The only Star Wars Kino

RotS is for Patricians.

The only right answear.

But why?

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George Lucas’s final contribution to his epic Star Wars saga must rank as one of the most criminally underrated and most unfairly maligned films of all time. Rarely has true brilliance been so blindly dismissed.

This isn’t just a great film; this is a work of unparalleled stature, which exudes brilliance on almost every level – cinematography, editing, visual effects, choreography, score, and anything else you can think to mention. This is everything; epic storytelling, visual art, opera, performance art on the level of ballet, immense mythology. This is as good as it gets. There is never going to be a cinematic experience on this scale again or of this stature again. And that’s just as a film and a work of art.

As specifically a Star Wars film, it does even more. Scene to scene, ROTS is just perfect; from those foreboding opening war drums, the glorious opening battles in space and the beheading of Count Dracula (or Dooku), to the breathtaking montages of tragedy and betrayal, the tension simmers and prods throughout, culminating in a climax of extraordinary proportions.

Let’s set the record straight. Revenge of the Sith is an absolute masterpiece of Homeric proportions.
Everything from the absolutely gorgeous cinematography and CGI backdrops throughout to the superior special effects of the epic action sequences, to John Williams‘ heart-stirring music (the “Anakin’s Betrayal” theme that accompanies Order 66 and the montage of the slaughter of the Jedi is as powerful as ‘fantasy’-cinema gets), to the perfectly executed transitions between scenes (which Lucas is the absolute master of), right down to the dark, tortured and tragic story itself… everything about it, frame by frame, quietly whispers the under-appreciated genius of George Lucas and the pure capabilities of the staff he assembled at Lucasfilm.

Literally from the very first shot we are embarking upon a rollercoaster; those opening ten minutes or so of the battle in the upper atmosphere right through to the bleak confrontation with Dooku are extraordinary for how much is going on, every frame, every background, rich with detail.

.Olny Star Wars kino

Even when we leave the battle itself and shift to the interior scene we can still see so much going in space via the windows, the sub-battles all having their own continuity. And just within that first ten minutes we’ve got a complex, stunning war sequence, we’ve got Anakin/Obi-Wan banter, we’ve got a tense lightsaber duel, we’ve got the grim execution of Dooku, we’ve got the first stages of Palpatine’s evil manipulation and Anakin’s imminent journey into darkness, and we’ve even got time for Artoo-Deetoo heroics. And the film has barely started yet. But moreover, the tone of the beginning of ROTS is more in keeping with The Original Trilogy than anything in the previous two movies.

While an existing connection to or investment in the Star Wars universe does make the film resonate more – certainly watching Anakin’s downfall is more meaningful if you’ve watched him as a little boy in The Phantom Menace, for example, or if the themes of Return of the Jedi are firmly embedded in your consciousness from childhood – but even without any previous interest in the galaxy far, far away, there is more than enough here to satisfy.
There are too many superb moments and shots to even fully account for in a post like this; a defeated Yoda falling, minus his cloak, and needing to be rescued gets me in the throat as much as a bewildered Obi-Wan being handed the newborn Luke Skywalker and fully grasping the scope of the tragedy that has unfolded around him. From Anakin’s beheading of Dooku – one of the darkest, most memorable shots in all Star Wars – to his first (visible) breaths in the Darth Vader life-support outfit, the film is overflowing with the unforgettable. Epic action sequences, tense duels-to-the-death, emotional drama, broken relationships, betrayals, Wookie attacks, heartbreaking deaths and childbirths, falling Republics, slain children…

But it’s actually the quieter moments that really get you; the tension slowly building in the earlier scenes, particularly between Anakin and Padme, where you know Bad Things are going to happen, this foreknowledge tingeing every moment with bittersweet. Obi-Wan’s quiet, understated heartbreak, Yoda’s cleverly CGI’d sense of disappointment and loss, even Artoo-Deetoo’s palpable uneasiness as he accompanies the newly anointed Darth Vader to Mustafar to carry out his grim orders. Some of the genius of the film is in its smaller details; for example, the tiny moment of Tusken Raider cries being faintly audible when Palpatine reminds Anakin of his mother’s death.

Meanwhile most, though not all, of the big moments we’d spent years waiting to see were handled superbly, from the apocalyptic Anakin/Kenobi duel to the transformation of Palpatine into deformed Emperor and the birth of Padme’s twins. While I openly admit that the big “Noooo!!” moment with Vader was terrible, it was one misjudgement amid a multitude of far greater moments.
Windu attempting to arrest the Chancellor is one of the great scenes of the franchise. We know that it’s too late to save the galaxy at this point, but watching this critical duel unfold – a duel that will decide the future of the galaxy – is about as tense as Star Wars has ever been, as the scheming politician finally gives up his pretense and reveals his true nature.

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i agree

That opening variation of the Force Theme is pure soundkino

True

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Meanwhile the major sequence that perhaps the whole film was riding on – and that the whole trilogy was building to – was the Anakin/Obi-Wan duel; a scene that Star Wars fans had been imagining and waiting for for years and years.
And what a sequence. The lightsaber fighting itself is spellbinding, but it’s the emotional dimension to the fight that makes it so extraordinary; here are two people who clearly have love for each other, who clearly don’t want to have to do this, who both know that they’ve failed each other (though only Obi-Wan admits it), and who both know they have to kill the other.

I actually agree.
SJW Wars ep 7 was utter shit.

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Shitquels aren't even plebian.

OT - Patricians, the only thing worth caring about.
Disquels - Plebians, mindless hollow entertainment, but not offensively bad
Shitquels - Proles, horribly made, god awful story and dialog. Only literal retards clap when there's a 5 hour CG duel.

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>89722998
>Trying THIS hard for replies

>OT - Patricians

RotS is good, 100x better than TFA

The Rise and Fall of the Confederate Government gets me every time