From the Vault #15: STAR WARS EPISODE III: REVENGE OF THE SITH (2005)

From 2012 onwards, before developing this blog, I wrote a multitude of reviews on the website Letterboxd. In this irregular series called From the Vault, I’m going to haul these earlier reviews out of mothballs and re-purpose them here.

This one is from May 28th, 2014, as we close in on Star Wars Episode IX: The Rise of Skywalker

It was back in 1973 that the beginnings of what would become Star Wars Episode III: Revenge of the Sith came to life, as George Lucas roughly mapped out the entire Star Wars saga without specifics four years before Episode IV would take the world by storm and create a cinematic legacy unlike perhaps any other before or since.

Much as the previous two prequels underwhelmed significantly from a creative standpoint, leaving many fans with a sense of caution going forward, few would deny Revenge of the Sith remained much anticipated. This was the story we had all been waiting for – forget the preamble and effectively set up of The Phantom Menace & Attack of the Clones, this would be where it all came together, Lucas ready to show us just how Anakin Skywalker became Darth Vader & the Galactic Empire rose from the ashes of the Jedi. How could such an epic tale three decades in the making fail? The good news is, well… on the whole it doesn’t.

Revenge of the Sith is by some distance the finest Star Wars prequel and though it can’t quite sit on a par with the original trilogy, it skirts close with a combination of epic visuals, narrative power and finer characterisation than the previous two movies combined.

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Cinematic Universes: the divisive wave of cinema’s future

With the advent of Justice League, many fans and commentators are once again discussing the concept of the ‘Cinematic Universe’, given the formative attempts by DC Comics over the last several years to emulate the rampant success of the Marvel Cinematic Universe, the first truly successful and revolutionary cinematic model of an overarching mythological world of characters and narratives informing one another. Inevitably with the internet, it’s leading to a war of trolls – Marvelita haters and DC sceptics waging a pointless conflict over territorial ownership and trying the answer the utterly subjective question – ‘which is better?’. For every critic who tells you the MCU is technically stronger as a tapestry, you’ll easily find more than enough ‘DCEU’ defenders to race in with their Amazonian swords and claim everything Marvel has done is powerfully overrated. There can be no victor in such a battle.

In truth, discussion of the Cinematic Universe has never gone away. Hollywood and the blockbuster movie system has been utterly consumed and dominated by the power of a connected storytelling model, following the template Marvel Studios laid down. It has arguably changed the very fabric of the cinematic franchise. Following the essential advent of the ‘blockbuster’ in the mid-1970’s with Jaws and of course Star Wars, it took Hollywood a while to truly embrace the idea of creating what we accept as a ‘franchise’. Sequels had always existed – we can go back as far as 1916 indeed for the first recognised follow up, Thomas Dixon Jr’s The Fall of a Nation, which carried on the story from DW Griffith’s historically polarising The Birth of a Nation – but it was truly the 1980’s that gave birth to the notion of a franchise, once Star Wars developed sequels to George Lucas’ game-changing original movie and developed an entire cinematic eco-system around the property.

Sequels, nonetheless, remained *sequels*. Film number two. Taking the characters and situations from the first successful picture and moving them in new directions, though not always. Many sequels in the 80’s and 1990’s simply re-trod all of the same beats people loved about the first movies, mostly with diminishing returns. That’s what made The Empire Strikes Back so powerful; it took Star Wars and those characters truly in new, challenging directions and forever altered their destinations. Not every sequel took such a bold leap forward for its characters and narrative. Many played it safe, an accusation oddly levelled at some of the recent cinematic universes which were born out of the ashes of continuing storylines.

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