Foreword: All screenshots courtesy of http://starwarsscreencaps.com/.
When George Lucas said Star Wars Episode III: Revenge of the Sith was going to be the last one, I don’t actually believe he ever meant it, but I do sincerely believe he wanted to go out as if it were. Because Revenge of the Sith is one of the biggest-scope movies ever made. It doesn’t seem like it from the exterior– its budget was only $115 million, which was big but still not mega-budget size, even in 2005, and it seemed like it was going to mostly expand on Attack of the Clones. What we got, however, was something that could only be the product of advanced CGI, and something that has never been replicated on this scale, aside from maybe Avatar.
While all six Star Wars movies are very well-known for their tendency to cram as much worldbuilding into the background of every single scene possible, Revenge of the Sith takes this philosophy and ramps it up by about three hundred percent. The concept artists behind this movie must have gone absolutely crazy while working on this movie, because there’s just so much stuff in this movie.
Like I described in my previous essay on Attack of the Clones, the prequels do a very good job at showing off worlds, and then expanding them in later instances by showing more layers of those worlds. Revenge of the Sith returns to all three of the planets that were featured in both Episodes I and II (though its visits to Tatooine and Naboo are brief), but it suddenly decides to go insane, and show off the entire rest of the galaxy to us.
Facing a tremendous amount of things to do and an inability to find the time to watch through the movie again, I have decided to preemptively delay the essay for Revenge of the Sith to Sunday instead of the normal day, Friday, in the likely chance that I will be unable to watch and write the essay until the weekend. This is probably not a problem to anyone but me, who likes to keep consistent schedules, but I wanted to warn you in advance.
In its stead, I’ll be posting a short story I wrote recently that some people besides me might find humorous, though I have my doubts about that.
Let’s get this out of the way right now– The Martian is a great movie. It is extremely well-plotted, visually stunning, has a great cast, and is hilarious. It is almost like it is the third chapter in an annual saga of (relatively) scientifically-accurate space dramas that all deal with isolation and seeming hopelessness, after 2013’s Gravity and 2014’s Interstellar. However, The Martian contrasts itself with the other two movies in this spiritual trilogy and is actually a completely different movie than either of them. In fact, it is tonally unique among most any space travel movies.
Mortal Kombat is probably one of the most faithful video game adaptations ever made, as of 2015 at least. It takes the paper-thin characters, the confusing and convoluted plot, and the creepy-architecture-plus-candles-plus-Buddhist-Monk aesthetics that the games have made themselves known for. It doesn’t have the level of brutal violence that the series is known for, since it’s only PG-13, but everything else about the series carries over very nicely.
And that’s a good thing, too, because that makes Mortal Kombat a triumph in cheesy 90s filmmaking.