Baseball movies are as American as apple pie, and everyone has their favorites, from classic era films like THE PRIDE OF THE YANKEES and TAKE ME OUT TO THE BALL GAME to latter-day fare like THE NATURAL and FIELD OF DREAMS. There’s so much to choose from, comedies, dramas, and everything in-between. One of my all-time favorites is 1993’s coming of age classic, THE SANDLOT.
Like most baseball movies, THE SANDLOT is about more than just The Great American Pastime. Director David Mickey Evans’ script (co-written with Robert Gunter) takes us back to 1962, as young Scotty Smalls has moved to a brand new neighborhood in a brand new city. His dad died, and his mom (Karen Allen of NATIONAL LAMPOON’S ANIMAL HOUSE fame) has remarried preoccupied Bill (young comedian Denis Leary…. hmmm, I wonder what ever happened to him??), who tries to teach the nerdy kid how to play…
Apparently, it’s just like the previous Lion King except it’s now live action! That’s fine with me. I’ll watch anything involving cats. Besides, I want to see how they do this scene:
Donald Glover will be providing the voice of Simba while James Earl Jones will be breaking heats all over again in the role of Mustafa. The film will be directed by Jon Favreau, who worked wonders with The Jungle Book. It’ll be interesting to see if he can pull it off again with this remake of one of Disney’s most beloved films.
Josh Baker (Eric Roberts) is an extroverted artist for Marvel Comics who meets Cheryl (Janine Turner) while walking around New York City. Josh and Cheryl hit it off but when Cheryl suddenly collapses, she is picked up by a mysterious ambulance. When Josh goes to the hospital to check on her, he is told that Cheryl was never brought in. Soon, Josh discovers that people all over New York have been put into back of the ambulance and have never been seen again. Unfortunately, nobody believes Josh. Not the veteran NYPD detective (James Earl Jones) who Josh approaches with his suspicions. Not the staff of the hospital. Not even Stan Lee! The only people willing to support Josh are an elderly investigative reporter (Red Buttons) and an inexperienced detective (Megan Gallagher).
Yes, Stan Lee does play himself. While he had made a few cameo appearances on television and had previously narrated a French film, The Ambulance was Stan Lee’s first real film role. Josh works at an idealized version of Marvel Comics, where the artists are well-paid, no one is pressured into producing substandard work, and Lee is an avuncular father figure. It is the Marvel Comics that I used to imagine working at when I was growing up, before I found out about what actually happened to artists like Jack Kirby, Joe Simon, and Steve Ditko.
Idealized though it may be, the Marvel connection is appropriate because The Ambulance is essentially a comic book adventure. It does not matter how many times Josh gets hit by a car or falls out of a window, he always recovers in time for the next scene. When Josh does discover who is behind the ambulance, it turns out to be a villain who would not be out-of-place in a Ditko-era Spider-Man story.
The Ambulance is another one of Larry Cohen’s New York horror stories. Like most of Cohen’s films, it is pulpy, cheap, and entertaining. Eric Roberts is as crazy as ever and the movie is full of good character actors like James Earl Jones, Red Buttons, Richard Bright, and Eric Braeden. The Ambulance may be dumb but it is always entertaining.
The evil Galactic Empire spent what had to be billions of Imperial credits to build the greatest weapon in the universe. It was known as the Death Star and it housed a laser so powerful that it could blow up a planet with just one shot. And yet, for all the effort and all the years that were spent building it, the Death Star had one glaring vulnerability, an exposed exhaust valve that the Rebel Alliance twice used to the destroy it.
For years, fanboys debated why the Empire would go to the trouble to build a super weapon with such an obvious design flaw. I have to admit that I was often one of them. No one else seemed to care but, to us, this was a huge deal. If the Empire could figure out how to blow up a planet with one super laser, why couldn’t they figure out how to protect that one valve?
Now, thanks to Rogue One: A Star Wars Story, we have an answer. We not only know why that valve was there but we also know what was meant in New Hope when the rebel general said that the plans to the Death Star had been stolen at great cost.
Rogue One is a fan’s dream, one that answers questions while expanding on the Star Wars mythology. Unlike the previous prequels, it adds to the story without cheapening the original films. In fact, of all the Star Wars films, Rogue One is the first to make the Death Star into a believable weapon of mass destruction. When it appears over one planet, it blots out the sun. When it blows up a rebel base, we see the destruction from inside the base instead of observing it from the safety of Death Star. Director Gareth Evans does for the Death Star what he previously did for Godzilla.
Unfortunately, like Godzilla, the action and the special effects in Rogue One are usually more interesting than any of the film’s characters. Felicity Jones, Diego Luna, Donnie Yen, Jiang Wen, Alan Tudyk, and Riz Ahmed are all good actors but they’re all playing underwritten parts. No one steps up like Harrison Ford did in the original trilogy. Commander Kennec, played by Ben Mendelsohn, has a little more depth than the typical Imperial villain but, for better or worse, the film’s most memorable performances come from a CGI Peter Cushing and James Earl Jones providing the voice of Darth Vader.
Despite the underwritten characters, Rogue One is still the best Star Wars film since Empire Strikes Back, a return to the grittiness, the thrilling action, and the awe of discovering new worlds that distinguished the first two movies. For once, a Star Wars film seems to have more on its mind than just selling toys. Though we already know what is ultimately going to happen to the Death Star at the end of New Hope, Rogue One is a frequently downbeat film. There are no Ewoks and, to great relief and rejoicing, Jar Jar is never seen. The closest that Rogue One gets to comic relief is Alan Tudyk providing the voice of a cynical robot. The emphasis is on the horrors of war and even the rebels are troubled by some of the things that they have done. For once, the Rebel Alliance actually feels like a rebellion and the evil of the Empire feels real instead of cartoonish.
Rogue One is projected to be the first of many “Star Wars stories,” stand-alone film that will expand the universe and hopefully clarify some of the points that were left unclear by the original trilogy. I think it’s going to be very successful very Disney. I’m just dreading the inevitable Jar Jar origin story.
The Rogue One official trailer finally came out after weeks of fans waiting for it since last month’s Star Wars celebration over in London.
At first, people thought the trailer would be released during the celebration, but that didn’t come to pass. Then San Diego Comic-Con came and went and still no official trailer. We already seen the teaser, the sizzle reel from London celebration and even a tv spot that aired in the last week or so. Yet, there was still no full trailer. Fans were waiting with extreme patience.
Once news came down that the first official trailer will show during the Olympics the guessing game began on which day it will be. When it was confirmed that it was to be tonight people worldwide began to wait for the trailer to premiere. And waited during each Olympic event. And waited some more. I, myself, decided I needed a nap and left orders to be awoken when it finally did show.
Well, it did show just an hour into my nap and despite being groggy from being woken up that first image of the desert planet with Forest Whitaker and Felicity Jones conversing got my full attention. The wait was long, but it was well worth it and now the wait for the film’s premiere begins.
Rogue One: A Star Wars Story is set for a December 16, 2016 release date.
And, of course, we have to include Christopher Walken!
And here’s the poem, in all its glory. Read it aloud in your own voice!
Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore— While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. “’Tis some visitor,” I muttered, “tapping at my chamber door— Only this and nothing more.”
Ah, distinctly I remember it was in the bleak December; And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow;—vainly I had sought to borrow From my books surcease of sorrow—sorrow for the lost Lenore— For the rare and radiant maiden whom the angels name Lenore— Nameless here for evermore.
And the silken, sad, uncertain rustling of each purple curtain Thrilled me—filled me with fantastic terrors never felt before; So that now, to still the beating of my heart, I stood repeating “’Tis some visitor entreating entrance at my chamber door— Some late visiter entreating entrance at my chamber door;— This it is and nothing more.”
Presently my soul grew stronger; hesitating then no longer, “Sir,” said I, “or Madam, truly your forgiveness I implore; But the fact is I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you”—here I opened wide the door;— Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before; But the silence was unbroken, and the stillness gave no token, And the only word there spoken was the whispered word, “Lenore?” This I whispered, and an echo murmured back the word, “Lenore!”— Merely this and nothing more.
Back into the chamber turning, all my soul within me burning, Soon again I heard a tapping somewhat louder than before. “Surely,” said I, “surely that is something at my window lattice; Let me see, then, what thereat is, and this mystery explore— Let my heart be still a moment and this mystery explore;— ’Tis the wind and nothing more!”
Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately Raven of the saintly days of yore; Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door— Perched upon a bust of Pallas just above my chamber door— Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore, “Though thy crest be shorn and shaven, thou,” I said, “art sure no craven, Ghastly grim and ancient Raven wandering from the Nightly shore— Tell me what thy lordly name is on the Night’s Plutonian shore!” Quoth the Raven “Nevermore.”
Much I marvelled this ungainly fowl to hear discourse so plainly, Though its answer little meaning—little relevancy bore; For we cannot help agreeing that no living human being Ever yet was blessed with seeing bird above his chamber door— Bird or beast upon the sculptured bust above his chamber door, With such name as “Nevermore.”
But the Raven, sitting lonely on the placid bust, spoke only That one word, as if his soul in that one word he did outpour. Nothing farther then he uttered—not a feather then he fluttered— Till I scarcely more than muttered “Other friends have flown before— On the morrow he will leave me, as my Hopes have flown before.” Then the bird said “Nevermore.”
Startled at the stillness broken by reply so aptly spoken, “Doubtless,” said I, “what it utters is its only stock and store Caught from some unhappy master whom unmerciful Disaster Followed fast and followed faster till his songs one burden bore— Till the dirges of his Hope that melancholy burden bore Of ‘Never—nevermore’.”
But the Raven still beguiling all my fancy into smiling, Straight I wheeled a cushioned seat in front of bird, and bust and door; Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking what this ominous bird of yore— What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking “Nevermore.”
This I sat engaged in guessing, but no syllable expressing To the fowl whose fiery eyes now burned into my bosom’s core; This and more I sat divining, with my head at ease reclining On the cushion’s velvet lining that the lamp-light gloated o’er, But whose velvet-violet lining with the lamp-light gloating o’er, She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer Swung by Seraphim whose foot-falls tinkled on the tufted floor. “Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee Respite—respite and nepenthe from thy memories of Lenore; Quaff, oh quaff this kind nepenthe and forget this lost Lenore!” Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!— Whether Tempter sent, or whether tempest tossed thee here ashore, Desolate yet all undaunted, on this desert land enchanted— On this home by Horror haunted—tell me truly, I implore— Is there—is there balm in Gilead?—tell me—tell me, I implore!” Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil! By that Heaven that bends above us—by that God we both adore— Tell this soul with sorrow laden if, within the distant Aidenn, It shall clasp a sainted maiden whom the angels name Lenore— Clasp a rare and radiant maiden whom the angels name Lenore.” Quoth the Raven “Nevermore.”
“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting— “Get thee back into the tempest and the Night’s Plutonian shore! Leave no black plume as a token of that lie thy soul hath spoken! Leave my loneliness unbroken!—quit the bust above my door! Take thy beak from out my heart, and take thy form from off my door!” Quoth the Raven “Nevermore.”
And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demon’s that is dreaming, And the lamp-light o’er him streaming throws his shadow on the floor; And my soul from out that shadow that lies floating on the floor Shall be lifted—nevermore!
4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.
Happy Birthday to the man with the imposing presence: James Earl Jones
We’ve reviewed a lot of science fiction and we’ve got a lot more left to go. (Keep an eye out for my reviews of Starcrash and The Humanoid over the upcoming few days.) However, from the beginning, this month has always been centered around Star Wars. You may have heard that there’s a little movie called Star Wars: The Force Awakens and it’s opening this week. Apparently, a few people are excited about it. Since we love reviewing little known art films here at the Shattered Lens, we decided why not review all of the previous Star Wars films during the week leading up to the release of The Force Awakens? Jeff (a.k.a. the blogger known asJedadiah Leland) started us off by reviewing The Phantom Menace.Then Alexandre Rothier took a look at Attack of the Clones, followed by Jeff’s look at Revenge of the Sith.Leonard Wilson was the next to step up to the plate, reviewing both A New Hope and The Empire Strike Back.
And now, it’s my turn to add my thoughts to this project. It’s time to review the 1983 film, Return of the Jedi. And I have to admit that, when I first thought about what I wanted to say in this review, I was totally intimidated. Unlike my fellow writers here at the Shattered Lens, I’m hardly an expert when it comes to Star Wars. Don’t get me wrong — I know the basics. I know that Darth Vader is Luke’s father. I know that Han Solo flies the Millennium Falcon and that Princess Leia is in love with him. I know there’s an evil Empire and I know that there are rebels. I’m not a virgin when it comes to Star Wars but, at the same time, I’m definitely not as experienced (with Star Wars) as most of my friends and fellow movie bloggers.
“Dang, Lisa, get over it!”
So, late this afternoon, when I sat down to watch Return of the Jedi, it was with more than a little trepidation. My obvious panic and welling tears convinced Jeff to watch the movie with me and I was happy for that. He loves Star Wars so I knew he could explain to me what was going on.
Finally, we watched Return of the Jedi and I discovered that I was panicking over nothing. Return of the Jedi may be the third part of trilogy and I may not be an expert on the films that came before it. But, even with all that in mind, Return of the Jedi is not a difficult film to figure out. As opposed to the finales of Harry Potter, The Hobbit, and The Hunger Games, Return of the Jedi keeps things simple. A good guy has been kidnapped by a bad guy. The other good guys come to the rescue and then go to another planet so that they can fight an even bigger bad guy. It’s not complicated.
As I watched Return of the Jedi and realized that I was having absolutely no problem following the film’s plot, I also realized that the Star Wars films are such a huge part of our culture that, regardless of how many of them we’ve actually sat through, everyone has absorbed them by osmosis. Bits and pieces of it are everywhere, showing up in everything from TV sitcoms to political commentary. (Remember how everyone used to compare Dick Cheney to Darth Vader?) The Star Wars franchise is almost biblical in that respect. At the same time, the fact that everyone knows about these movies makes them a little difficult to review. You don’t so much watch a Star Wars film as you join in a universal experience. As a reviewer, you definitely find yourself wondering what you can add to a conversation that everyone else has already had.
As a stand alone movie, Return of the Jedi is actually three separate films mixed together. The first film deals with Luke Skywalker (Mark Hamill) showing up at Jabba the Hutt’s palace and rescuing Han Solo (Harrison Ford), Princess Leia (Carrie Fisher), Chewbacca (Peter Mayhew), and two robots from being tossed into a creature called the Sarlacc, which is basically a giant vagina out in the middle of the desert. The second film deals with the rebels teaming up with a bunch of teddy bears and fighting the Empire on a jungle planet. And the third film features Luke and Darth Vader (body of David Prowse, voice of James Earl Jones, face of either Sebastian Shaw and Hayden Christensen, depending on which version of the film you’re watching) dealing with their family issues while the Emperor (Ian McDiarmid) cackles in the background. Some parts of the film work better than others. The end result is entertaining but definitely uneven.
Jedi‘s heart belongs to that third film, the one dealing with Luke and Darth Vader. I’ve read some pretty negative online comments about Mark Hamill’s performance in New Hope and Empire Strikes Back but, in Return of the Jedi, he brings an almost haunted intensity to the role of Luke. In theory, it’s easy to be snarky about all the talk about the “Dark Side of the Force,” but, when you look in Hamill’s eyes, you totally understand what everyone’s going on about. You see the fire and the anger but, even more importantly, you see the struggle between good and evil. There’s a very poignant sadness to the scenes where he and his father prepare to meet the Emperor.
And speaking of the Emperor, he is pure nightmare fuel! AGCK!
As for the other two films to found within Return of the Jedi, the jungles of Endor didn’t do much for me. Don’t get me wrong. I thought the action scenes were handled well and, unlike apparently everyone else in the world, I was not annoyed by the inclusion of the Ewoks, the killer teddy bears who helped to the Rebels to take down the Empire. I thought the Ewoks were cute and I actually got pretty upset when one of them was killed in battle. If I had been alive when Return of the Jedi had been released, I probably would have wanted a stuffed Ewok and, I imagine, that was the main reason they were included in the film. (I also imagine that’s the main reason why a lot of people can’t stand them.)
So, no, the Ewoks did not bother me. What did bother me was that under-construction Death Star floating out in the middle of space. It bothered me because I really couldn’t imagine any reason why — after the first Death Star was apparently such a colossal failure — the Empire would insist on trying to do the exact same thing all over again. This, along with the fact that they were rather easily defeated by a bunch of teddy bears, leads me to wonder whether the effectiveness of the Empire was just a little overrated. I mean, the Emperor was scary but otherwise, everyone involved with the Empire was pretty incompetent.
Far more impressive, as far as villains go, was Jabba the Hut. In fact, Jabba and his decadent entourage were so memorable and colorful and evil and icky that they pretty much overshadowed almost everything else in the film. I mean, Jabba even had a blue elephant playing music for him! And I know that I’m supposed to be critical of the film for putting Leia in that gold bikini but you know what? Leia may have been forced to wear a gold bikini but she never gave up her dignity or her defiance. And when it came time to take out Jabba, Leia used the tools of her oppression to do so, strangling him with his own chains. In that one scene, Leia proved herself to be a true rebel.
There’s a lot that’s good about Return of the Jedi but, as I said earlier, it’s definitely an uneven film. Richard Marquand’s direction is perhaps the epitome of workmanlike. It’s efficient and it’s dependable and there’s absolutely nothing surprising or particularly challenging about it.
It’s interesting to note that, before Richard Marquand was selected as director, the job was offered to both David Lynch and David Cronenberg, two directors who are all about surprising and challenging the audience. What would David Lynch’s Return of the Jedi been like? Well, here’s one possibility:
As for David Cronenberg’s Return of the Jedi, it might have looked something like this:
For better or worse, the world got Richard Marquand’s Return of the Jedi, which I imagine was pretty close to what George Lucas wanted the film to be.
As I sit here finishing up this review and wondering just why exactly I was so intimidated earlier (seriously, this turned out to be one the easiest reviews that I’ve ever written), I estimate that 75% of the people that I know are currently sitting in a theater and watching The Force Awakens. Keep an eye out for Arleigh’s review in the next few days!
And in closing, here’s that blue elephant that I mentioned earlier. Dance!
Though three years had passed since A New Hope’s release, it was never truly gone. In the time between A New Hope and The Empire Strikes Back, there was a huge jump in Science Fiction. Films like Alien, Star Trek: The Motion Picture andThe Black Hole jumped on the sci-fi wave and kept audiences busy. If you didn’t want to go to the movies, you could always watch the original Battlestar Galactica.
My father was always a stickler for presentation when it came to movies. It had to be the biggest screen and the best sound available, if possible. My parents took my brother and I on what felt like one of the longest road trips to see the movie. Like Close Encounters of the Third Kind, some films were presented in a 70MM format. In the early 80’s, saying “Panavision” was like saying “IMAX” today. The only problem with this was that Dad decided we should sit like 3 rows from the screen. It remains one of my favorite Star Wars related experiences.
There was a bit of a scare before the film was made. Sometime before production, Mark Hamill was involved in a car accident that broke his nose and part of his cheek. The reconstructive surgery required part of his ear to fix his nose, and anyone watching the film could tell that he looked pretty different from A New Hope. It was like watching Nicole Kidman in Moulin Rouge and then following that with The Stepford Wives. Still, the accident didn’t get in the way of production and it’s believed that Hamill’s damaged look may have actually helped add some authenticity to the Wampa scene, where he’s attacked by a Yeti-looking creature.
If A New Hope was the feel good movie of the year, with heroes winning the day, then The Empire Strikes Back was a downer of a film. Everyone you rooted for in the first film is made to face a challenge that completely knocks them down a peg. It’s almost a perfect middle part to any trilogy. There’s an improvement in nearly every part of the process in the movie, despite the fact that George Lucas didn’t have the directorial duties. It’s as if most of the money earned from A New Hope was moved to ILM’s R&D department. The sound and visual effects have improved, thanks to better blue screen work and recording equipment and the rotoscoping for the lightsabers is sharper. John Williams was brought back to score the film, which features a new theme both for the Empire, Yoda and Han & Leia’s love story.
From a writing standpoint, The Empire Strikes Back serves as the best example of Lucas getting out of the way. Though the story is his, the screenplay was written by both Leigh Brackett and Lawrence Kasdan. Between the two of them and director Irwin Kershner’s input, Empire has the tightest characterization of all the films (in my opinion). We’re given a love story that’s both subtle and believable, a villain worth hating without being overly campy, and a hero who discovers that as good as he believes himself to be, he still has much to learn. There’s also an element of comedy peppered throughout, with James Earl Jones and Harrison Ford getting some of the best lines and/or moments. New characters are introduced in the form of Jedi Master Yoda (Frank Oz), Lando Calrissian (Billy Dee Williams), Emperor Palpatine (Ian McDiarmid) and Boba Fett (Played by Jeremy Bulloch and voiced by Jason Wingreen. On a trivia side note, Frank Oz and George Lucas would reunite some years later in Jim Henson’s Labyrinth, produced by Lucas.
The film opens with the Empire sending out probes to locate the rebel forces. There a focus on the Rebellion, stationed on the icy planet of Hoth. The audience is allowed to catch up on our heroes. Luke Skywalker is slowly learning the ways of the Force and is coming into his own. Han Solo and Chewbacca remain his friends and have stayed behind, rather than choosing to leave. Both gentlemen have an awkward approach towards Princess Leia, who continues to lead the Alliance. When Han and Chewie stumble on one of the Empire’s droids, it’s clear they’re going to have to be ready for battle.
The audience is brought back to the Empire’s viewpoint with a grand introduction to former henchman turned major villian, Lord Darth Vader. Seeing as he survived the attack on the first death star (and no one challenged him) he saw fit to give himself a promotion. With the promotion came some perks, including a super Star Destroyer complete with his own little pod chamber. Vader begins a relentless assault on the rebel troops in his search for Luke, who he’s recognized as having some Force abilities. This turns out to be Vader’s one big mistake. While his attentions are focused on the Millenium Falcon, Luke travels to the planet Dagobah to see out Master Yoda. As this was some time before CGI, the original Yoda was more or less a Muppet. Mind you, this was probably a shock to a many viewers. Obi-Wan was good, but this little green fellow was a Jedi? How did that even happen? Still, he was awesome. Through Yoda, Luke gains more skill with the force, but he leaves before he can finish.
The battle itself is an air to ground one, with giant walking tanks (AT-AT’s) on the Empire’s side and Snowspeeders for the rebels. While it’s a great fight, the Rebels are forced to escape their home, looking more like the Quarian Migrant Fleet in Mass Effect by the end of the film. The scene is a great example of how the technology in the Star Wars universe has grown. New ships such as the Tie Bomber also made an appearance. For each film in the series, you’re introduced to some new vehicle and/or weapon. One can only hope that with The Force Awakens, we’ll see more than just Tie Fighters and X-Wings.
Vader eventually catches up with Solo and the Princess by way of Boba Fett, a Mandalorian Bounty Hunter working for Jabba the Hutt. Cinema audiences still wouldn’t see Jabba until 1983’s Return of the Jedi, but it was a good foreshadowing. Under the impression they’ve escaped the Empire, Han & Leia head over to the Cloud City at Bespin, where Han is reunited with his old friend Lando Calrissian. Here we gain a bit of backstory on how Solo acquired the Falcon. It all seems a little too perfect and safe until we all discover that the bad guys (yet again) have the drop on our heroes.
Solo is tortured, along with the rest of the friends in an effort to lure Luke to Bespin. The Empire uses the Cloud City’s carbonite system on Solo as a test (considering that the process could kill him) for when Skywalker arrives. This results in one of the best one liners in the original trilogy, as well as one of the saddest scenes. Five year old me cried so much, this film was just depressing at every turn.
With the stage set for the showdown between Luke and Vader, the Lightsaber battle was cut between the escape of Leia, Chewie and Lando, who takes the place of Han as the Millenium Falcon’s pilot. The fight is slow compared to the prequels, but Vader is his best here, easily besting Luke with one hand at the start while trying to seduce him to the Dark Side of the Force. It’s a beautifully lit sequence by cinematographer Peter Suschitzky that would end with a revelation that would leave audiences questioning the film for the 3 years leading up to Return of the Jedi. Luke is able to escape Vader, but given the knowledge that he could be his father, everything changes for him from a character standpoint. Why did Obi-Wan lie to him about it? Can he, knowing Vader is his father, kill him? Should he, even? Granted, as anyone who’s seen Pitch Perfect knows (or anyone who’s studied basic German), Vader means Father in German. How he didn’t see that coming is beyond me. Then again, when I first saw the film it was news to me, too.
So, there you have The Empire Strikes Back, easily the best film in the entire Star Wars saga. It’s proof that a Star Wars film can be made without Lucas controlling every aspect of it – though it should be noted that as Executive Producer, he was on hand in just about every other scene. We’ll around out our Star Wars coverage on the Eve of The Force Awakens’ release with Return of the Jedi.
Today marks 30 more days before the release of the next chapter in the Star Wars saga. It’s been almost a dozen years since the prequels finally ended and the fandom was split between those who railed against it and those of the younger generation whose first entry into the Star Wars universe were the prequels instead of the original trilogy.
For those who grew up watching the original trilogy over and over throughout the years, the prospect of the franchise returning to it’s adventure roots instead of delving into the soap operatic backstory that made up the prequels was enough to create the massive swell of hype and anticipation for a film unheard of even in these current era of superhero tentpole blockbusters and massive sequels.
Star Wars: A New Hope was my gateway to the fandom and no scene helped usher me into becoming a devoted fan than the very first few minutes of the film as we see the message crawl to start then the massive bulk of the Imperial Star Destroyer chasing down a fleeing ship of much smaller size. Yet, the scene doesn’t end there. No, it continues inside where we finally get our first introduction to one of film’s most iconic villains to ever grace the silver screen.
The Imperial Star Destroyer opening was the hook and Darth Vader pulled one in.
Josh Baker (Eric Roberts) is an extroverted artist for Marvel Comics who meets Cheryl (Janine Turner) while walking around New York City. Josh and Cheryl hit it off but when Cheryl suddenly collapses, she is picked up by a mysterious ambulance. When Josh goes to the hospital to check on her, he is told that Cheryl was never brought in. Soon, Josh discovers that people all over New York have been put into back of the ambulance and have never been seen again. Unfortunately, nobody believes Josh. Not the veteran NYPD detective (James Earl Jones) who Josh approaches with his suspicions. Not the staff of the hospital. Not even Stan Lee! The only people willing to support Josh are an elderly investigative reporter (Red Buttons) and an inexperienced detective (Megan Gallagher).
A long time ago in a galaxy far, far away…
The Year was 1980.
Through the Shattered Lens 