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).

***

Comments

She writes Twilight fan fiction.

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…

My name is Dr. King Schultz, this is my valet, Django, and these are our horses, Fritz, and Tony.

Django Unchained (2012)
(MINOR SPOILERS) Since the painful misstep of Grindhouse/Death Proof, Quentin Tarantino has regained the higher ground like never before. Pulp Fiction, his previous commercial and critical peak, has been at very least equalled by the back-to-back hits of Inglourious Basterds and Django Unchained. Having been underwhelmed by his post Pulp Fiction efforts (albeit, I admired his technical advances as a director in Kill Bill), I was pleasantly surprised by Inglourious Basterds. It was no work of genius (so not Pulp Fiction) by any means, but there was a gleeful irreverence in its treatment of history and even to the nominal heroic status of its titular protagonists. Tonally, it was a good fit for the director’s “cool” aesthetic. As a purveyor of postmodern pastiche, where the surface level is the subtext, in some ways he was operating at his zenith. Django Unchained is a retreat from that position, the director caught in the tug between his all-important aesthetic pr…

Whoever comes, I'll kill them. I'll kill them all.

John Wick: Chapter 2 (2017)
(SPOILERS) There’s no guessing he’s back. John Wick’s return is most definite and demonstrable, in a sequel that does what sequels ought in all the right ways, upping the ante while never losing sight of the ingredients that made the original so formidable. John Wick: Chapter 2 finds the minimalist, stripped-back vehicle and character of the first instalment furnished with an elaborate colour palette and even more idiosyncrasies around the fringes, rather like Mad Max in that sense, and director Chad Stahleski (this time without the collaboration of David Leitch, but to no discernible deficit) ensures the action is filled to overflowing, but with an even stronger narrative drive that makes the most of changes of gear, scenery and motivation.

The result is a giddily hilarious, edge-of-the-seat thrill ride (don’t believe The New York Times review: it is not “altogether more solemn” I can only guess Jeannette Catsoulis didn’t revisit the original in the interven…

I should have mailed it to the Marx Brothers.

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.

No time to dilly-dally, Mr Wick.

John Wick: Chapter 3 – Parabellum (2019)
(SPOILERS) At one point during John Wick: Chapter 3 - Parabellum, our eponymous hero announces he needs “Guns, lots of guns” in a knowing nod to Keanu Reeves’ other non-Bill & Ted franchise. It’s a cute moment, but it also points to the manner in which the picture, enormous fun as it undoubtedly is, is a slight step down for a franchise previously determined to outdo itself, giving way instead to something more self-conscious, less urgent and slightly fractured.

She worshipped that pig. And now she's become him.

The Girl in the Spider’s Web (2018)
(SPOILERS) Choosing to make The Girl in the Spider’s Web following the failure of the David Fincher film – well, not a failure per se, but like Blade Runner 2049, it simply cost far too much to justify its inevitably limited returns – was a very bizarre decision on MGM’s part. A decision to reboot, with a different cast, having no frame of reference for the rest of the trilogy unless you checked out the Swedish movies (or read the books, but who does that?); someone actually thought this would possibly do well? Evidently the same execs churning out desperately flailing remakes based on their back catalogue of IPs (Ben-Hur, The Magnificent Seven, Death Wish, Tomb Raider); occasionally there’s creative flair amid the dross (Creed, A Star is Born), but otherwise, it’s the most transparently creatively bankrupt studio there is.

I don’t think you will see President Pierce again.

The Ballad of Buster Scruggs (2018)
(SPOILERS) The Ballad of Buster Scruggs and other tall tales of the American frontier is the title of "the book" from which the Coen brothers' latest derives, and so announces itself as fiction up front as heavily as Fargo purported to be based on a true story. In the world of the portmanteau western – has there even been one before? – theme and content aren't really all that distinct from the more familiar horror collection, and as such, these six tales rely on sudden twists or reveals, most of them revolving around death. And inevitably with the anthology, some tall tales are stronger than other tall tales, the former dutifully taking up the slack.

I mean, I think anybody who looked at Fred, looked at somebody that they couldn't compare with anybody else.

Won’t You Be My Neighbor? (2018)
(SPOILERS) I did, of course, know who Fred Rogers was, despite being British. Or rather, I knew his sublimely docile greeting song. How? The ‘Burbs, naturally. I was surprised, given the seeming unanimous praise it was receiving (and the boffo doco box office) that Won’t You Be My Neighbor? didn’t garner a Best Documentary Oscar nod, but now I think I can understand why. It’s as immensely likeable as Mr Rogers himself, yet it doesn’t feel very substantial.

Our very strength incites challenge. Challenge incites conflict. And conflict... breeds catastrophe.

The MCU Ranked Worst to Best

I think, I ruminate, I plan.

The Avengers 6.5: Get-A-Way
Another very SF story, and another that recalls earlier stories, in this case 5.5: The See-Through Man, in which Steed states baldly “I don’t believe in invisible men”. He was right in that case, but he’d have to eat his bowler here. Or half of it, anyway. The intrigue of Get-A-Way derives from the question of how it is that Eastern Bloc spies have escaped incarceration, since it isn’t immediately announced that a “magic potion” is responsible. And if that reveal isn’t terribly convincing, Peter Bowles makes the most of his latest guest spot as Steed’s self-appointed nemesis Ezdorf.

Now In Full Color, with a Happier Ending

Search This Blog