Star Wars: The Phantom Menace
dir. George Lucas (1999)
This has the makings of a good film. Neeson is excellent. Portman and McGregor bring class (even if underused). But Palpatine’s machinations contribute nothing immediate, Lucas draws a grating correlation between accent and intelligence, and Darth Maul dies an unforgivably insipid death.
Star Wars: Yoda’s Secret War
by James Aaron; ill. Salvador Larroca (Marvel, 2017)
Accomplished character art and murky-yet-distinct backdrops, straightforward narrative. The world Yoda journeys to has SF potential but the conflicts are nebulous (particularly once the living force mountain becomes involved) and the perfunctory resolution/reversal fails to make whatever point Aaron was aiming for.
Obi-Wan Kenobi
dir. Deborah Chow (Disney+, 2022)
This six-episode miniseries serves almost single-handedly to rehabilitate the prequel trilogy, affording it weight and relevance through Kenobi’s character arc. The scripts do justice to Ewan McGregor’s acting talent. The peril feels real, despite that we know what happens to the protagonists.
The Empire Strikes Back
dir. Irvin Kershner (1980)
A remarkably satisfying feature, given that it’s mostly set-up for Return of the Jedi. The few thematic developments seem rushed, but the crises are compelling and the action and humour remain on-point. Yoda debuts as one of the all-time great film characters.
Star Wars
dir. George Lucas (1977)
Objectively not as good as nostalgia would suggest, but still a trailblazing masterpiece. Star Wars is oddly paced, surprisingly dark, yet also straightforward (a forgotten virtue) and packed with character humour. A dramatic and action-packed audio/visual extravaganza, perfectly cast and eminently quotable.
Star Wars: Doctor Aphra, Vol. 1: Fortune and Fate
by Alyssa Wong; ill. Marika Cresta (Marvel, 2021)
Serviceable archaeological adventure. Aphra seems a fairly overt attempt to create a female Han Solo (with some Indiana Jones thrown in). Her antihero shtick would count for more if everyone else weren’t also double-crossing each other. Nice blend of murk and colour.
Star Wars: Attack of the Clones
dir. George Lucas (2002)
A terribly paced film, the plot a shambling hodgepodge of obscure political machinations, forced-peril action scenes too cluttered to offer any real tension, and through Padmé and Anakin perhaps the least convincing romance in the history of cinema. Visually slick, but soulless.
Star Wars Vol. 3: War of the Bounty Hunters
by Charles Soule; ill. Ramon Rosanas (Marvel, 2021)
![Graphic novel cover: “Star Wars Vol. 3: War of the Bounty Hunters” by Charles Soule; ill. Ramon Rosanas (Marvel, 2021) [ISBN: 9781302920807]](https://www.derelictspacesheep.com/wp-content/uploads/2023/11/Star-Wars_War-of-the-Bounty-Hunters.jpg)
Several interlocked stories set between Episodes V and VI but rendered somewhat disjointed through tying in with other volumes also titled ‘War of the Bounty Hunters’. Lots of involvement from the core protagonists (decent likenesses). Dark, busy artwork. Passable as a standalone.
The Madalorian, Season 1
(Disney+, 2019)
Cinematic-level production. The story is straightforward yet bolstered by the trademark Star Wars attention to background detail. The support cast is compelling and likewise the titular Mandalorian—remarkably so, as he remains masked throughout while protecting an alien baby who doesn’t speak!
Star Wars: Skywalker Strikes
by Jason Aaron; ill. John Cassaday (Marvel, 2015)
A direct continuation from A New Hope, featuring all the major players and the same blend of banter, spectacle, SF backdrop and genuinely exciting adventure. The illustrations are glossy with a tendency towards imperial grey and space black. Plenty of action scenes.