot: 10 / 10
Dialogue: 5 / 5
Characters
Characterization: 10 / 10
Development: 10 / 10
Acting: 20 / 20
Entertainment
Pacing: 5 / 5
Tone: 5 / 5
Overall Enjoyment: 10 / 10
Production
Music: 10 / 10
Visuals: 10 / 10
Story: 5 / 5
Plot: 10 / 10
Dialogue: 5 / 5
Characters
Characterization: 10 / 10
Development: 10 / 10
Acting: 20 / 20
Entertainment
Pacing: 5 / 5
Tone: 5 / 5
Overall Enjoyment: 10 / 10
Production
Music: 10 / 10
Visuals: 10 / 10
TOTAL: 100 / 100
Friday, July 17, 2015
Review: Star Wars (1977)
Produced by: Gary Kurtz
Written by: George Lucas
Executive Producer: George Lucas
Cinematography by: Gilbert Taylor
Production Designed by: John Barry
Edited by: Richard Chew, Paul Hirsch & Marcia Lucas
Costumes by: John Mollo
Music by: John Williams
1977 / 121min / Rated PG
Summary
A long time ago, in a galaxy far, far away...
The galaxy is under the rule of the Galactic Empire who possess a terrible weapon, the Death Star, which has enough power to destroy an entire planet. Led by Princess Leia, a small band of rebels steal the plans to the Death Star. When she's captured by Darth Vader, Leia hides the plans with a pair of Droids who fall into the possession of farm boy Luke Skywalker. Young Luke is thrust into adventure as he joins Jedi Master Obi-Wan Kenobi in a quest to save the princess, the rebels and the galaxy itself.
Background
In 1977, a phenomenon was born. Now it can be debated if this phenomenon had a positive or negative affect on the filmmaking of the last 40 years. But as it stands, George Lucas's Star Wars is one of the single most successful endeavors in movie history.
And yet, the path to it's release was not without it's struggles. Lucas's original screenplay, originally titled The Star Wars, was far too long to be made into one movie. Multiple studios passed, believing the costs of production would be too high (ironically, one of these studios was Walt Disney). Finally, Alan Ladd of 20th Century Fox agreed to finance Lucas's script. Lucas's script went through numerous rewrites, eventually achieving the form with which we are all familiar today.
Production was not so easy for Lucas eithee, as he faced numerous technical difficulties on set and sometimes clashed with members of his production crew in his atempt to micromanage every aspect of the film to achieve his vision. Members of the crew often didn't take their work seriously, feeling they were working on a "kid'a movie" and often laughed during filming at parts they felt were unintentionally funny. Even Kenny Baker (R2-D2) thought it would be a failure, with Harrison Ford even commenting his confusion as to why the princess had "buns on her head." Alan Ladd proved to be Lucas's only ally at Fox as studio executives fretted over rising budget costs.
Yet, despite these difficulties and the preconceived notions about the film'a success by those involved, Star Wars proved to not only be a critical and commercial hit beyond anyons'a imagination, but changed the way movies have been made for the last forty years.
Review
Whether or not that impact has been positive, Star Wars on its own is a resounding success on every front. From story and plotting, characterizations and music to (most notably) visual effects, it's no wonder Star Wars reshaped the way the general public views Science Fiction as well as the moviworld going experience.
There'a very little to criticize about this first installment into the Star Wars franchise. Though Lucas had envisioned a larger space saga, he focused entirely on making Star Wars a standalone movie. It's sad that this approach is being largely abandoned today as filmmakers focus so much on franchisd-building and leaving plot threads open instead of making one good movie. By not worrying about any subsequent sequels and this film alone, Lucas achieves near-perfection.
Though his story is heavily influenced by old Saturday morning Sci-Fi serials and plenty of familiar fantasy elements, George Lucas's story feels fresh and new, presenting a very original concept and universe. His plotting is tight, his psce always moving forward with very little unnecessary fluff present to drag things down.
The movie really takes off in its second half once everyone is brought aboard the Death Star, always maintaining a high level of fun and excitement. The film's climactic space battle is pulse-pounding and visually spectacular, which helps to make up for what's perhaps the biggest plot hole; the long trench that conveniently leads to the Death Star's fatal weakness. Still, it's so much fun and engrossing you can't help but overlook it.
Though his dialogue is sometimes stiff and awkward, it's hardly noticeable because the performances of the cast are infused with so much confidence and energy that you hardly give the dislogue'a stiffness a second thought.
And that's perhaps Star Wars's most successful aspect; the characters and the actors inhabiting them. There isn't a weak leak amongst the cast and the chemistry between leads Mark Hamill, Harrison Ford and Carrie Fisher is so natural and infectious that it's a shame the three of them don't come together soon. The actors bring so much energy and excitement to their performances that they elevate the film's excitement and sense of adventure.
Sir Alec Guinness is a stand out in a mostly supporting role. He brings a level of maturity and wisdom to the proceedings. He's the most restrained of the cast which keeps things fairly grounded. The most unfortunate aspect of his character is his ultimate fate before the film launches into its final act, but it's still well handled and given the appropriate amount of weight and impact.
Darth Vader doesn't have much to do as he mostly stomps around and follows Governor Tarkin's (a commanding Peter Cushing) orders, but he's instantly menacing and memorable. His presence is always felt throughout and James Earl Jones's voice work is spotless.
Even by today's high standards, the visual effects hold up pretty well. In many respects, I even prefer the practical effects as well as the use of miniatures over today's abundant CGI. Something about the models seems more real while the CGI spaceships of today lack that same realism. The same goes for the sets which are unpolished and seem used, helping to ground them in reality and make it seem as though they're used day-to-day.
Of course, perhaps just as key to Star Wars's success as any other element is John Williams's iconic and unforgettable score which reshaped film music for the rest of the century. It's pretty much flawless and helps add to the film's sense of adventure. I think it could be argued that without Williams's touch, Star Wars would perhaps have not been as successful and vice versa as it also helped make Williams.
Star Wars deserves it's place as one of history's most revolutionary and iconic movies. Despite the problematic production, everything came together to make a movie that's just about as perfect as you can get and one of my all-time favorites.
Writing
Story: 5 / 5
Plot: 9 / 10
Dialogue: 4 / 5
Characters
Characterization: 10 / 10
Development: 10 / 10
Acting: 20 / 20
Entertainment
Pacing: 5 / 5
Tone: 5 / 5
Overall Enjoyment: 10 / 10
Production
Music: 10 / 10
Visuals: 10 / 10
Production was not so easy for Lucas eithee, as he faced numerous technical difficulties on set and sometimes clashed with members of his production crew in his atempt to micromanage every aspect of the film to achieve his vision. Members of the crew often didn't take their work seriously, feeling they were working on a "kid'a movie" and often laughed during filming at parts they felt were unintentionally funny. Even Kenny Baker (R2-D2) thought it would be a failure, with Harrison Ford even commenting his confusion as to why the princess had "buns on her head." Alan Ladd proved to be Lucas's only ally at Fox as studio executives fretted over rising budget costs.
Yet, despite these difficulties and the preconceived notions about the film'a success by those involved, Star Wars proved to not only be a critical and commercial hit beyond anyons'a imagination, but changed the way movies have been made for the last forty years.
Review
Whether or not that impact has been positive, Star Wars on its own is a resounding success on every front. From story and plotting, characterizations and music to (most notably) visual effects, it's no wonder Star Wars reshaped the way the general public views Science Fiction as well as the moviworld going experience.
There'a very little to criticize about this first installment into the Star Wars franchise. Though Lucas had envisioned a larger space saga, he focused entirely on making Star Wars a standalone movie. It's sad that this approach is being largely abandoned today as filmmakers focus so much on franchisd-building and leaving plot threads open instead of making one good movie. By not worrying about any subsequent sequels and this film alone, Lucas achieves near-perfection.
Though his story is heavily influenced by old Saturday morning Sci-Fi serials and plenty of familiar fantasy elements, George Lucas's story feels fresh and new, presenting a very original concept and universe. His plotting is tight, his psce always moving forward with very little unnecessary fluff present to drag things down.
The movie really takes off in its second half once everyone is brought aboard the Death Star, always maintaining a high level of fun and excitement. The film's climactic space battle is pulse-pounding and visually spectacular, which helps to make up for what's perhaps the biggest plot hole; the long trench that conveniently leads to the Death Star's fatal weakness. Still, it's so much fun and engrossing you can't help but overlook it.
Though his dialogue is sometimes stiff and awkward, it's hardly noticeable because the performances of the cast are infused with so much confidence and energy that you hardly give the dislogue'a stiffness a second thought.
And that's perhaps Star Wars's most successful aspect; the characters and the actors inhabiting them. There isn't a weak leak amongst the cast and the chemistry between leads Mark Hamill, Harrison Ford and Carrie Fisher is so natural and infectious that it's a shame the three of them don't come together soon. The actors bring so much energy and excitement to their performances that they elevate the film's excitement and sense of adventure.
Sir Alec Guinness is a stand out in a mostly supporting role. He brings a level of maturity and wisdom to the proceedings. He's the most restrained of the cast which keeps things fairly grounded. The most unfortunate aspect of his character is his ultimate fate before the film launches into its final act, but it's still well handled and given the appropriate amount of weight and impact.
Darth Vader doesn't have much to do as he mostly stomps around and follows Governor Tarkin's (a commanding Peter Cushing) orders, but he's instantly menacing and memorable. His presence is always felt throughout and James Earl Jones's voice work is spotless.
Even by today's high standards, the visual effects hold up pretty well. In many respects, I even prefer the practical effects as well as the use of miniatures over today's abundant CGI. Something about the models seems more real while the CGI spaceships of today lack that same realism. The same goes for the sets which are unpolished and seem used, helping to ground them in reality and make it seem as though they're used day-to-day.
Of course, perhaps just as key to Star Wars's success as any other element is John Williams's iconic and unforgettable score which reshaped film music for the rest of the century. It's pretty much flawless and helps add to the film's sense of adventure. I think it could be argued that without Williams's touch, Star Wars would perhaps have not been as successful and vice versa as it also helped make Williams.
Star Wars deserves it's place as one of history's most revolutionary and iconic movies. Despite the problematic production, everything came together to make a movie that's just about as perfect as you can get and one of my all-time favorites.
Writing
Story: 5 / 5
Plot: 9 / 10
Dialogue: 4 / 5
Characters
Characterization: 10 / 10
Development: 10 / 10
Acting: 20 / 20
Entertainment
Pacing: 5 / 5
Tone: 5 / 5
Overall Enjoyment: 10 / 10
Production
Music: 10 / 10
Visuals: 10 / 10
TOTAL: 98 / 100
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