Story aside what war of stars Film resonates most visually?
war of stars is a beautiful saga that has since been discussed and dissected Episode IV: A New Hope came out in 1977. While there are opinions we can all agree on, such as “Senator Palpatine looks like Senator Joe Libermann” and “These Younglings Got It,” when it comes to which movie is everyone’s favorite, you go different answers Listen.
We all read differently war of stars Rankings, and many of them are based on which movie is the best story. But to celebrate Star Wars Day, it seemed appropriate to create a ranking that should stir the pot.
As filmmakers, we are always taught everything we see and hear on screen to aid the story: production design, cinematography, lighting, costumes, makeup, creature prosthetics, CGI, etc. Forget about Star Wars Chronology and In Honor watch in this order “lists.
This is a ranking based on production value and history. Let’s get into that.
11. Star Wars: Episode IX – The Rise of Skywalker (2019)
Maybe I’ll punish a film for not having a chance to influence something new. Still…
The party goes on Pasaana was a wildly misguided direction as history sought to establish first-order totalitarian rule in the galaxy. Colorful flags, fabrics, and creature designs completely negate the dialogue of an oppressed people. Later on, thousands of ships (good and bad) become meaningless in number because people are routinely poor at understanding more than a few hundred things. Even later, the hundred thousand ships are less powerful than Emperor Palpatine, so that the “epic” scale is completely lost.
The nostalgia factor (Death Star, Han Solo) doesn’t work if the story has nothing to say about nostalgia and just adds questions. To quote Harrison Ford about his potential Force Ghost appearance, “I don’t know and I don’t care.”
A subject of dangerous nostalgia may have been more appropriate here (a la Cobra Kai), but we are far from new either (the Wayfinder, a knife, the Sith language, the erasing of memory) which means something important.
10. Star Wars: Episode VII – The Force Awakens (2015)
Perhaps JJ Abrams’ audition for Star Wars (see: 2009 Star Trek) required him to use up his best ideas. Just see the planets being destroyed in each movie and tell me which is more meaningful and visually interesting.
It’s strange to me that there are so few costume changes in his film, both from a merchandising standpoint and a story standpoint. Rey wears the same tunic in a desert as a snow-covered forest?
In 2015, I predicted the Abrams trilogy would cause that war of stars World to give the prequel trilogy a more positive rating by using pre-existing icons (Star Destroyer in the Desert, Millennium Falcon, Luke’s Lightsaber) instead of creating original icons. I stand by this assessment.
9. Solo: A Star Wars Story (2018)
Mud and dirt. Caves and interiors. Few scenes with “stars” and size. Snow and sand planets, but in this third of an incomplete trilogy there is no connection between story and character in any real environment.
I’m not even blaming Ron Howard, who I believe took on a small part of the job to make sure his daughter could run some of it The Mandalorian.
This film goes absolutely over the top of the origins of everything in production design from A new hope. Where did Han get his blaster from? Who cares! What about his dice, his vest, and his pair of socks? Way to suck the secret and fun out of props.
8th. Rogue One: A Star Wars Story (2016)
Possibly the only other standalone film besides A new hope. A common theme of “bad guys doing good and good guys who do bad” is mainly supported by gritty brown and gray colors that are more like a war movie than a space opera.
war of stars Pictures (AT-AT-Walker) on tropical beaches survived the new recordings and provided the most memorable pictures.
Loses points for the creepy CGI faces in the valley and everything I don’t remember.
7th Star Wars: Episode III – Revenge of the Sith (2005)
The spaceship’s opening shot tried to do new things with CGI ability, but the audience felt more overwhelmed by an incomprehensibly large space battle. Ideally, the production helps create emotion, and it was an added level of difficulty that was often not present in eyeglass films.
Similarly, the emotion of the lava battle sequence on Mustafar (“Musta was far away”?) Is supported by the environment (chaotic, fiery, dangerous).
General Grievous receives points for being a thematic-symbolic character design, even though he is completely worthless in plot or character. Yoda’s detour via Kashyyyk to help the Wookiees is one of the strangest subplots in the prequel trilogy.
When Yoda arrives to fight in the Senate Houses, the film is perfectly dull and bombastic in style, symbolism, and message.
6th Star Wars: Episode VIII – The Last Jedi (2017)
Still new costumes? No! We record just seconds after the previous story ended.
Topics (hero worship, individuality, appropriate teaching methods) are widespread but are not significantly supported by the locations, props, costumes, or anything else that goes well beyond dialogue. The red soil beneath the white salt marshes offered a completely new color scheme for the series.
Similarly, images like Holdo’s victim or Rey’s quest for a vision were cool stylizations that, however, undercut any sincere emotion in those moments. Ultimately, however, much of the story is contained in nondescript spaceships, with an odd detour on a Monte Carlo planet.
5. Star Wars: Episode II – Attack of the Clones (2002)
Perhaps the most controversial opinion to put this here. It’s a crime noir mystery mixed with one Doctor Zhivago Space epic, with modern times also thrown into it. (God I miss when war of stars Films have been influenced by more than war of stars Movies.)
Although usually filmed flat and long-distance, there are moments of interesting visual symbolism like the busts of Jedi, fire-water transitions, and the monsters in the arena.
The central planets (Coruscant, Kamino, Geonosis) offer strong contrasts that also help structure the film visually and follow a descent from the civilized republic. The love theme score is perfectly operational and perhaps John Williams’ best work on the series.
The over-reliance on CGI backgrounds in the prequels hit a crescendo here, but George Lucas and his team made bigger swings in storytelling than usual.
4th Star Wars: Episode I – The Phantom Menace (1999)
Granted, this film doesn’t compare very well with other space films of the late 90s The fifth Element, Galaxy Quest, Starship Troopers, independence Day, and more. New war of stars Iconography is in full swing and its influence on later work is undeniable.
Darth Maul had six minutes of screen time and became not only a fan favorite but also a perfect counterbalance to Darth Vader’s villainy in the original trilogy. John Williams’ score carries emotions like a workhorse. The green and lush Naboo environment is a thematic juxtaposition to Tatooine (differences that are unnecessarily articulated in a film later).
Podracing, a double lightsaber, droid armies, a child Anakin, and more show that Lucas wasn’t aiming for an easy target war of stars warm up. And if you accept Jar Jar as a mere senseless idiot who later destroys democracy, then we can see Lucas as Nostrodamus.
The worst element of the production, however, has to be the racist cartoons, all of which were ridiculously ignorant and, at best, lazy.
3. Star Wars: Episode VI – Return of the Jedi (1983)
This movie is perhaps the most hurt by subsequent CGI additions (just give us the original cut, Disney +!). With locations mostly on Tatooine, the Death Star, and Dagobah, there isn’t as much new here as there is in the previous entries. Princess Leia’s costume was best defended by Carrie Fisher, who essentially said, “A disgusting snail made Leia wear it, and that’s how she killed him.”
Endor was fine and maybe the easiest fan movie place to replicate.
The Rancor doll gets rough skin texture / moisture and, more importantly, love from its de facto creators. Similarly, the Ewoks were / are ravaged for being cute toy claws, but at least they died in the heat of battle.
Even during the final battle, the crash of the Super Star Destroyer helped convey success, height, weight, and hopelessness.
Luke’s all black gaze symbolized his brush with the dark side; A flap made of white fabric comes out when it reappears on the light side. This is the perfect attention to production details.
2. Star Wars: Episode IV – A New Hope (1977)
We must appreciate the brave decision that avatar characters are played by expressionless robots. Of course, the miniatures are impeccable and a dozen documentaries have explained the making-of over the past 44 years. But even if the production falls apart, it’s great.
Why is there a devil in the cantina? Because they needed alien costumes.
Can Alec Guinness Fight? No, just edit some awkward swing (twice) and trust it to work.
Use lion roar for space maneuvers? Done.
Few films are made better by their shortcomings, and A new hope is firmly in this camp. This film is held together with duct tape in 1977 and has a budget of $ 11 million. Close encounter of the third kind (which took audiences to far-flung places like Indiana) cost $ 20 million.
1. Star Wars: Episode V – The Empire Strikes Back (1980)
This film takes characters from the first film and challenges them in new ways. He creates a near-perfect sequel to the greatest movie of all time (at least at that time).
Environments like Hoth, Dagobah, Inside a Space Worm, and Bespin expanded what could be imagined and built. New universal technologies (AT-AT-Walker) and character reasons for the puppet show (Yoda moves awkwardly because he is old) support the story and the themes.
Even “Ice Machine Man” (aka Willrow Hood) has become an icon of hero and production design.
The Empire Strikes Back has everything and makes my top spot.
What I have done wrong? Let me know in the comments.