Ranking The Star Wars Universe
Words: C. Abbott
Star Wars is big business, this much is true and without argument. Last years The Force Awakens brought in a new age for cinema’s biggest franchise – a yearly release schedule. Now, love it or hate it, there is no escape from the empire. We’ll all be bombarded with Star Wars until time stops.
With that said, Rogue One was just released in theatres; it marks the beginning of the ill-defined Anthology (or Star Wars Story) films – outside of the Skywalker story. With that the universe is becoming more massive than George Lucas could have ever dreamed back in ’77 and could now be the last time to make a quick and more importantly arbitrary list ranking these much loved and crucially, often hated movies. But of course, it all starts with a prequel:
8. Star Wars: Episode II – The Attack Of The Clones
The phrases – bad movies and Star Wars prequels have become synonymous with one another. But at the bottom of the lake of cinematic stank, one stands alone. There are only so many times you can read why Episode II fails in all aspects, it’s utterly forgettable and the limpest installment. You could entirely skip this film and wouldn’t lose any knowledge or greater understanding for it. The crying shame here is Christopher Lee plays the primary antagonist. What a crime. What a waste.
7. Star Wars: Episode I – The Phantom Menace
Utterly vacuous. The only reason this isn’t last is personal nostalgia on my part – which is a character defect I’m sure, and that is doesn’t waste a classical British actor. Oh wait. Terence Stamp.
6. Star Wars: Episode VII – The Force Awakens
This will be the most controversial placement on the list. How could it possibly be worse than a prequel? Inspiration (or lack thereof). J.J. Abrams is a hack, polishing other people’s ideas and calling it fresh. There is nothing creative or memorable about this movie, it’s a Star Wars film without a heart, invalidating the importance and meaning behind the original trilogy and bringing nothing new to the table. One can only hope Episode VIII corrects the sins made here.
5. Star Wars: Episode III – The Revenge of the Sith
Often the prequels are unfairly lumped together as this one mass of bad. Yet Episode III, while still a disaster in many respects, holds its own and is far above its prequel brethren. There are a lot of memorable moments here, moments that could be called great. Yet, being attached to the story that led up to these events, it could never elevate itself out of the mistakes previously made.
4. Rogue One: A Star Wars Story
The high point outside of the original films, but, still a flawed one. With a messy first act and a tedious second, the finale – while great, could not make it so overall. Star Wars has the potential to be a massive universe of unique and interesting stories filled with great characters; its first attempt to do so is none of these things.
3. Star Wars: Episode VI – The Return of the Jedi
This is where things become all too predictable, yet, all of the remaining films can be called great. Star Wars at its core is a Father/Son story of love and redemption. Whenever the franchise has stepped back from this is can’t seem to find its feet. While the once final chapter in the tale has issues, it’s still heartfelt, epic in scope and fulfilling for any fan of the most beloved space adventure.
2. Star Wars: Episode IV – A New Hope
This is where it all started back in the late 70s, one man’s vision and one film that changed Hollywood forever. Completely watchable, giving you a sense of awe and wonderment of a galaxy that seems so alive and fascinating. Despite everything, George Lucas gave us this universe we now love and for that he’ll always have my respect.
1. Star Wars: Episode V – The Empire Strikes Back
Could it be any other? Building on everything the first film achieved and adding a much darker, sinister tone, it’s the perfect sequel. Expanding the mythos like no other has done since, combined with one of cinemas greatest plot twists, there isn’t much to complain about. This is the reason Star Wars is so loved, and we continue to dream of a day it’ll reach these heights again.
– Somebody made this James Bond themed opening for Empire Strikes back last year, so this seemed like a good place to share it!
Must See Movies: January
At Reel Steel we want to make sure you’re getting the most of your cinematic enthusiasm, so each month we put together our short list of some of the best new releases, from popcorn munching explosion fests to the often weird and wonderful.
Take a look at the trailers below and see what you think to this month’s recommendations!
Silence
released Sunday January 1st, 2017
The latest feature from director Martin Scorsese, is an adaptation of the novel ‘Silence’ by Shusaku Endo.
In the 17th century, two priests (Andrew Garfield and Adam Driver) travel to Japan in search of their mentor (Liam Neeson), who is rumoured to have abandoned his faith.
At a time when Christianity was outlawed and their presence forbidden, this is a powerful journey into the nature of faith.
La La Land
released Friday January 13th, 2017
La La Land is the follow-up feature to the Oscar nominated Whiplash from writer and director Damien Chazelle – it tells the story of Mia (Emma Stone), an aspiring actress, and Sebastian (Ryan Gosling), a dedicated jazz musician, struggling to get by in Los Angeles – a city known for crushing hopes and breaking hearts.
This original modern-day musical about everyday life explores the joy and pain of pursuing your dreams.
Jackie
released Friday January 20th, 2017
In the days following the assassination of President John F Kennedy, it was his wife Jackie Kennedy that represented the heart of America.
This film reconstructs this historic moment in time, centred around the LIFE magazine interview with the widow at the Kennedy family home.
Natalie Portman stars as the woman which history turned into an icon, as she fights through grief and trauma to define her husband’s legacy.
– SPECIAL EVENTS –
Goodfellas
in cinemas Friday January 20th, 2017
Heralded as ‘the best gangster movie ever made’, this 4K restoration will be released in cinemas across the UK.
Starring Robert De Niro, Ray Liotta, and Joe Pesci – Martin Scorsese’s crime classic is one of modern cinema’s most influential films.
Ghost in the Shell
in cinemas Wednesday January 25th, 2017
Returning over 20 years after its initial UK release, Manga Entertainment (following the successful cinema re-release of the cult anime Akira in September last year) will be bringing this iconic and influential masterpiece back to cinemas for one night only.
In the year 2029, the world has been made borderless by the net, and with all people well-connected, crime has developed into an advanced stage through hacking into the interactive network.
Virtual law enforcement agents able to download themselves into cyborgs with incredible abilities, try to stop a powerful and mysterious hacker known as the Puppet Master – capable of invading and manipulating cybernetic brains and altering its victim’s memory.
Widely regarded as one of the greatest anime films of all time, and credited as a direct inspiration for The Matrix, this visually stunning and game-changing cyberpunk classic smashed the boundaries of traditional animation.
This is a rare opportunity to see this ground-breaking feature in its full cinematic glory – and a perfect way for those unfamiliar to introduce themselves to this influential masterpiece before the release of the live action remake starring Scarlett Johansson later this year.
click the link below to find a screening near you –
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Adult Life Skills
2016 – UK
Director: Rachel Tunnard
Starring: Jodie Whittaker, Brett Goldstein, Eileen Davies, Ozzy Myers, Lorraine Ashbourne
Words: J. Senior
To say that I went from knowing absolutely nothing about Adult Life Skills – to falling head over heels in love with it, is something of an understatement. Eileen Davies who stars in the film (and amongst many other roles has appeared in Sightseers and High Rise) told me about the film and arranged an event at the cinema that I manage with herself and the film’s director Rachel Tunnard. During this I managed to get really close to the film by mixing with the people who had worked so hard to bring it to screen. It’s impressive origins make it one of the best films of 2016 alone. However, it has gone on to win to BIFA Awards this year, for Debut Screenwriter for Rachel and for Best Supporting Actor for Brett Goldstein, and as it’s a film that was largely thought up and devised by people from Sheffield, it was an absolute no-brainer for our end of year list.
The film follows Anna, who is quickly approaching thirty and is living at the bottom of her Mum’s garden in a shed. She makes short films, using her thumbs for characters and is for all intents and purposes, merely floating through life. As the narrative continues Anna is coaxed from her shell by friends, a love interest and a young boy called Clint who is coping with is own emotional turmoils. Each of these relationships opens Anna up and exposes her vulnerability, and we eventually discover the reasons behind her self imposed shed bound exile.
At the heart of the film is a very serious message about grief and abandonment but this aspect is approached with a razor sharp wit, and keen eye for comedy. You can be laughing hysterically one moment and then crying the next. It’s a really joyous film to be shared with an audience.
I personally got to dig deeper into aspects and stories within the film by speaking with Rachel (and also having a long chat with Rachel’s Dad about football and Sheffield United), stories such as the mission it took to attain the copyright to use a Whitesnake song over the closing credits… If you have seen the film, you’ll know how perfect the song choice was.
My overarching experience though was really just one of gratitude, I felt really privileged to be able to experience something that was made in the city I love, by people who shared my passion for film. Rachel was an Editor for many years before transitioning into writing and directing, but watching the film you would never have guessed it wasn’t made by a seasoned professional. I can’t wait to see what she works on next. Adult Life Skills is really just an exquisitely honest film about real life trials and tribulations, and the best thing I have seen all year. Watch it as soon as you can, it really is that good.
Paterson
2016
Director: Jim Jarmusch
Starring: Adam Driver, Golshifteh Farahani, Barry Shabaka Henley, William Jackson Harper, Chasten Harmon
Words: N. Scatcherd
Distilling and purifying the kind of laidback, meandering, low-key interest in the minutiae of life that all Jarmusch films engage in to various degrees, stripping away narrative urgency to the point where there isn’t even much of a narrative at all. This is a film about ‘the little things’, even more so than usual in a Jarmusch film. But while its unhurried nature – which could be interpreted as a kind of aimlessness if one was feeling unkind – may initially beg the question: “is anything actually going to happen?”, something gradually happens as you watch. You begin to smile, fondly and without cynicism, in the same way our protagonist, bus driver Paterson (Adam Driver) – who funnily enough shares his name with the city of Paterson, New Jersey in which he lives and works – smiles at the small moments of beauty, happenstance and kindness he sees around him; the things that inspire the modest, earnest poetry he pens in his ‘secret notebook’.
Paterson is played with a quiet, observant curiosity by Driver, who really is a fantastic presence. He conveys a world of emotion with one doe-eyed glance or barely suppressed chuckle. He goes to the same bar every evening and engages in friendly small talk with the barman (Barry Shabaka Henley). He walks his English bulldog, Marvin (who steals every scene he’s in) and enjoys an apparently idyllic relationship with his black-and-white obsessed, cupcake-baking girlfriend Laura (Golshifteh Farahani), who harbours a dream of becoming a country singer. Her whimsical kookiness could be kind of irritating, but Farahani and Driver so well inhabit the lived-in chemistry of a couple in genuine love that it actually comes off as sincerely touching. When she talks about her dreams, bakes strange pies and paints the shower curtains in her beloved two-tone colour scheme, Paterson laughs with her, not at her; fondly, lovingly.
Paterson isn’t the kind of film you can really talk about in terms of ‘plot’, and anyway, the whole joy of it comes from allowing its gentle magic to take hold as we experience a week in the life of this humble everyman figure, enjoying the small, quiet beauties of life along with him.
Paterson is a warm, tender examination of the things it is easy to sometimes take for granted; love, humour, compassion. It leaves you with a renewed sense of optimism and appreciation for the good in every day, it’s the kind of experience everyone deserves to have every now and again.
Rogue One: A Star Wars Story
2016 – USA
Director: Gareth Edwards
Starring: Felicity Jones, Diego Luna, Donnie Yen, Ben Mendelsohn, Forest Whitaker, Alan Tudyk, Wen Jiang, Riz Ahmed, Mads Mikkelson
Words: S. Nix
As the lights came back on at the end of the screening I attended, the rolling credits were greeted with thunderous applause, my small, nagging doubts about Disney’s stand-alone “anthology” series of movies dissipated.
It’s hard for an observer to understand what the fuss is about when seeing lifelong fans obsess over Disney’s every miniscule move with the franchise so let me put it into context: Imagine you’ve got a newborn child and you instantly have to hand it over to a complete stranger wearing fruity clothing and two giant mouse ears – “Please don’t drop my only child, flamboyant and sexually ambiguous stranger,” you might say, “their fragile, infant head could crack like eggshell if you were to drop them.”
Every small movement down to the fingertip is scrutinised for even the slightest hint of neglect.
This movie is the first to break from the traditional chapter-by-chapter narrative of the Star Wars saga and abandon the story of the Skywalker family, which in itself causes a hushed, panic-stricken “uh-oh” from the fan base. It focuses instead on the struggle of the Rebel Alliance to find information on the evil Galactic Empire’s new super-weapon capable of destroying entire planets in the days leading up to the events depicted in the first movie way back when in 1977.
As such, there are cameos that’ll make fans of the original movies squeal with delight and some appearances from beloved characters that weren’t gratuitously shoehorned in that actually play a pivotal role in the story’s direction. Peter Cushing’s wonderfully villainous Grand Moff Tarkin is brought back to life through the magic of motion capture technology and some absolutely spot-on voice work reminding us that not all evil comes in capes and masks. Having said all that, the old faces are used sparingly and in the right places, allowing the new additions such as the brilliant Felicity Jones’ Jyn Erso and Ben Mendelsohn’s petulant Director Krennic room enough to breathe and develop on their own in the traditional and organic storytelling that cemented Star Wars’ place in pop culture history in the first place.
Whilst it does get off to a meandering start flitting from this outpost-to that planet-to that moon, once it hits cruising altitude, Rogue One only gets better and better before finishing with an ending that will not only deeply satisfy but give fans what they feel like they’ve been waiting their whole lives for. This film’s primary mission seems to be fan service. Viewers who only joined in after last year’s Episode VII may be confused or bored due to a lack of anything to grab on to save the new characters and their plight which doesn’t take much effort to grasp. I would imagine the film’s speedy pace and breathtakingly shot action scenes would keep them seated nonetheless.
This is the prequel we’ve been waiting for and to those who’ve boycotted it because they cynically object to Disney’s ownership or because of some misguided political reason, all we have to say is: your loss.
And may the force be with you…
Best of 2016
2016 was a great year for cinema, and as the year comes to an end we’ve selected what we think are 10 of the best films released in the UK over the past year
– click on the film title to see our review
A sci-fi epic about first contact, telling a story of humanity
I, Daniel Blake
A moving drama portraying the struggle of people failed by the state in British society
Hell or High Water
Two brothers take matters into their own hands with their personal battle against the banking system
A glorious stop-motion animation set in ancient Japan
A visually arresting story in a nightmare LA fashion world
The Girl With All The Gifts
A British zombie film with a new take on the genre
The best Marvel film to date
A feminist coming-of-age-tale, one of the most heartbreaking and thought provoking films of the year
The British Independent Film Award nominated, horror movie sleeper hit
Sheffield born director Rachel Tunnard’s debut, is a British Independent Film Award winning, hilariously comedic and heartwarming tale
Fantastic Beasts And Where To Find Them
2016/ UK, USA
Director: David Yates
Starring: Eddie Redmayne, Katherine Waterston, Colin Farrell, Alison Sudol, Ezra Miller
Words: R. Topham
Watching all two and a bit hours of Fantastic Beasts and Where to Find Them, you start to wonder if JK Rowling has inadvertently created a wizarding version of the global phenomena which was Pokemon GO. Tensions are already high among the wizarding world when well-meaning but skittish Newt Scamander misplaces his suitcase full of – drumroll please – some pretty fantastic beasts. Chaos ensues and instead of chasing charmanders and squirtles, the main characters, simultaneously full of wonder and exhausted by their efforts, are trying to catch for the escapee titular beasts in prohibition-era New York, a city of ignorant muggles – or “no-majs”, as the Americans call them.
Newt is yet another perfectly introverted role for Eddie Redmayne, who fits the profile of the awkward, slightly unhinged outcast with such sickening ease, as Newt’s shape-shifting acumen is parallel only to Redmayne himself. The now infamous Erumpent mating dance alone has intensified the Redmay-nia. But the star performance really has to go to Ezra Miller and his downright disturbing portrayal of Credence, whose malicious witches brew brims with the angst of an adolescent Freddy Krueger, which makes me all the more excited for his debut as The Flash in next year’s Justice League.
I hasten to add how exhilarating it is to see two love stories unfold which defy the typical traits of Hollywood features. Newt and Tina don’t share a classic teary-eye, impassioned snog goodbye when Newt boards his plane back to England, because they’re both too shy to make the first move. That’s a romantic blunder most of us can actually identify with. Dan Fogler’s Jacob regards himself as just another average factory-working chap with a pot belly to show it, but Queenie loves and idolises his no-maj authenticity.
But alas, more often than not, it feels like the visual sorcery takes precedence over an enchanting narrative. It’s a much more jovial alternative to the Harry Potter films, and the story unfolds at a much quicker pace, but it’s substantially more predictable. Oh, nice guy Newt’s going to defend Credence even though he’s caused widespread damage and almost blew the cover off the wizarding world is he? Didn’t see that one coming. Obviously Johnny Depp’s cameo will be extended and explored in the next installment, (which is a damn shame because the film loses a lot of its erratic charm when he shows up) but it’s difficult to see how JK Rowling will fill another four movies with such full-bodied excitement as this, or any of the Harry Potter films for that matter.
Must See Movies: December
At Reel Steel we want to make sure you’re getting the most of your cinematic enthusiasm, so each month we put together our short list of some of the best new releases, from popcorn munching explosion fests to the often weird and wonderful.
Take a look at the trailers below and see what you think to this month’s recommendations!
Bleed For This
released Friday December 2nd, 2016
Based on a true story, Vinny “The Pazmanian Devil” Pazienza (Miles Teller), takes the boxing world by storm after winning two world title fights, but then after a near-fatal car accident leaves him with a broken neck, he is told he may never walk again.
Against all odds, Vinny battles to return to the ring just a year after the accident, for what could be the last fight of his life.
The Birth of a Nation
released Friday December 9th, 2016
This is the story of Nat Turner, the man who led a slave rebellion in Virginia in 1831.
Nat (Nate Parker) has been made to act as a Baptist preacher to other slaves, but while witnessing the horrific treatment of his fellow man, he knows that he can no longer just stand by and preach.
Upon rising up against his white owners, his quest for freedom and justice leads to a violent and historic rebellion.
Rogue One: A Star Wars Story
released Thursday December 15th, 2016
The hugely anticipated Star Wars spin-off hits cinemas this month.
This story follows a group of unlikely heroes and rebel fighters, who come together to steal plans to the Death Star before it can be used to enforce the rule of the Empire.
This key event in the Star Wars timeline leads into the original Star Wars film, which saw Luke Skywalker learn the ways of the force and fight for the fate of the galaxy.
Book your tickets now…
SPECIAL EVENT
Donnie Darko
in cinemas from Saturday December 17th, 2016
To celebrate the 15th anniversary of a true cult classic, a special 4K restoration will be released in cinemas this month.
Troubled teenager Donnie Darko (Jake Gyllenhaal) survives a bizarre accident, while a vision of a large bunny rabbit tells him that the world will be coming to an end.
Donnie’s behaviour and grip on reality become increasingly irrational, as we’re drawn into a mind-bending journey where our title character looks to alter time and destiny.
This will be a rare chance for fans to see this film on the big screen, and a perfect way for those unfamiliar to introduce themselves to this original and imaginative classic.
Arrival
2016 – USA
Director: Denis Villeneuve
Starring: Amy Adams, Jeremy Renner, Forest Whitaker
Words: C. Abbott
Denis Villeneuve is quickly becoming one of the most consistently brilliant and interesting filmmakers working today.
Following the successes of Incendies, Prisoners, Enemy and Sicario, this could be his best work yet, perfectly capturing the fine art of Hollywood blockbuster entertainment and intellectual storytelling. Science-fiction is often a genre that is overly criticised, you can quickly become lost in the details of the accuracies and suspension of disbelief is necessary. Interstellar from recent memory suffered from this, and to varying degrees this was justified, but here Villeneuve delivers exactly what one would want – a thought provoking, riveting and engaging tale of humanity and the paradigm shifting nature first contact would inevitably have.
Linguist Dr Louse Banks (Amy Adams) is hired by the US military to translate the language of aliens that have landed across the globe. She is assisted by Ian Donnelly (Jeremy Renner), a physicist and led by Colonel Weber (Forest Whitaker); they have to answer just one question: why have they come to Earth?
There is a fascination with narratives such as this, what would happen? What would they be like? And as the tagline of the film states, why are they here? All this and more is answered and in a fulfilling and satisfying way.
You can realise the power and brilliance of a film when you’ve been sat for over an hour watching people struggle to communicate and be utterly enthralled with the proceedings. The story after all is one of communication and personal struggle.
From the very opening it becomes clear this isn’t the usual ‘alien invasion’ film, in fact it is something of an antithesis of Independence Day. The story is a personal one, centering on the Amy Adams’ character and her inner struggles. The genre of science-fiction, when used correctly, should be a tool in order to tell a story of humanity and human nature, this is just that. It is a puzzle, a lot of the plot elements will appear to be disconnected from the overall story at first, only being unlocked by the end. As one can see, this film invokes the spectres of many tales from the genre. The thematic elements align very much so with that of Solaris but there are calls to Contact and even the writings of Kurt Vonnegut.
The film has quite a distinctive visual style as well, cinematographer Bradford Young described it as “dirty Sci-fi” and that is an apt description. The look and feel is very naturalistic and tactile. This isn’t a maelstrom of carnage some might expect, it is in the same vein as District 9 – Sci-fi invading the real world.
Working with this is the astounding score by Jóhann Jóhannsson. It has an otherworldly quality to it, perfectly capturing that horror and awe an event such as this would bring shown in the track First Encounter. The strangeness and eerie quality of the aliens and the importance of communication is shown in Kangaru, a track that seems to call upon the opening of Under the Skin, when the alien in uttering sound and forming the words of our world.
Science-fiction such as this doesn’t come around often enough, residing with the likes of Moon and Under the Skin for recent gems from the genre. This is a film that stays with you, the questions it raises will circle around in your mind and it certainly reinstates why I love cinema.
With Villeneuve working on Blade Runner 2049, one can only feel the franchise is in safe hands.
Nocturnal Animals
2016 – USA
Director – Tom Ford
Starring – Amy Adams, Jake Gyllenhaal, Aaron Taylor‑Johnson, Michael Shannon, Armie Hammer
Words – C. Abbott
There is a moment in Tom Ford’s second feature that is something of a reflection on the narrative itself. Susan Morrow (Amy Adams) is sent a draft of a novel from her ex-husband Tony Hastings (Jake Gyllenhaal), to which it shares the film’s title. She is horrified and devastated by it, and when asked she describes it as “Violent and it’s sad – and he dedicated it to me.”
The same could be said about the film as a whole, it’s brutal, emotionally draining and uncomfortably intimate. From the very opening shot we’re grabbed by the ears and shouted at that this will be an excruciating affair. After his phenomenal breakout effort in A Single Man, Ford builds on what that film started. He comes from a background of fashion design and brings that expertise to film in a beautiful way. His films are some of the most stylish looking pieces in recent memory yet this isn’t an example of all style no substance. The narrative here is layered and complex, emotional nuance is something A Single Man dealt with elegantly. Greif, regret, love and loss are all themes brought up there, they are ever present but instead of being looked at through the eyes of sadness, this time through vengeance. People can do cruel things, and cruelty encapsulates each character and action. Nothing is gratuitous though, nor graphic but rather the mental image of pain that is painted in our minds causes the real discomfort.
It isn’t just Ford’s work that keeps the film in check, but the performances too. Amy Adams and Jake Gyllenhaal are two of the finest actors working today and here they are at career best performances. Secondary roles from Michael Shannon and Aaron Taylor Johnson match the work on screen. Everyone is bringing their all into this film and the meticulous craft of the production bring this towards the top end of films released this year.
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