Luke, you're going to find that many of the truths we cling to depend greatly on our own point of view.

Star Wars Episode VI: Return of the Jedi

(1983)

This has definitely suffered the most of the original trilogy. The effects sequences are more extravagant but comparably less inventive and effective (the speeder bike chase aside, the cleaning up of which is an example of revisions I can get behind), but most damagingly the story just isn't there.

Its greatest asset is the one thing Lucas could carry through all his versions of the story on some level, the final confrontation between Luke and Vader. And it's a fine scene, ably constructed and supported by Williams haunting choral score and with Ian McDiarmid’s mocking Emperor showing commendable relish. Of course, a moment that was so impactful due to Vader silently observing his son being wracked with pain, then turning on the Emperor, now has "Nooooo! Nooooo!" splashed over it for what Lucas considers to be a fiddling symmetry.

This is where Lucas apparently took to micro-managing (Richard Marquand receiving the brunt of it) after letting Kershner have a fair bit of rope. So he didn't listen to the suggestions of Gary Kurtz (who left acrimoniously) and Lawrence Kasdan (who agreed with Ford that Han should die). He pressed on with repeating the climax he had brought forward into Star Wars (the Death Star) and instead of a rethink after deciding not to got to the Wookie world (as he decided to introduce Wookies with Chewie, who was technologically capable, it didn't fit his vision of a Vietnam-parallel undeveloped society versus advanced one) he reinvented it with the cutesy indulgence of the Ewoks.

Most of the choices he made here seem like a retreat rather than advancement from The Empire Strikes Back. Han is an almost incidental figure; you can understand the reasoning that he should be paired with Leia but dramatically he should really have been aboard the Falcon, even if he wasn't given a heroic death. His character is very nearly just comic relief; Ford wears the humour well, but his character is shorn of the "cool" he had previously (just look at his "for laughs" defeat of Boba Fett). We don't care about the attack on the Death Star because we don't care about Lando. And we don't really care about the battle on Endor because it's all so lightweight. Which means the drama of the climax all rests on Luke. Who finds his father was a fat bald bloke all along. It turns out little Annie really likes the pies.

The scene where everyone reunites with Luke before heading to Endor/the Death Star has to be the most cheese-laden and excruciating in the original trilogy. Unfortunately that wasn't edited down, but we get a horrific song to the accompaniment of rotten CGI at Jabba's palace. Lucas calls out the pro-rubber people on the commentary at this point, saying that it's as fake as CGI. But, as is clear from the prequels, he can't see which sticks out like a sore thumb and is more of a challenge to suspension of disbelief.

The Sarlacc now looks more like Little Shop of Horrors. And it's ironic that the one crowd-pleaser Lucas considered reinstating, Fett escaping its maw, he decided against on the grounds it didn't fit (like that music number did?) The replacing of the Ewok music at the end is also rubbish, and the speed of galaxy-wide celebrations of the Empire's defeat (within hours, everywhere?) is implausible for the sake of an attempt at "epic" wrap-up. Christensen looks like a smirking dick when he's joined the Force too (I don't see the logic, either; he turned to the good side of the Force as a corpulent cadaver).

***

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If you never do anything, you never become anyone.

An Education (2009)
Carey Mulligan deserves all the attention she received for her central performance, and the depiction of the ‘60s is commendably subdued. I worried there was going to be a full-blown music montage sequence at the climax that undid all the good work, but thankfully it was fairly low key.

Alfred Molina and Olivia Williams are especially strong in the supporting roles, and it's fortunate for credibility’s sake that that Orlando Bloom had to drop out and Dominic Cooper replaced him.
***1/2

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Spider-Man Worst to Best

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In the Mouth of Madness (1994)
(SPOILERS) The concluding chapter of John Carpenter’s unofficial Apocalypse Trilogy (preceded by The Thing and Prince of Darkness) is also, sadly, his last great movie. Indeed, it stands apart in the qualitative wilderness that beset him during the ‘90s (not for want of output). Michael De Luca’s screenplay had been doing the rounds since the ‘80s, even turned down by Carpenter at one point, and it proves ideal fodder for the director, bringing out the best in him. Even cinematographer Gary K Kibbe seems inspired enough to rise to the occasion. It could do without the chugging rawk soundtrack, perhaps, but then, that was increasingly where Carpenter’s interests resided (as opposed to making decent movies).

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Vampire Academy (2014)
My willingness to give writer Daniel Waters some slack on the grounds of early glories sometimes pays off (Sex and Death 101) and sometimes, as with this messy and indistinct Young Adult adaptation, it doesn’t. If Vampire Academy plods along as a less than innovative smart-mouthed Buffy rip-off that might be because, if you added vampires to Heathers, you would probably get something not so far from the world of Joss Whedon. Unfortunately inspiration is a low ebb throughout, not helped any by tepid direction from Daniel’s sometimes-reliable brother Mark and a couple of hopelessly plankish leads who do their best to dampen down any wit that occasionally attempts to surface.

I can only presume there’s a never-ending pile of Young Adult fiction poised for big screen failure, all of it comprising multi-novel storylines just begging for a moment in the Sun. Every time an adaptation crashes and burns (and the odds are that they will) another one rises, hydra-like, hoping…

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Captain Marvel (2019)
(SPOILERS) All superhero movies are formulaic to a greater or lesser degree. Mostly greater. The key to an actually great one – or just a pretty good one – is making that a virtue, rather than something you’re conscious of limiting the whole exercise. The irony of the last two stand-alone MCU pictures is that, while attempting to bring somewhat down-the-line progressive cachet to the series, they’ve delivered rather pedestrian results. Of course, that didn’t dim Black Panther’s cultural cachet (and what do I know, swathes of people also profess to loving it), and Captain Marvel has hit half a billion in its first few days – it seems that, unless you’re poor unloved Ant-Man, an easy $1bn is the new $700m for the MCU – but neither’s protagonist really made that all-important iconic impact.

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Indiana Jones and the Last Crusade (1989)
When your hero(es) ride off into the sunset at the end of a film, it’s usually a pretty clear indication that a line is being drawn under their adventures. Sure, rumours surfaced during the ‘90s of various prospective screenplays for a fourth outing for the whip-cracking archeologist. But I’m dubious anyone really expected it to happen. There seemed to be a natural finality to Last Crusade that made the announcement of his 2007 return nostalgically welcome but otherwise unwarranted. That it turned out so tepid merely seemed like confirmation of what we already knew; Indy’s time was past.

What, you're going to walk in there like it's the commie Disneyland or something?

Stranger Things 3 (2019)
(SPOILERS) It’s very clear by this point that Stranger Things isn’t going to serve up any surprises. It’s operating according to a strict formula, one requiring the opening of the portal to the Upside Down every season and an attendant demagorgon derivative threat to leak through, only to be stymied at the last moment by our valorous team. It’s an ‘80s sequel cycle through and through, and if you’re happy with it functioning exclusively on that level, complete with a sometimes overpowering (over)dose of nostalgia references, this latest season will likely strike you as just the ticket.

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Dark Season 2
(SPOILERS) I’m not intending to dig into Dark zealously, as its plotting is so labyrinthine, it would take forever and a day, and I’d just end up babbling incoherently (so what’s new). But it’s worth commenting on, as it’s one of the few Netflix shows I’ve seen that feels entirely rigorous and disciplined – avoiding the flab and looseness that too often seems part and parcel of a service expressly avoiding traditional ratings models – as it delivers its self-appointed weighty themes and big ideas. And Dark’s weighty themes and big ideas really are weighty and big, albeit simultaneously often really frustrating. It came as no surprise to learn of the showrunners’ overriding fixation on determinism at work in the multi-generational, multiple time period-spanning events within the German town of Winden, but I was intrigued regarding their structural approach, based on clearly knowing the end game of their characters, rather than needing to reference (as they put it) Post-It…

Doesn't work out, I'll send her home in body bag.

Anna (2019)
(SPOILERS) I’m sure one could construe pertinent parallels between the various allegations and predilections that have surfaced at various points relating to Luc Besson, both over the years and very recently, and the subject matter of his movies, be it by way of a layered confessional or artistic “atonement” in the form of (often ingenue) women rising up against their abusers/employers. In the case of Anna, however, I just think he saw Atomic Blonde and got jealous. I’ll have me some of that, though Luc. Only, while he brought more than sufficient action to the table, he omitted two vital ingredients: strong lead casting and a kick-ass soundtrack.

You're always sorry, Charles, and there's always a speech, but nobody cares anymore.

X-Men: Dark Phoenix (2019)
(SPOILERS) To credit its Rotten Tomatoes score (22%), you’d think X-Men: Dark Phoenix was a travesty that besmirched the name of all good and decent (read: MCU proper) superhero movies, or even last week’s underwhelming creature feature (Godzilla: King of Monsters has somehow reached 40%, despite being a lesser beast in every respect). Is the movie’s fate a self-fulfilling prophecy, what with delayed release dates and extensively reported reshoots? Were critics castigating a fait accompli turkey without giving it a chance? That would be presupposing they’re all sheep, though, and in fairness, other supposed write-offs havecome back from such a brink in the past (World War Z). Whatever the feelings of the majority, Dark Phoenix is actually a mostly okay (twelfth) instalment in the X-franchise – it’s exactly what you’d expect from an X-Men movie at this point, one without any real mojo left and a variable cast struggling to pull its weight. The third act is a bi…

Now In Full Color, with a Happier Ending

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