STAR WARS, RANKED (2016)

SPOILERS, OBVIOUSLY.

     Side note: Musical scores have been left out of the discussion, for the sole reason that they all boast incredible scores. It’s just a Star Wars trait. Notably, seven of the eight films on this list were scored by the legendary John Williams, whose immense talent has shaped the way audiences have experienced Star Wars since the beginning.

8. EPISODE I: THE PHANTOM MENACE (1999)

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     This movie certainly earns its last-place pick on this list, but, to be fair, it bore the weight of nearly impossible expectations. Frankly, there’s a lot to hate. Anakin Skywalker in general. Boring political machinations. Jar-Jar Binks, for so many reasons. Poor choices with the Jedi Order. Lackluster plot and plot-twists. Midichlorians. Failure to have actual main character (it’s…Obi-Wan? I guess?). There are plenty of reasons why this one is low on the list.

     But there are things to appreciate, too. Phantom Menace does add a few interesting pieces to the Star Wars repertoire. Droidekas are pretty cool. Podracing rocks, actually. And don’t even get me started on Darth Maul, whose only fault is that he's critically underused and abruptly killed off. Such a waste of a sick character design. Also, it’s clear that there’s an intention to mirror A New Hope in some interesting ways, which is a definite plus—though its sequels accomplished that to greater effect.

     The Phantom Menace clearly doesn’t capture the adventurous spirit of the originals. It seems to be aiming for something else entirely (read: target audience much younger). What it does capture, for what it’s worth, is the creativity and originality of the originals; it explores new worlds, new ideas, new characters, and doesn’t re-tread what’s been done before. For that, it deserves some respect.

7. EPISODE II: ATTACK OF THE CLONES (2002)

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     So, Attack of the Clones is kind of like Phantom Menace but with a higher action quotient. It shares many of the same faults, even if the filmmakers seem to have tried to mop up some of the problems from before. There’s still political intrigue (admittedly slimmed down), and again there’s no main character (I think Anakin this time?). Anakin continues to be unlikeable, having upgraded from shrill youngster to obnoxious, moody teen (now with superpowers, so his mood swings mean that entire villages die). This time around, he gets a pretty painfully lacking and poorly developed love story that leads to some of the worst dialogue in recent memory. So, there’s that.

     Perhaps most concerning is the clear priority of elevated action and lightsaber quantity over, well, loyalty to characters or the narrative. See Yoda v Dooku for example. Fortunately, the action, excessive though it may be, is exciting and visually engrossing enough to elevate Clones well above Menace.

     Clones is also responsible for some solid introductions and universe-building. Coruscant gets a seedy underbelly and Kamino and Geonosis are depicted for the first time. Jango Fett and the clones are interesting enough, even if they come at the cost of a poor Boba Fett origin story. Plus, Mace Windu has a sick purple lightsaber.

6. EPISODE VII: THE FORCE AWAKENS (2015)

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     Like The Phantom Menace, The Force Awakens bore the weight of incredible expectations from fans and critics. Also like The Phantom Menace, Awakens has successes and faults. There’s no denying that it’s a movie of vastly superior craftsmanship than the prequels, with J.J. Abrams and Disney ensuring a return to form for the series. The directing and overall execution are artful, and the dialogue is better than most of what’s in the prequels. The most impressive achievement is The Force Awakens’ ability to pass the torch to a new set of characters for a new generation. Alongside reverence for the material, it captures some genuine excitement and the original Star Wars’ galaxy-spanning spirit of adventure.

     Unfortunately, Awakens also has some serious problems. For one, it includes some surprisingly weak dialogue, which often just serves as a method of exposition dump. The overarching problem, though, is that it re-treads far-too familiar material. The unfortunate fact is that Awakens is essentially a soft reboot of A New Hope, religiously recreating the same plot points but disguising them with nominally different set pieces. And though it does advance the story of the Skywalkers in some ways, in others it actually reverts back to the status quo of the originals (by the movie’s end, the galaxy is in approximately the same place as at the end of A New Hope, with nothing to show for the past 30 years). The choice to repeat the story of A New Hope may be a formula for box office success, but it dishonors the franchise by failing to embody the bold, creative spirit that defines it.

5. EPISODE III: REVENGE OF THE SITH (2005)

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     Revenge of the Sith shares many of the flaws of the prequels, but unlike its predecessors, it manages to transcend them. There’s still plenty of poor dialogue, and Anakin is even moodier and more unreasonable. Again, there’s no real main character (though Anakin again seems the most likely candidate). His character development is the movie’s biggest flaw. For one thing, it’s a shame to see film’s most iconic villain receive an origin story that reduces him to an easily manipulated (if powerful) pawn. For another, his fall from grace is handled clumsily and far too rapidly. The base of Padme’s childbirth and the fear of losing her is reasonable enough, as is growing mistrust of the Jedi. Despite those decent underpinnings, the movie doesn’t quite make anything convincing of Anakin’s fall.

     Unlike Anakin Skywalker himself, Revenge of the Sith’s good outweighs its bad. The action is still on the elevated level of its predecessors, but here it’s far more motivated and exciting than in Menace or Clones. Most importantly, the movie seems to bow under the sheer weight of the collective Star Wars mythos. The circle is complete, and in some way, the stories of these iconic figures, by reaching their beginning, poetically reach their end.

     The stakes in Sith couldn’t be higher, which is remarkable considering that audiences already know the outcome. We see titanic, iconic figures ripped apart and turned against each other. To top it all off, we get utterly epic duels. The Senate chambers? Mustafar? Palpatine v. Windu and other Jedi in his chambers? Yes please. And the result of it all? An immense, profound sense of tragedy, with a kernel of hope left alive in two small children.

     Interestingly, one of the least appreciated facets of Sith (and the other prequels, for that matter), is that it manages to give greater significance to the pre-existent films. In light of this movie, Darth Vader’s sacrificial act in Return of the Jedi is not only redemption, but also the fulfillment of his potential to restore balance to the Force and a chance to atone for his failure to stand up for those he loved so many years ago.

4. ROGUE ONE: A STAR WARS STORY (2016)

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     The most recent addition to this list combines Disney’s commitment to high quality with an original story, which easily puts Rogue One above the rest. Rogue One is full of Star Wars goodness. Visually, it's very impressive, and it does a great job of balancing a small, intimate focus (Jyn Erso and her relationship with the other rebels) and the vast scope of galaxy-spanning conflict and epic battles.

     There are weaknesses, including some shoddy dialogue and missing motivation for Jyn. Fortunately, that isn’t enough to keep Rogue One off the ground. It packs in an ensemble of unique and deeply interesting characters, has a mature enough story to sacrifice those characters, and includes some truly awesome villain moments (including a supremely breathtaking revival of Darth Vader). It also introduces the audience to new planets and peoples, exploring an entirely new side to the Star Wars universe. Overall, it’s a film that not only justifies its own existence, but actually makes a substantial contribution to the overarching mythos.

3. EPISODE VI: RETURN OF THE JEDI (1983)

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     For some well-deserved reasons, Jedi is the most maligned of the originals. It has some plot weaknesses and missed opportunities. Boba Fett, one of the most interesting characters in the entire franchise, is nonchalantly killed off. The gravitas of the previous films is somewhat lessened in favor of Ewoks, ridiculous Ewok victories, and put-a-bow-on-it happy endings. The biggest criticism, perhaps, is that it falls prey to trilogy-ending syndrome, where most of the film has to be devoted to a giant resolution of the conflicts that previous films have already set up.

     And yet, Return of the Jedi retains its place above the prequels and sequels. It’s simply a film of a different caliber, with better dialogue and story (even with the Ewoks). It also brings the trilogy to a satisfying and exciting conclusion, which is no small feat. First it brings an end to the story arc of Han Solo’s capture, culminating in Leia’s badass strangling of Jabba the Hutt. Then it turns to the cause of the Rebellion as a whole, entering into a thrilling final battle on multiple fronts. That battle, which sports remarkable special effects for the time, puts everything on the line. 

     The ultimate showdown? The introduction of the Emperor. In retrospect, it’s easy to forget how chilling and surprising the reveal of the man behind the curtain is. He spurs Luke and Vader into an emotionally charged final duel that ends with Luke’s refusal to kill his father and Vader’s climactic choice. And when it’s all over, viewers are finally offered a glimpse behind Vader’s iconic mask to see the simple, wounded man who lives behind it.

     It’s the weakest of the original three, but Jedi still stands out from the crowd.

2. EPISODE IV: A NEW HOPE (1977)

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     So let’s get it all out of the way: this is the one that started it all. A film that inspired a generation, spawned the most famous film franchise in history, and single-handedly changed the course of filmmaking and (it would be not be an exaggeration to say) the world forever. It has influenced and informed filmmakers, artists, and pop culture for forty years. So, ya know, kind of an important movie.

     On paper, it’s a straightforward affair. It’s the archetypal hero’s journey myth, dashed with some other notable influences and played out on a grand scale of cosmic proportions. But Star Wars transcends its foundations and builds something truly new. It’s inventive, creative, and boldly original. It takes viewers into another galaxy (a galaxy of the past, no less!) where good wars against evil. And this galaxy isn’t a shiny, ultra-modern sci fi picture—instead, it’s a grimy, war-torn and well-used galaxy. Its inhabitants are diverse, imaginative, sometimes bizarre, and often genuinely funny. Its landscapes and vistas are breathtaking, both simple and intricate.

     I could go on and on about the many merits of A New Hope, but I’ll keep it short. The original Star Wars captures a sense of wonder. Its first, iconic shot of Tantive IV being chased by the Star Destroyer is grand and breathtaking, indicating a sense of immense scale that carries throughout the film. A New Hope also captures a sense of adventure. We come alongside Luke, Han, Leia, Chewbacca, Ben Kenobi, C-3PO and R2-D2 on a gallivanting escapade through all kinds of trouble. Perhaps the best moment is when Leia, the ultimate refutation of the damsel in distress, rescues Luke and Han from their own rescue attempt. Finally, A New Hope captures a sense of mystery, introducing audiences to the Force for the first time, tapping into the knowledge that its characters are part of something larger than themselves. For these reasons, among others, A New Hope is among the all-time greats.

1. EPISODE V: THE EMPIRE STRIKES BACK (1980)

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     Let’s be honest, you probably knew where this was going. It’s the mother of all sequels, one of the most iconic films of all time. Coming off the unprecedented success of the original Star Wars, there was a lot riding on Empire. Fortunately, it far exceeds expectations.

     There’s much to praise about The Empire Strikes Back. It boasts a vivid, imaginative array of new worlds and fascinating characters. The special effects are groundbreaking. The dialogue is fantastic. The story is intense, brooding, and wonderfully ominous. Alongside laughter and awe, there’s betrayal, horror, and disillusionment.

     Like any good sequel, Empire captures the very essence of the original and then develops the pre-existing world in satisfying ways. It broadens the scope of the galaxy, introduces the Emperor and Yoda, cements Vader’s reputation as the most iconic villain in film history (complete with wry one-liners), masterfully develops Han and Leia’s romance, and further explores the mystery of the Force. To top it all off, it includes a visually striking and terrifically haunting duel.

     But whereas A New Hope was unabashedly triumphant in the face of immeasurable odds, Empire is far more mature. It takes the heroes and dashes them to the rocks. The Rebel Alliance, previously victorious, is nearly crushed and flees across the galaxy, hanging on to existence by a thread. The swaggering, sarcastic Han Solo is captured, frozen, and delivered to his nemesis. Luke Skywalker, realizing his ignorance, is bested and nearly destroyed in his encounter with Vader, and of course, he learns the horrifying truth that the enemy is his own father. The hope of defeating Vader and his Empire is suddenly much more complicated.

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     And the film manages to accomplish all this without a cataclysmic battle scene at its conclusion—a rarity among blockbusters. Empire gets the battle scene out of the way at the beginning, and from then on it prefers to stay grounded, focusing on characters and their relationships. It’s from that commitment (an effective, wise, and bold choice) that all this drama comes.

     In light of this high praise, it’s no surprise that The Empire Strikes Back crowns this list. It’s not only the best Star Wars film to date, but also one of the greatest films of all time. An absolute home run.