Star Wars: Heir to the Empire
by Timothy Zahn (Bantam Spectra, 1991)
audiobook read by Marc Thompson (Random House, 2011)
The novel that triggered a publishing avalanche. Zahn deserves credit for his treatment of old favourites, for developing a subdued, somewhat cynical military/political setting post- Return of the Jedi, and in the person of Thrawn for taking adversaries in a new direction.
Star Wars: Thrawn—Treason
by Timothy Zahn (Del Rey, 2019)
audiobook read by Marc Thompson (Cornerstone, 2019)
Zahn has a knack for crafting ingenious military/physics-based problems and solutions within the context of Star Wars lore. He also, unfortunately, favours extreme and one-dimensional characterisations. Assistant Director Ronan proves an especially petulant, whiny example, rendered borderline unlistenable in Thompson’s audiobook reading.
Star Wars: Revenge of the Sith
dir. George Lucas (2005)
A well-paced, thrumming conclusion, albeit Padmé is cruelly reduced from strong female protagonist to mawkish fridging victim. Anakin’s movie-long capitulation to the Dark Side, meanwhile, proves nigh as perfunctory as Darth Vader’s eventual redemption. Ian McDiarmid’s insidious/gloriously unhinged Palpatine steals the show.
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.