Star Wars: Episode III - Revenge Of The Sith Review
Star Wars: Episode III - Revenge of the Sith Review
It was the most unexpected of situations. George Lucas returned to the Star Wars universe by telling the backstory of the famed villain Darth Vader, born Anakin Skywalker, as a new trilogy. The first film of this new series, Star Wars: Episode I - The Phantom Menace, had an unprecedented wave of hype surrounding it. After its release, it was as if someone let the air out of the room. While a significant financial success, the overall result was a tarnishing to the saga loved worldwide. Its follow-up, Star Wars: Episode II - Attack of the Clones, tarnished the saga further. What should have been a triumphant moment for American cinema became a textbook example of screwing with mythology. Suddenly, everyone was wondering how the man who built a story that has become ingrained in many cultures could be the same man who made Episode I and Episode II. As the inevitable conclusion to the trilogy approached, the anticipation was more muted. Audiences wanted to see the next installment but not in the way Lucas intended - people expected the film to pale in comparison to the Original Trilogy, so now they were wondering if it was going to be the trainwreck in mediocrity its two predecessors were. On May 19, 2005, Star Wars: Episode III - Revenge of the Sith was released, and while the audiences were right in expecting it to pale to the Original Trilogy, they were surprised that the film was good - in some moments, very good. Set three years after the end of Episode II, Episode III begins with the final battle of the Clone Wars - the Battle of Coruscant. Supreme Chancellor Palpatine, the leader of the Galactic Republic, has been kidnapped by the Trade Federation, now under military leadership by General Grevious and Count Dooku. Jedi Master Obi-Wan Kenobi and Jedi Knight Anakin Skywalker are sent to rescue Palpatine in the midst of the massive space battle. After the rescue, Anakin is given the honor of being a part of the Jedi Council but without the title of Master. Furthering his seeds of discontent, he has recurring nightmares that his wife, Padme Amidala, will die in childbirth, pushing him to find power over the Force that the Jedi perceivably lack. As Kenobi, Anakin's mentor and friend, is sent after Grevious alone, Anakin begins his descent to the Dark Side of the Force, eventually becoming Darth Vader and turning on the people he once considered allies. Episode III paralells Return of the Jedi less in its structure and more in its nature - it has dual personality of being light-hearted and fun in some moments and dark and heavy in others. Its duality is both a strength and a weakness, but the overall result is much better than its predecessors. The acting is more natural than in Episode I and Episode II. There are still moments of stiff line-reading, but they are not as prevalent as before. Ewan McGregor continues to be a highlight, fully emulating what made Sir Alec Guinness iconic as Obi-Wan Kenobi while adding enough of his own vigor to make a mark fully on the character. Natalie Portman finally gives Padme Amidala the personality she needed all this time, and while she still could have done a bit more with her, she at least seems like she's enjoying being in a Star Wars film. Hayden Christensen still has no chemistry with Portman - just see the apartment balcony scene toward the end of the first act, the worst scene in the film, as an example. However, he bounces off McGregor very well, showing the tight bond master and apprentice have and how tragic the breaking of the bond is after the turn to the Dark Side. Christensen may never be physically imposing as Vader was in the Original Trilogy, but he knows how to be deadly and threatening when it counts. The best role in the film, though, goes to Ian McDiarmid as Palpatine, the once and future Emperor. He is what the prequels lacked - a thoroughly engaging and imposing villain. He hams it up once his nature is exposed, but he allows Palpatine to be felt even when he is not on screen. Ian McDiarmid breathes life into the prequels, showing what they could have been. Everything in the film is more inspired. The music by John Williams is alive again, mixing themes and motifs from all of the films to emphasize the emotional journey. The cinematography by David Tattersall is more fluid, showcasing the action in all of its glory. The technology has finally caught up with the vision, allowing the visual effects to shine in obvious ways such as the opening battle but also in subtle ways, namely the details in the wonderfully constructed features of the computer-generated Yoda. Of the whole prequel trilogy storyline, Anakin's downfall and rebirth as Darth Vader is the most interesting and exciting plot point due to its nature. There's no more meandering around to get to this point in the story. We've had two films of build-up, most of it unnecessary. This is when all of the action happens. This is when all of the tragedy strikes. This is when the audience cares. This alone would make it a better film than Episode I and Episode II. What makes it much better, and what is the biggest surprise, is that George Lucas fully flexes his screenwriting and directing muscles. First is the surprising focus prevalent throughout the film. The focus begins at the introduction with Anakin and Obi-Wan flying into the Battle of Coruscant. Once their ships appear on-screen, the camera follows them into the battle, showing the scope of the battle without focusing on other random individuals for too long. This focus also allows us to see how brotherly Obi-Wan and Anakin have become. The audience has a connection. Their banter becomes hokey, sometimes too hokey, but we are having fun with them. In fact, about the first half of the film is mostly fun with a little foreboding menace. About the second half is all menace. Both halves work very well on their own, with one half not taking itself too seriously and allowing us to enjoy the ride while the other half becoming the depths of the Dark Side it needs to be and allowing us to feel for these characters. Emphasizing the dark foreboding is Lucas borrowing the cross-cutting technique his close friend Francis Ford Coppola mastered. Palpatine's formation of the Galactic Empire is cross-cut with Anakin's assassination of the leaders of the Trade Federation. The birth of Luke and Leia is cross-cut with the birth of Darth Vader. Both are done well, and both show the director Lucas was and still can be. However, while the overall results are good to very good, its the details that hold the film back from greatness. The lightsaber duels are well executed, but some moments devolve into pure visual splendor instead of maintaining emotional resonance. This happens early on in the Anakin/Obi-Wan duel and is prevalent in the Palpatine/Yoda duel. The music saves the latter duel, and the former has several intense moments that help keep it grounded overall. The duality of the film becomes a struggle in the second act. Everything involving Obi-Wan is fun and exciting, while everything involving Anakin is increasingly dark. At times, the feeling is schizophrenic, throwing the audience in too many emotional directions to make sense. The moment of Anakin's turn to the Dark Side could never reach the legend fans made it to be, but the moment becomes almost unintentionally funny due to stiff line-readings and poorly placed sound effects. This is the most important moment in the entire saga to date, yet it doesn't resonate the way it should. If the third act wasn't as strong as it is, this scene could have ruined the entire film. The scene involving the birth of the Darth Vader we all know is well done until the end. In a moment now immortalized as "FrankenVader," Lucas decided to pay homage to Frankenstein at the worst possible moment, ruining another resonating moment with something unintentionally funny, capping it off with a misguided scream from Vader. Lucas also tries too hard to bridge the Original Trilogy and the prequels together with this film, either relying heavily on fan service without really getting into a better understanding of things or only providing half-explanations due to bridging the films being more important than making the ideas work on their own. The maximum enjoyment factor in Episode III is found when watching with context provided from the Original Trilogy, but unlike Episode I and Episode II, there's a story worth telling within its runtime, and it tells it well. It doesn't reach the quality of the Original Trilogy, but Star Wars: Episode III - Revenge of the Sith is everything audiences wanted the entire prequel trilogy to be - good sci-fi fantasy. Blu-Ray Observations With technology catching up to how Lucas wanted to present his films, the Blu-Ray for Episode III is near-reference quality. The visuals are balanced very well, and the colors are vivid. Because of the digital nature of the production, the sterility of the computer-generated atmospheres Lucas inadvertently created come in full force, emphasizing how far away the film is visually from the Original Trilogy. The audio, again, is superb, this time represented by how the hum and clashes of the lightsabers are crisp, clear, and impactful. Overall, a great presentation. Movie Rating: 7.5/10 One-half light-hearted action and one-half journey into darkness, the two halves don't gel perfectly together but result in an exciting story. Film Rating: 7/10 What should be the key moments don't resonate, but the music emphasizes the heart of the matter, and what surrounds those missed opportunities carries surprising depth and craft. Star Wars Film Rating: 7/10 This is the prequel audiences wanted the other two to be. It's not on par with the Original Trilogy, but unlike the other two prequels, this one is worth seeing at least once. Blu-Ray Rating: 8.5/10 Finally, the technology catches up with Lucas' vision, and the Blu-Ray presents it in full splendor. However, it also shows how flawed that vision was with how sterile some of the environments are.
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Carrie Fisher’s legacy will never be forgotten.
My Workout For Saturday February 01
I earned 332 points for my workout on Fitocracy!
Dumbbell Bench Press +101 pts
30 lb x 12 reps (+49 pts)
35 lb x 12 reps (+52 pts)
Running +10 pts
0:01:10 || 0.1 mi || track (+5 pts)
0:01:10 || 0.1 mi || track (+5 pts)
Incline Dumbbell Bench Press +189 pts
30 lb x 12 reps (+49 pts)
30 lb x 10 reps (+48 pts)
30 lb x 8 reps (+46 pts)
30 lb x 8 reps (+46 pts)
Dips - Triceps Version +6 pts
2 reps (+6 pts)
And almost one chin-up unassisted! I do love progress!
Stretching +2 pts
0:10:00 (+2 pts)
Body Weight Squat +9 pts
15 reps (+9 pts)
Push-Up +15 pts
10 reps (+15 pts)
Think you can beat me, or want to comment?
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My Workout For Saturday January 11
I earned 111 points for my workout on Fitocracy!
Running (treadmill) +16 pts
0:05:00 || 0.3 mi || 1 % (+16 pts)
Cycling (stationary) +79 pts
0:07:30 || 2 mi || 7 % (+49 pts)
0:06:20 || 1.5 mi || 5 % (+30 pts)
Chin-Up +8 pts
12 reps || assisted || 145 lb (+2 pts)
8 reps || assisted || 130 lb (+2 pts)
7 reps || assisted || 130 lb (+2 pts)
4 reps || assisted || 115 lb (+2 pts)
Dips - Triceps Version +8 pts
12 reps || assisted || 145 lb (+2 pts)
12 reps || assisted || 130 lb (+2 pts)
4 reps || assisted || 115 lb (+2 pts)
5 reps || assisted || 115 lb (+2 pts)
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My Workout For Friday January 17
I earned 840 points for my workout on Fitocracy!
Moving boxes +840 pts
5:00:00 || Easy (+600 pts)
2:00:00 || Easy (+240 pts)
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This is how "Numb" was during the Achtung Baby sessions. An industrial rock hymn. While the song it would eventually become is a staggering success, "Down All The Days" shows how many directions U2 were willing to go with their core. And a beautiful approach this song would have been.
My Workout For Thursday January 30
I earned 794 points for my workout on Fitocracy!
Stretching +2 pts
0:10:00 (+2 pts)
Barbell Deadlift +210 pts
65 lb x 12 reps (+49 pts)
85 lb x 10 reps (+55 pts)
85 lb x 8 reps (+53 pts)
85 lb x 8 reps (+53 pts)
Dips - Triceps Version +10 pts
1 reps (+2 pts)
12 reps || assisted || 130 lb (+2 pts)
8 reps || assisted || 115 lb (+2 pts)
7 reps || assisted || 115 lb (+2 pts)
4 reps || assisted || 100 lb (+2 pts)
Standing Dumbbell Shoulder Press +175 pts
15 lb x 12 reps (+44 pts)
20 lb x 12 reps (+47 pts)
25 lb x 7 reps (+46 pts)
25 lb x 4 reps (+38 pts)
Standing Calf Raises +18 pts
12 reps || weighted || 65 lb (+4 pts)
12 reps || weighted || 85 lb (+5 pts)
12 reps || weighted || 95 lb (+5 pts)
10 reps || weighted || 105 lb (+4 pts)
Dumbbell Bench Press +155 pts
30 lb x 12 reps (+49 pts)
40 lb x 12 reps (+56 pts)
45 lb x 5 reps (+50 pts)
Tried to do a fourth set, but my body couldn't push through. Next time...
Barbell Squat +224 pts
65 lb x 12 reps (+49 pts)
85 lb x 12 reps (+57 pts)
95 lb x 10 reps (+59 pts)
95 lb x 10 reps (+59 pts)
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An Ode to Star Wars: TIE Fighter
You are a member of the Imperial Navy. Your allegiance is to the Galactic Empire, whose leaders are two of the most feared men in the galaxy. You fly with fellow naval enlistees and officers in fighter squadrons. Your initial ships have no shields - two to five hits and you are done. You are asked to take out fighters that are faster, more well armed, and more protected than yours. Their mission-to-mission fighter numbers are greater than yours. Your side suffered a great loss a couple of years back, and you are part of an effort to gain the upper hand again. As you fight the Rebel Alliance, traitors, pirates, and defensive neutrals come into the mix, complicating your mission and further testing your abilities. This is a summation of one of the greatest PC games ever made, and one of my all-time favorite games in general - Star Wars: TIE Fighter. The mechanics of the game are a refinement to its excellent predecessor, Star Wars: X-Wing. A flight simulator focused on space combat, the player flies starfighters for the Empire, attacking ships and installations to gain advantage, inspecting cargo to capture or destroy, and escorting starships to their destinations. The controls are just as simple and complex as before, requiring nothing but a keyboard and joystick but demanding a strong multitasking ability. The graphics were a step up, representative of its time but of a quality that many modern games lack. The music utilizes the same iMuse system, changing music whenever specific events happen, usually when enemies or allies arrive. The sound effects are pure Star Wars, high quality and all. So what sets it apart from its predecessor, and why does it hold such high regard? First is the introduction of secondary and bonus objectives. If you wanted to win a mission, you only needed to complete the primary goals, but the game pushed you and actually rewarded you for going above and beyond the call of duty. You would get additional decoration for completing all secondary objectives and all bonus objectives, adding to the sense of accomplishment. Also, you could progress through the Secret Order of the Emperor, an additional achievement path that motivated completion. Most importantly, the secondary and bonus objectives would yield additional plot points only hinted at when pursuing the primary objectives. What was already a solid story becomes filled with twists and turns that make it one of the best Star Wars stories ever told, reinforcing the universe created. Second is the difficulty. In Star Wars: X-Wing, rival fighters were predominantly unshielded with low firepower. In Star Wars: TIE Fighter, you started out with those unshielded, low firepower fighters. You learned how to maneuver in those fighters. You learned how to fight in those fighters, You learned how to dominate in those fighters. Once you started getting ships with shields and firepower, you became an unstoppable force with the skills you learned in the weaker ships. The difficulty slowly escalated as the missions progressed, pushing your abilities to the limit. However, the challenge was always worth it, and getting through the missions became achievements unto themselves - the mark of a true classic game. Maybe the most significant mark it made, and what really set it apart from most games, is its expansion of a well-known story to profound depth, becoming a comment on war in general. As a Star Wars fan, I followed the story how it was always presented - from the point of view of the Rebel Alliance, primarily our hero Luke. The Rebels want justice, equality, and fairness; the Empire wants nothing but power and domination. The Rebels are compassionate, giving, and always on defense. The Empire are cold, emotionless, and always on offense. The story's foundation was on a basic struggle of good versus evil. Star Wars: TIE Fighter changed that. The music mechanics may be the same, but the approach is novel. A triumphant fanfare related to the "Imperial March" is used for the allies. For the Rebel Alliance, the "Rebel Fanfare" from the films is made more ominous, establishing not only that they are the enemy but that they should be feared just as much as you are. The opening cutscene of the game lays out the struggle from the Imperial point of view - the Rebel Alliance is an organized uprising that represents anarchy, and the Empire wants to restore peace and order. You weren't shooting Rebels down out of sheer ironic joy. You're protecting the order the Empire established and helping bring peace back to the galaxy. You didn't just deal with Rebels. Two traitors made up significant plot points - one defecting to the Rebels, and one entirely working on his own. Star Wars: X-Wing had one traitor storyline, but never as plotted out as the two traitor storylines in Star Wars: TIE Fighter. There were also pirates and neutral parties that came into the mix, moreso than before. These moments establish something upon which not even the Star Wars movies touched - the nature of war. There is never something as simple as good or evil in war. In the simplest wars, there are only two factions. In most wars, however, there are several faction with which to deal. No matter the faction, you serve something greater than yourself. You may have personal gain from it, but none of it matters if you neglect to serve your faction. Depending on the viewpoint, you are the hero in one side's eyes and the villain in another side's eyes. In the end, it depends solely on which side you are. Any other Star Wars game that dabbles in the antagonist's viewpoint does so with kid gloves. Never has a Star Wars game fully immersed a player into the opposing side as much as Star Wars: TIE Fighter did, and this immersion and respect of the craft is something that elevates the game to something unforgettable, something classic yet modern, something of a masterpiece. The flight simulator genre may be in its twilight years, but the impact can be felt across other genres and games, most successfully in the real-time strategy classic StarCraft. Star Wars: TIE Fighter is deserving of its stature in the top echelon of gaming and remains one of my all-time favorite games.
Farewell, 20s...Hello 30s!!!
Skyfall Review
History has a way of defining a person, place, or thing. There are two extremes to dealing with history - embracing it or burning it down. The history of the James Bond film series is no exception, and the 50th anniversary of the release of Dr. No serves as a milestone for reflection on the series' history. Two films define the series' dichotomous directions - From Russia With Love and Goldfinger. From Russia With Love is the quintessential spy film - James Bond as a soldier for Great Britain, while Goldfinger is the quintessential spy movie - James Bond as a hero for the people. Both present the series at its finest, and every subsequent film contain elements of both with varying results. The rest of the best of the series - On Her Majesty's Secret Service, The Spy Who Loved Me, Goldeneye, and Casino Royale - were near-perfect balances of Russia and Goldfinger. With Casino Royale, the history of the film series was scuttled and refreshed successfully, telling the story of Bond as a neophyte coming to terms with the cost of being the soldier and hero. Quantum of Solace followed, and while parts of the film were well done, the overall result lacked the spark expected from a Bond film. Skyfall, the 23rd entry in the James Bond film series, brings back the fun of the series while keeping the depth that Casino Royale brought, resulting in another near-perfect balance. James Bond, after a failed mission that starts the film briskly, goes into self-imposed retirement, dealing with his failings as an agent and the failings of his superiors. An attack at MI6 headquarters pushes him to return to the fold. However, the star agent struggles to reintegrate into the spy life - his talents have worn down, and his emotions are unstable. The impending world threat, a former MI6 agent named Silva, allows Bond slowly to gain his abilities and self-confidence. Along the way, he sees the toll the threat has on his boss, M, who is dealing with an internal investigation on her from her superiors. As the threat grows, Bond and M have no choice but to escape to Bond's family estate, Skyfall, and Bond has to face his past and his possible future. That's a lot of plot points and thematic elements for a Bond film, but Skyfall never loses its focus, and all of the pieces come together in an impressive and fashion. The script by Neal Purvis, Robert Wade, and John Logan is superb. Constructed as a traditional Bond film, it has a deep respect for the history of the film series, yet it continues the deep emotional strides made with Casino Royale. As traditional of a Bond film as the structure is, the writers made sure to defy expectations, peppering the structure with shocks and surprises, and the shocks never come at expected moments. Even better is that the writers weren't afraid to pursue dark and challenging moments, be it the opening chase sequence, Silva's attack during M's hearing, and the final assault at Skyfall. Purvis, Wade, and Logan found the perfect balance of the classic and the modern with their script. The actors reinforce the emotional depth with excellent performances, never squandering any moments. As the expected "Bond Girl" of the film, Bérénice Marlohe is a wonderful blend of sexiness and fragility. Her character is removed from the equation just as she is getting interesting, the only real flaw of the film, but her moments with Bond are electrifying, filled with chemistry. If Marlohe had been given more on-screen time, she would have been just as memorable as the rest of the cast, but she provides the audience with a good Bond girl. Naomie Harris infuses Eve, a fellow agent of Bond's, with strength and independence. Eve has a sexiness about her, not just in her beauty but in her wit and reliability as an agent. Her moments with Bond are fun and saucy, and Harris will be able to build off of this great role since it is hinted that she will be a recurring character. In a small but vital role, Albert Finney provides a strong foundation in the final act of the film as Kincade, the gamekeeper of Skyfall. He gives Kincade a lived-in quality, someone who has seen the fall of the Bond family and is determined to keep the Bond history alive, however small of a life it may be. He is a window to Bond's past, and Finney is an excellent mix of tragedy and levity. Ben Whishaw is a delight as Q, the quartermaster of MI6 and Bond's armorer. He is as mentally active in the mission as Bond is physically, and his dry, quick wit cuts through Bond without hesitation. The chemistry between Bond and Q is undeniable, and with some of the dark turns the film takes, Whishaw is a welcome relief and fits perfectly into the Bond universe. Ralph Fiennes is authoritative as Gareth Mallory, M's boss as the Chairman of Intelligence and Security Committee. He's introduced as the governmental figure who rebels like Bond and M frustrate, but as the film progresses, his shades of grey are developed, becoming someone who fully understands M's struggle between fulfilling governmental duty while being an independent thinker. Fiennes is another wonderful addition to the cast, and with his role being hinted at as recurring, he will be able to grow into the universe. The Bond villain is a role that is known to attract fine actors, but sometimes the role doesn't live up to the actor who plays it. This is not the case with Javier Bardem as Silva. He's already played an iconic cinematic villain as Anton Chigurh in No Country For Old Men, and his Silva is destined to become an iconic Bond villain. Theatrical but infused with terror, Silva is never underestimated. His approach to torture is more psychological, and he brings the audience to the brink with how successful he is with his plot. This may be the first Bond villain in a long time who makes the audience feel like he could win, or at least force Bond into a pyrrhic victory. As commanding and deadly as Red Grant and Rosa Klebb in From Russia With Love and as theatrical as Auric Goldfinger in Goldfinger, Silva stands among the finest Bond villains, and Bardem should take almost all of the credit for it. Judi Dench has been M since Goldeneye, but this film may be her shining moment as Bond's boss and the head of MI6. She has a personal connection to Silva, and she has a close relationship to Bond. The terror and disappointment in her eyes when sharing scenes with Silva is amazing - she shows so much history with the villain without ever digging into the backstory, and it takes a lot of skill to be able to show that history without telling it. Even more impressive is that she never takes over a scene when she isn't required, and her scenes at Skyfall are just tremendous. M is trying to come to terms with her failings as a leader throughout, but Dench not only allows M to deal with these failings but also reinforce why she was the only leader who could have shaped Bond into who he is and trust him unconditionally. In his third outing as James Bond, Daniel Craig has fully ingrained himself into the legendary spy. He was a blunt instrument in Casino Royale and a vengeful warrior in Quantum of Solace, but in Skyfall, the spy life has taken its toll on him. Craig has only been Bond in three films, but he carries a sense of torrid history not seen in any of the previous Bond actors. He doubts himself and his superiors, but he knows that the mission is most important and strives to overcome his doubts. What he sees in Silva is his own possible future, while a reference to Skyfall and his eventual return to his family's estate hints at his tortured past. Bond is a man who is coming to terms with the loss his past contains while learning to appreciate the future M gave him, all the while containing the wit and class the character has had for the past 50 years. His delivery of the one-liners still needs a little work, but that's a minor quibble compared to how fantastic Craig is as Bond, reinforcing his place as the second-best Bond, and arguably giving Connery competition as the best Bond ever. The music has always been important in a Bond film, and Thomas Newman's score is a perfect blend of classicism and progressivism. The James Bond Theme is prevalent as it should be, but some of the more progressive touches are welcome. There are moments when the music becomes a cousin to the works of Brian Eno, focusing on ambient overtones from electronic instruments. The balance between past and future is expertly captured by Newman's score, but the microcosm is at its finest with the theme song sung by Adele. It's as if Shirley Bassey has been properly updated for the 21st century, which may be the highest compliment any Bond theme song could receive, and it stays in the head and gets into your soul. A special note must be made about the cinematography by Roger Deakins. His work in Skyfall elevates the film into a visual work of art. He's worked consistently with the Coen Brothers, and he loves to play with colors. Just look at the vivid yellows of Turkey, the blues of Shanghai, the reds and browns of Macau, and the greys and stone-like tones of the United Kingdom. It is a master class in color-focused cinematography, and the framing is a perfect mix of grand and personal. Deakins' work on Skyfall is nothing short of legendary. Sam Mendes was the biggest wild card in the film as the director. Winning an Academy Award for his directorial debut, American Beauty, Mendes is known as a dramatic director with no experience with action scenes, and some of his works have been considered pretentious. However, Skyfall has no pretentions - Mendes makes sure it is the event film it is meant to be. He structures the film as a traditional Bond film - a three-act work with a prologue and epilogue - and the film is the second-longest film in the series, but it is wonderfully paced, never overstaying its welcome nor having an overabundance of action or drama. Everything feels necessary, allowing the audience to become fully invested in the film. He knows how to work with the actors, and he understands what will make the biggest impacts. The series has had classy directors before, but no one as unique as Mendes, and his artful eye does wonders for the film and the series. Skyfall is a traditional Bond film with significant depth, heart, and soul. It has the expert tension of From Russia With Love, the fun of Goldfinger and The Spy Who Loved Me, and the emotional consequences of On Her Majesty's Secret Service and Casino Royale. It pays homage to the series' history while looking and moving forward, and it presents a story about the importance of history and the understanding that one may be defined by his or her past but is not controlled by it. Skyfall is the closest a Bond film has ever come to being an art film, and it sits alongside the best in the series and the best in the genre. Movie Rating: 9.5/10 A somewhat underutilized Bond girl is a minor gripe to what may be one of the most thrilling action films since the turn of the century. Film Rating: 9/10 A Bond film that acts as a successful commentary on the effects of individual history with superb music and visuals that match the themes. Bond Film Rating: 10/10 Another classic that stands alongside From Russia With Love, Goldfinger, On Her Majesty's Secret Service, The Spy Who Loved Me, Goldeneye, and Casino Royale.
Bond Rating: 9.5/10 Although the delivery of some of the one-liners still needs a little work, Daniel Craig not only reinforces how effective he is as Bond, but he also arguably matches Connery's status as the greatest Bond.
The endeavor continues...
As of last night, I've begun writing my critique of Star Wars. It'll be some time before it's ready, but be prepared for amazing news...
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zoostationjustdowntheline reblogged this · 12 years ago
My life in film reviews, music reviews, life analysis, and what's going on just down the line in my mind.
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