Tag Archives: The Prequel Trilogy

Star Wars: Revenge of the Sith Is Just The Room in Space

This December can boast the release of a pair of films from two very different franchises. The first is Star Wars: The Last Jedi, the inescapable cinematic behemoth set to capitalize on the new, Disney-fueled era of Star Wars. It’s primed to tell the next chapter of the new trilogy that began with 2015’s The Force Awakens. The second is The Disaster Artist, a movie, based on a book, based on the making of another movie. That other movie is The Room, a transcendently bad, gloriously inept film that is the modern challenger for the title of “The Worst Movie of All Time.”

And on the surface, Star Wars and The Room have nothing in common. One is set in a distant galaxy, and the other is set in San Francisco (and not even the futuristic sci-fi version of the city from Star Trek). One features magical warrior monks doing battle with laser swords, and the other features (comparatively) average people, mostly tossing footballs at one another. Star Wars shows off imaginative new technologies on a cinematic scale, and The Room includes someone secretly recording their fiancée with a Nixon-era tape recorder.

But look past those surface-level differences, draw down to the core elements of each franchise’s installments, and you’ll discover something shocking — Star Wars Episode III: Revenge of the Sith is just The Room in space. Search your feelings; you know it to be true.

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Star Wars: The Phantom Menace Is a Cold, Empty Film in a Series Known for its Richness, Excitement, and Warmth


The internet is the land of hyperbole. Everything is either the greatest event in the history of the world or the worst thing to ever happen. So when it came time to watch The Phantom Menace–arguably the most maligned of the already ill-regarded Star Wars prequels–I approached it with optimism. I didn’t love the film when I saw it at twelve, but I didn’t hate it either. Surely the case against it was overstated. Surely there was a charitable interpretation to be made. Surely it couldn’t be that bad.

And then it was.

Make no mistake — The Phantom Menace is an awful film. It’s not the blight on the soul of cinema that its most ardent detractors would have you believe, but it’s not a good movie. In truth, somewhere past the halfway mark, Episode I manages to settle into a groove of mere okayness. There’s a good portion of the film that, separated from the ardor and expectations that come with the Star Wars appellation, would fall into the voluminous “fine but forgettable sci-fi adventure” category, never to be spoken or thought of again.

Unfortunately, The Phantom Menace does labor under those expectations, and the worst elements of the film are front-loaded. The racial stereotypes, the parliamentary procedure, and the bad child acting are all at the forefront in the early going of Episode I. At some point, the movie stumbles its way into a decent-if-unremarkable story about bucking authority and making peace with longstanding rivals to face a common enemy. But it’s a long slog to get there without nearly enough of a payoff.

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