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‘Star Wars: The Rise of Skywalker’: Film Review

No "Star Wars" film can fully recapture the thrill of 40 years ago, but as directed by J.J. Abrams, the ninth and final chapter in the saga that George Lucas created may come closer than any "Star Wars" movie since.

By Owen Gleiberman

Owen Gleiberman

Chief Film Critic

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In “ Star Wars: The Rise of Skywalker ,” there’s a lightsaber duel that’s pretty fantastic — not because of any unprecedented whirling-action whoa! factor (we have, after all, been through one or two of these my-sword-of-electric-fire-is-mightier-than-your-sword-of-electric-fire duels in our “Star Wars” lifetimes), but because of the emotions it channels. Visually, it’s a splendid fight. Rey ( Daisy Ridley ), the Jedi Knight who’s in the midst of trying to figure out, you know, who she is , and Kylo Ren ( Adam Driver ), the First Order commander who’s certain that he’s figured out the Dark Side badass he is, face off outdoors, standing atop the ruins of the Death Star, a wasteland of corroded metal that looks like the aftermath of some intergalactic 9/11.

As stormy black ocean waves crash and churn around them, like something out of “Wuthering Heights,” Ren uses his red Sith lightsaber, with the cross-handle that makes it look like a pulsating version of Excalibur; Rey uses her trusty blue Jedi lightsaber. After much fateful combat, a saber is plunged, and there’s a clear victor — but then something quite unexpected happens. It’s game-changing, it’s powerful and moving, and at that moment it’s everything you want from a “Star Wars” film.

In 1977 and 1980, “Star Wars” and “The Empire Strikes Back” were two movies that the whole wide world agreed on (to put it in fanboy terms: that they were the greatest things ever). And that’s part of why they changed the world. The universality of the adoration for “Star Wars” became one of the cornerstones of its aesthetic. In the 40 years since, there has been less to agree on about “Star Wars,” which may be one reason why this distended-through-the-decades space-opera odyssey now feels, by turns, inspiring and dispiriting. Most agree, at least, that the George Lucas prequels were an eye-popping but empty experiment in technologically driven brand enhancement. Yet that isn’t exactly a consensus to take heart in.

And the last two films? Fans fell hard for “The Force Awakens,” until they woke up and realized that they’d been seduced by a kind of painstakingly well-traced “Star Wars” simulacrum. “The Last Jedi” was admired by some and disliked by many, with the divide often carrying an ugly subtext: a resentment at the film’s diversity casting, while others leapt to its defense for that very reason, turning what was supposed to be a piece of escapism into an ideological turf war as messy and overblown as some of us thought the movie itself was.

“Star Wars: The Rise of Skywalker” might just brush the bad-faith squabbling away. It’s the ninth and final chapter of the saga that Lucas started, and though it’s likely to be a record-shattering hit, I can’t predict for sure if “the fans” will embrace it. (The very notion that “Star Wars” fans are a definable demographic is, in a way, outmoded.) What I can say is that “The Rise of Skywalker” is, to me, the most elegant, emotionally rounded, and gratifying “Star Wars” adventure since the glory days of “Star Wars” and “The Empire Strikes Back.” (I mean that, but given the last eight films, the bar isn’t that high.)

It’s a puckish and engrossing movie, fulsome but light on its rocket feet. At two hours and 28 minutes, is it too long? Yes. Does it feature several dead characters coming all too conveniently back to life? Yes. (Actual dialogue: “Somehow, Palpatine returned.” “Wait, do we believe this?” And no, that’s not a spoiler. It’s revealed in the opening 20 minutes.) If you look past its foibles, though, “The Rise of Skywalker” has been directed, by J.J. Abrams (the script is by Abrams and Chris Terrio), with much the same neo-classic-Lucas precision and crispness and verve that he brought to “The Force Awakens,” though in this case with less of the lockstep nostalgia that made that film such a direct clone of the first “Star Wars” that the thrill of going back to 1977 was mitigated by the fact that the entire thing had been transparently engineered to give you that feeling. It was like a pharmaceutical drug called Starzac.

That said, maybe there’s no escaping that the final entry of this series, coming 42 years after the original “Star Wars,” is — at best — going to be less a brilliant piece of stand-alone escapism than a kind of exquisitely executed self-referential package. “The Rise of Skywalker” has rousingly edited battles, like the opening dogfight, with Poe (Oscar Isaac) and Finn (John Boyega) trading quips as they race the Millennium Falcon back from an intel mission. It has the irresistible presence of old friends, like Gen. Leia Organa (the late Carrie Fisher ), still guiding the Resistance and mentoring Rey, and an older and wiser but feisty-as-ever Gen. Lando Calrissian (Billy Dee Williams, in his first part in the series since “Return of the Jedi,” wrapping his velvet baritone around lines like “I’ve got a bad feeling about this”), plus one or two other returning icons you might not expect.

The story, abetted by trademark John Williams music cues that always manage to drop in at the perfect moment, is a digressive but satisfyingly forward-hurtling MacGuffin that stays on course. It follows Rey and her team as they bop from one planet to the next, all in order to locate the wayfinder crystal that will lead them to Exogol, the hidden land of the Siths where Palpatine, bent on domination of the galaxy, has set up his stone-throned, dark-shadowed supervillain hell cave. They find a dagger inscripted with the information they need — except that it’s written in the forbidden runes of the Sith, which C-3PO (Anthony Daniels) is programmed not to translate. So they have to travel to a renegade planet to find a black-market droid tech, who has to erase C-3PO’s memory.

This may sound like a fancy form of time-killing, except that Isaac’s Han-lite renegade Poe, Boyega’s loyal cut-up Finn, and the usual nattering gang of rubbery cute beasts have now gotten into enough of a groove to evoke the “Guardians of the Galaxy” crew (who, of course, were a knockoff of the “Star Wars” team). “The Rise of Skywalker” also features what is far and away Daisy Ridley’s most accomplished performance as Rey. After all her Jedi training, Rey now has powers so advanced they’re dangerous (she detonates a spaceship with her grasping hand — and, it appears, blows up one of her comrades). Ridley wears Rey’s mission with furious charisma, bringing a possessed quality to the character, never more so than when she learns who she is . What makes her performance so much more than “diversity” casting is that “The Rise of Skywalker” pointedly completes the “Star Wars” saga as a myth embracing the rise of women.

What no contemporary “Star Wars” movie can have, no matter how slavishly it imitates the template that Lucas invented, is the primal awe of the original films’ space battles. At the time, the gritty-yet-frictionless, zipping-through-the-canyons joystick stuff was miraculous. It anticipated the digital era, and the only place you could see it — could live it — was at a “Star Wars” film. But “Star Wars” turned Hollywood into an industry devoted to space-race fantasy and action candy. So the only real dimension of “Star Wars” that’s defining anymore is…the cosmology. No wonder the thrill isn’t there the way it was.

“The Rise of Skywalker” has to deal some of with the anti-Lucas curveballs that director Rian Johnson introduced into “The Last Jedi,” and it may actually be a better movie for it. Rey and Ren, locked in mortal combat, commune through the cosmos, as if both were linked up to some advanced communication system called ForceTime. Ren’s murky moral ambivalence has been clarified — he now presides over the First Order in a mask modeled on his grandfather Darth Vader’s, though this one has glowing red cracks and a chrome grill that make it look like something off a ’70s album cover. And where, in “The Last Jedi,” Mark Hamill’s Luke was practically a doomsday nihilist, inviting the eradication of the Jedi (which was a bit loopy), Abrams draws his movie back from that ledge.

He also does not send his characters on too many disparate missions, the way “The Last Jedi” did. For all its sprawl, “The Rise of Skywalker” is all of a piece. Palpatine is indeed alive, with Ian McDiarmid returning to play him, looking more like a rotting monk than ever. His desire to squash what’s left of the Resistance, and to establish a reign of total terror, may seem standard issue, but now, for the first time, it has a jolting topical resonance. The villainous forces of “Star Wars” were always a sci-fi variation on 20th-century fascism, and that made them, at the time, seem ominous but historically distant. But in “The Rise of Skywalker,” the fascism looms, for the first time, as something more real; it’s what we’re now facing. The film keeps repeating that though the forces of the First Order are actually outnumbered, those forces work to make the Resistance fighters feel isolated and alone, as if they had no power. And you’d better believe that’s a pointed and timely statement. In its way, it’s also a tip of the hat to George Lucas, who in the “Star Wars” saga drew on the pop culture of the past to create a revolutionary new pop culture, and in doing so foresaw the future. Maybe more than he knew.

Reviewed at SVA Theater, New York, Dec. 17, 2019. MPAA Rating: PG-13. Running time: 142 MIN.

• Production: A Walt Disney Studios Motion Pictures release of a Bad Robot, Lucasfilm Ltd. production. Producers: Kathleen Kennedy, J.J. Abrams, Michelle Rejwan. Executive producers: Tommy Gormley, Callum Greene, Jason D. McGatlin.  
• Crew: Director: J.J. Abrams. Screenplay: Chris Terrio, J.J. Abrams. Camera (color, widescreen): Dan Mindel. Editors: Maryann Brandon, Stefan Grube. Music: John Williams.
• With: Daisy Ridley, Adam Driver, Carrie Fisher, Mark Hamill, Billy Dee Williams , Ian McDiarmid, Oscar Isaac, John Boyega, Anthony Daniels, Jimmy Vee, David Chapman, Brian Herring, Joonas Suotamo, Domhnall Gleason, Richard E. Grant, Lupita Nyong’o, Naomi Ackie, Kelly Marie Tran, Keri Russell.

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‘star wars: the rise of skywalker’: film review.

Director J.J. Abrams and co-writer Chris Terrio close the book on the core origin story of George Lucas' space saga as the torch of intergalactic control is passed from one generation to the next in 'Star Wars: The Rise of Skywalker.'

By Todd McCarthy

Todd McCarthy

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How many film franchises have lasted for 42 years? Who will be surprised if Disney, the adoptive parent of George Lucas ‘ remarkable baby, doesn’t keep siring new offspring for the seemingly inexhaustible intergalactic mother ship known as  Star Wars  for longer than anyone connected with the original series is still alive? Will movie theaters still exist when the children, biological or otherwise, of Rey or Poe or Finn are old enough to fly? Has the property now become too Disneyfied? Will even more of the core fan base that angrily turned on  The Last Jedi continue and amplify their vendetta in the wake of the new entry?

These are some of the questions swirling around  Star Wars: The Rise of Skywalker ,  which eventfully, if not exactly satisfactorily, closes the book on the core origin story of this indelible world. On a popular level, it succeeds in a way that good escapist fiction always has, by transporting you completely to a fabulous foreign realm unvisitable by any other means. No one who has seen the preceding VIII chapters will dare miss this concluding installment, which means that the vast majority of the known moviegoing world will turn up. And in theaters, no less. But there are nagging problems that, while evident in the previous two entries, have become more pronounced now.

Release date: Dec 20, 2019

With J.J. Abrams back at the helm after having efficiently relaunched the franchise four years ago with  The Force Awakens ,  there was little doubt that the serious business of keeping Disney’s most valuable acquisition well-tended would be responsibly managed by the man who previously relaunched  Star Trek  on the big screen. If anything, the director has overcompensated, practically tripping over himself in a mad-dash effort to deliver the expected goods and then some. It’s easy to conjure up the image of him as a beleaguered chef in a large kitchen preparing a huge banquet, trying to satisfy lots of customers in the ways that count and not goof up anything too important.

In the most obvious ways he has largely succeeded, even if the more-is-more approach ultimately leaves one both bloated from too many courses and uncertain about some of the ingredients. To switch metaphors, he’s also a traffic cop; there’s more travel here than in  Around the World in 80 Days,  and it sure moves a lot faster, but half the time you don’t know either where the characters are or why they’re going somewhere else, which is virtually all the time. The dramatic structure owes more to a pinball machine than to a logically planned trip, but this doesn’t matter all that much, as most viewers will just be on board for a great ride and more than willing to go wherever the film takes them.

The core dynamic at play in the script by Chris Terrio ( Argo, Batman v Superman: Dawn of Justice, Justice League ) and Abrams, from a story by Derek Connolly ( Safety Not Guaranteed ,  Jurassic World, Monster Trucks ), is, appropriately enough given the franchise’s jump from Fox to Disney, the passing of the torch of intergalactic control from one generation to the next. Courtesy of a rather significant amount of previously unused footage, the late Carrie Fisher ‘s Leia Organa is on hand to participate in the transfer of power. The sense of continuity is furthered by the liberation from self-imposed hermitude of Mark Hamill ‘s Luke Skywalker and the big-screen re-emergence, after 34 years and numerous gigs as the character on TV and in video games, of Billy Dee Williams’ Lando Calrissian. 

At the outset, the universe is at a point where domination by the First Order once again seems a possibility. You would think that the utter and repeated obliteration suffered by the dark side in the past would be enough for peace and quiet to prevail at least for a few lifetimes. But, no, somehow old Palpatine (Ian McDiarmid) is still hanging in there and a massive generation of young stormtroopers is at the ready to attack once heir presumptive Kylo Ren ( Adam Driver ) sheds his Hamlet-like indecision and decides to seize his opportunity to rule the world.

The main thing giving him pause is his keen attraction to Rey ( Daisy Ridley ). Despite his predilection for wearing his own, red-veined version of a Darth Vader mask, for the longest time he remains hung up on a fantasy that he and Rey can become the ruling couple of the universe. But she’s no more prone to entertain this notion than she’s ever been, preferring to hone her skills as a badass warrior, a vocation furthered when Leia bestows her personal lightsaber on the intensely focused younger woman.

For quite a long time, the film jumps all over the place, making as many stops as a local subway train. Rey and ace pilot Poe Dameron ( Oscar Isaac ) remain at odds about most things, but the main demand on the latter’s time is jerry-rigging his rickety used spacecrafts and otherwise wrestling with physical jeopardy, which happens all the time as the small band of Resistance fighters fly hither and yon looking for the Emperor’s gathering forces. Never does a mechanical problem remain unsolved by Poe for more than a minute or two.

So agreeable are most of the performers and so busy are the characters tending to urgent matters that the why and wherefore of what’s happening onscreen becomes increasingly obscure: Where does everyone stand in relation to one another? Where is so-and-so going and why? What’s at stake in this particular confrontation? (Of course, there has to be at least a mini-crisis every few minutes.) Not everything can represent the same urgent importance, nor should the fate of the universe be at stake every 10 minutes. Yes, it was so in 1930s serials like  Flash Gordon,  which is what inspired Lucas to create  Star Wars  in the first place, and very occasionally, such as in  Raiders of the Lost Ark,  a modern director has been able to pull off a highly episodic adventure like this. 

Here, though, the massive jumble of standoffs, near-misses, tense confrontations, narrow escapes and slick victories, while momentarily exciting, can lack plausible motivation and credibility. More often than not, one wonders not so much what just happened but why, and what was at stake. A plot like this, featuring so many characters, locations and story dynamics, can by nature be confusing; so relentless is the pileup of incident that, at a certain point, one can be excused for checking out on the particulars of what’s going on at a given moment and why in favor of just going along for the amusement park ride.

There are directors who are content with such ambitions, just as there are large audiences for same. Abrams has a foot in one camp and the other foot in another, hoping to have it both ways, which he manages for the reason that  The Rise of Skywalker  has a good sense of forward movement that keeps the pic, and the viewer, keyed up for well over two hours. It might not be easy to confidently say what’s actually going on at any given moment and why, but the filmmakers’ practiced hands, along with the deep investment on the part of fans, will likely keep the majority of viewers happily on board despite the checkered nature of the storytelling.

Still, an increasingly vexing issue that serves to hold one’s enthusiasm in check are the main characters and cast of episodes VII to IX. The simultaneous onscreen presence here of Fisher, Hamill, Williams and a fun, unbilled appearance by another franchise favorite creates a wave of sentimental affection and goodwill that the younger leads have never generated across three films. Isaac has loosened up a bit to become more engaging as the series has progressed, but the same can’t be said for Ridley, whose portrait of Rey runs the gamut between determined and grim. As Kylo Ren, Driver is, for the most part, broodingly recessive in a not particularly intriguing way; his character an uninterestingly conflicted, not to mention inarticulate, Hamlet.

It almost goes without saying that, from a physical production point of view, The Rise of Skywalker  is stupendous, enough reason by itself to see and even enjoy the film. Clearly no expense has been spared in making almost every scene spectacular, and cinematographer Dan Mindel has here surpassed his work on  The Force Awakens  and numerous other special effects extravaganzas with his often striking images (some eye-popping settings, particularly in Jordan and along a stormy seacoast that makes the one in  Ryan’s Daughter  look like a wading pool, don’t hurt). Production designers Rick Carter and Kevin Jenkins and costume designer Michael Kaplan aced their jobs as well, as have, in spades, the visual and special effects teams.

John Williams, 87 years young, has composed yet another rambunctious, melodious, propulsive score for a very big film; you wouldn’t want anyone else on the job. 

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'star wars': thr's 1977 review.

Production companies: Lucasfilm, Bad Robot Distributor: Disney Cast: Carrie Fisher, Mark Hamill, Adam Driver, Daisy Ridley, John Boyega , Oscar Isaac, Anthony Daniels, Naomi Ackie, Domhnall Gleeson , Richard E. Grant , Lupita Nyong’o, Keri Russell , Joonas Suotamo, Kelly Marie Tran, Ian McDiarmid, Billy Dee Williams Director: J.J. Abrams Screenwriters: Chris Terrio, J.J. Abrams, story by Derek Connoly, Colin Trevorrow, Chris Terrio, J.J. Abrams, based on characters created by George Lucas Producers: J.J. Abrams, Kathleen Kennedy , Michelle Rejwau Executive producers: Tommy Gormley, Callum Greene, Jason D. McGatlin Director of photography: Dan Mindel Production designers: Rick Carter, Kevin Jenkins Costume designer: Michael Kaplan Editors: Maryann Brandon, Stefan Grube Music: John Williams Casting: Nina Gold, April Webster, Alyssa Weisberg

Rated  PG-13,  141 minutes

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‘Star Wars: The Rise of Skywalker’ Review: Revolution No. 9

Resistance is futile. Rey, Finn and Poe are back; so is Kylo Ren. No spoilers here.

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By A.O. Scott

Not that anybody has asked, but if I had to come up with a definitive ranking of all the “Star Wars” episodes — leaving out sidebars like the animated “Clone Wars,” the young Han Solo movie and the latest “Mandalorian” Baby Yoda memes — the result could only be a nine-way tie for fourth place.

You know I’m right, even if you insist on making a case for “The Empire Strikes Back” or “ The Last Jedi ,” to name the two installments that are usually cited as the best individual movies. (Please do not insist.) At least since “The Return of the Jedi” (1983), the point of each chapter has been consolidation rather than distinction. For a single film to risk being too interesting would be to imperil the long-term strategy of cultivating a multigenerational, multinational fandom. “The Rise of Skywalker” — Episode IX, in case you’ve lost count — is one of the best. Also one of the worst. Perfectly middling. It all amounts to the same thing.

In retrospect, it’s clear that the series has evolved — or was designed, if you favor that theology — to average out over time, to be good enough for its various and expanding constituencies without alienating any of them. Over the years, my own allegiances have shifted. When I was a kid back in the “New Hope” era , I liked the action and the wisecracks and Princess Leia. By the end of Anakin Skywalker’s grim journey to the Dark Side in “Revenge of the Sith” I had developed a scholarly preoccupation with the political theory of galactic imperialism. More recently I’ve grown fond of some of the cute new droids and space creatures, and also of the spunky resistance fighters with their one-syllable names. Rey. Finn. Poe.

They are back, of course — played with unflagging conviction by Daisy Ridley, John Boyega and Oscar Isaac. Also back is everyone’s favorite Dark-Side-curious emo-Jedi bad boyfriend, Mr. Kylo Ren, formerly known as Ben Solo and irrefutably embodied by Adam Driver. I will say very little about what any of these people — or C-3PO, Chewbacca, BB-8 and any new characters or surprises — actually do for two and a half hours, because the spoiler-sensitive constituency is especially large and vocal.

Also because they do and say quite a lot. “The Rise of Skywalker” has at least five hours worth of plot, and if that’s your particular fetish, I’m not going to get in the way of your fun. Suffice to say that various items need to be collected from planets with exotic names, and that bad guys cackle and rant on the bridges of massive spaceships while good guys zip around bravely doing the work of resistance. Mysteries are solved. Sacrifices are made. Fights are fought in the air, on the ground and in deep cavernous spaces where … but that’s enough for now.

The director is J.J. Abrams, perhaps the most consistent B student in modern popular culture. He has shepherded George Lucas’s mythomaniacal creations in the Disney era, making the old galaxy a more diverse and also a less idiosyncratic place.

Rian Johnson , who wrote and directed “The Last Jedi,” injected some rich color and complicated emotion into the chronicles of domination and rebellion, and also a dash of iconoclastic energy. The bond between Rey and Kylo felt both politically dangerous and sexually provocative, while Rey’s obscure origins suggested that the rebels might finally come to represent something more genuinely democratic than the enlightened wing of the galactic ruling class.

Abrams, who also directed “The Force Awakens,” the first chapter in this trilogy, suppresses that potential, reaffirming the historic “Star Wars” commitment to dynastic bloodlines and messianic mumbo-jumbo, even as he ends on a note of huggy, smiley pseudo-populism. The whole Kylo-Rey thing turns out to involve their grandparents, which is kind of weird, though it could have added a shiver of gothic creepiness to the story. Ridley and Driver are downright valiant in their pursuit of tragic dignity in increasingly preposterous circumstances.

Abrams is too slick and shallow a filmmaker to endow the dramas of repression and insurgency, of family fate and individual destiny, of solidarity and the will to power, with their full moral and metaphysical weight. At the same time, his pseudo-visionary self-importance won’t allow him to surrender to whimsy or mischief. The struggle of good against evil feels less like a cosmic battle than a longstanding sports rivalry between teams whose glory days are receding. The head coaches come and go, the uniforms are redesigned, certain key players are the subjects of trade rumors, and the fans keep showing up.

Which is not entirely terrible. “The Rise of Skywalker” isn’t a great “Star Wars” movie, but that may be because there is no such thing. That seems to be the way we like it.

Star Wars: The Rise of Skywalker

Rated PG-13. Kylo feels really bad. Running time: 2 hours 22 minutes.

A.O. Scott is the co-chief film critic. He joined The Times in 2000 and has written for the Book Review and The New York Times Magazine. He is also the author of “Better Living Through Criticism.” More about A.O. Scott

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Star Wars: The Last Jedi

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Star Wars: The Last Jedi honors the saga's rich legacy while adding some surprising twists -- and delivering all the emotion-rich action fans could hope for.

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• December 20, 2019
• Daisy Ridley as Rey; Adam Driver as Kylo Ren; John Boyega as Finn; Oscar Isaac as Poe Dameron; Anthony Daniels as C-3PO; Joonas Suotamo as Chewbacca; Billy Dee Williams as Lando Calrissian; Kelly Marie Tran as Rose Tico; Ian McDiarmid as Palpatine; Carrie Fisher as Leia Organa

Home Release Date

• March 17, 2020
• J.J. Abrams

Distributor

Movie review.

Death Stars are so lame.

Oh, the Galactic Empire gave the concept a go—twice, actually. Both literally blew up in their faces. The upstart First Order figured they’d improved on the concept by getting back to the basics: What’s the point in building a whole new Death Star when you can just stick a gigantic laser cannon in a planet? As we saw in The Force Awakens , that didn’t go so hot, either.

So (spoiler warning, though you learn about this next point in both the trailers and the second sentence of the movie’s opening crawl) Emperor Palpatine—recently dead but, through the miracles of galactic science and evil, still capable of a nefarious plot or two—has hatched a shiny new plan. And both First Order Supreme Leader Kylo Ren and wanna-be Jedi Rey figure prominently in it. The first will be Palpatine’s younger, more mobile avatar in the galaxy, the Emperor hopes; his spiritual son, if you will. The second will be—if all goes well—dead.

But as we’ve seen, Kylo Ren tends to have somewhat violent relationships with his would-be father figures. And honestly, Kylo’s not quite sure he wants Rey dead. She could be a powerful ally, he believes, if Rey could somehow be turned to the Dark Side. Together, they’d be unstoppable.

But Rey has no intention of joining the Dark Side. She’s got other things on her mind: finishing her Jedi training, protecting her friends and, oh yeah, saving the galaxy, too.

Death Stars may be a little passe in this new galactic era. But the Jedi … well, despite always seemingly on the edge of extinction, the old order still has life in it yet.

Positive Elements

For most of the movie, Rey stands as a worthy inheritor of the Jedi order’s lofty, altruistic goals. She’s the film’s primary hero, doing all manner of heroic things and risking her life in all manner of ways. She’s willing to sacrifice herself for her friends and for the galaxy, of course, but that’s old news: The ultimate sacrifice for her involves something a little more complex, and she shows a willingness to make it if she must.

But perhaps the thing most resonant about Rey’s story is that she’s more than just a warrior here: She’s a healer , and her kindness and willingness to help even threats pays dividends.

Of course, all of Rey’s associates—Poe and Finn and Leia and Chewbacca and many, many others—show off their own forms of heroism and sacrifice. Indeed, even droids sacrifice for their cause, and in strangely poignant ways.

Spiritual Elements

The Force is still (ahem) a force in Rise of Skywalker . Though Star Wars: Episode I – The Phantom Menace offered a naturalistic explanation for it (midichlorians, as you recall), it acts and feels much more spiritual, and leaning heavily into an Eastern understanding of spirituality—a near-Taoist yin-yang sense of the cosmos. The Light and Dark sides of the Force are locked in eternal conflict, and we hear at least one reference to the Force needing to be brought “in balance.” (In practice, of course, the Light Side Jedi have always seemed pretty interested in conquering the Dark Side, which leads to a certain spiritual dissonance in worldview messaging, but we move on.)

That Force gives its users, both Light and Dark, a variety of impressive powers: The ability to levitate objects, fire off lightning bolts and, for the first time that I’m aware of, the ability to magically heal others. When those who are strong in the Force die, their corporeal selves sometimes vanish peacefully. They also have the power to return in a more ghostly form, offering advice and such.

We see Rey levitating with her legs crossed while meditating.

[ Spoiler Warning ] The Rise of Skywalker offers one more new twist here, however: We learn that all the Jedi (and all the Sith over on the Dark Side) who’ve previously lived and died somehow live within their still-living representatives. While meditating, Rey seeks to establish a connection with deceased Jedi in two scenes, repeating the phrase “Be with me.” She subsequently hears the encouraging Jedi voices of some who’ve gone before her from within her psyche—an idea that this film plays out in ways that previous installments have not.

Sexual Content

Two primary characters share a kiss. Poe Dameron renews acquaintences which someone who appears to be an old flame; at one point, he looks at her and flicks his head toward a more secluded spot—a silent invitation, the movie suggests, to engage in a more intimate encounter. The old flame shakes her head no. One female character wears a low-cut top.

Back-to-back scenes during a crowded celebratory sequence show a gay female couple kiss and hold hands.

Violent Content

If you count up all the planets and Death Stars destroyed, the Star Wars movies have always had an obscenely high body count. Rise of Skywalker has that, too, but the violence here can feel more intimate and visceral than we’ve seen before. We see a couple of people (and creatures) sport some bloody wounds. In the aftermath of one battle in which Kylo Ren slays many opponents, we see bodies and a dismembered arm lying next to a corpse.

Kylo shows little hesitation in killing aliens and people alike—in the opening moments hacking through dozens of non-humans in a harsh battle sequence. He performs a Darth Vader-esque chokehold on one of his underlings—more violently than we’ve seen Vader do, though not necessarily as lethal. Countless storm troopers, rebels and extras fall to light saber slashes, blaster fire, magic lightning, crashes and explosions.

People fall, or nearly fall, from some pretty lofty heights. Characters get sucked into a quicksand-like trap. The life force is sucked out of a few folks, one way or another. The head of a sentient alien being is tossed on a table.

We see lots and lots of firefights and saber battles. Someone expresses a longing to see Poe’s “brains in the snow.” Our main characters encounter a pile of bones. “Never a good sign,” says C-3PO.

Crude or Profane Language

Three uses of the word “h—,” two of “d–n” and one of “a–.” We hear bit of name-calling here and there as well.

Drug and Alcohol Content

We hear that Poe was once a “spice runner.” Though the movie doesn’t explain exactly what “spice” is, the extended Star Wars canon makes it clear that it’s an illegal substance that forms the foundation of a recreational drug. (It’s perhaps a nod to the addictive spice found in another seminal sci-fi series, Dune . )

Palpatine’s cadaverous new life seems augmented by a phalanx of chemical components, and the guy’s body is attached to some sort of technological tether that, presumably, pumps him full of whatever he needs to keep his constitution in order.

Other Negative Elements

Characters bicker a bit, and they engage the help of a couple of shady characters at times. They use subterfuge to gain access to a First Order ship as well.

It’s the end. Only not really.

The Star Wars universe will continue well past Rise of Skywalker —on TV, in video games, in fan fiction, in toys, in shiny new movies. But certainly, this episode— Episode IX —closes the book on the core Skywalker saga that launched the whole universe and has been running for, oh, 42 years now.

I need not reiterate, really, that the franchise has been perhaps the most influential pop-culture force in the last half-century. The original movie redefined what it meant to be a “blockbuster,” and it’s largely responsible for the cinematic world we live in today: Sprawling, multi-movie storylines; special-effects spectacles; obscenely passionate fans. Without Star Wars, it seems unlikely we’d have the Marvel Cinematic Universe or the Harry Potter saga or much of anything that routinely lands on the top of the box-office charts. Star Wars , in many respects, changed the world, and so this film truly marks the end of an era.

So does it end that era well ?

The final trilogy— The Force Awakens , The Last Jedi and now The Rise of Skywalker —seem as though it’s become progressively more problematic. The violence, while largely bloodless, can feel more visceral and even grisly than it did in some earlier segments (though, admittedly, even the earliest allowed our heroes to spill the ropelike guts of a tauntaun in The Empire Strikes Back ).

While the original Star Wars movie featured only a single swear word—and some, I think, steered clear of profanity altogether— The Rise of Skywalker peppers the dialogue with about a half-dozen profanities. In a first for the Star Wars cinematic universe, we very briefly see a same-sex couple onscreen. It’s a content concern that families have not been forced to address in this franchise, but one that will now require intentional thought if younger eyes notice this brief scene.

And, of course, parents will have to navigate with the issue they’ve always had to deal with in this franchise: the ever-present, all-powerful Force.

Aesthetically, there’s plenty to pick at, too. This movie requires even a greater level of suspended disbelief than in the past.

But for fans of this franchise, The Rise of Skywalker works: not necessarily logically, but emotionally. And it works well.

Rey, Kylo, Finn and Poe have never been more engaging. Some of the action sequences might make you want to jump out of your seat and cheer. The film ties up the saga powerfully and sometimes beautifully, if not cogently. And for those inclined to learn and teach some lessons through the magic of film, this one has plenty to choose from: how love triumphs over hatred. How courage trumps fear. How our choices, not our backgrounds or lot in life, define who we are. How it’s worth fighting for what’s good and right, even when the odds against triumph seem so very long.

Star Wars: The Rise of Skywalker —and really, all the Star Wars movies—have always leaned into emotion. These are movies you feel , and that you don’t necessarily want to think about too much.

But on some level, that’s unfair to these movies. They do want us to think, to think about the heroism, sacrifice and friendship we see. Those are thoughts worth having here. And these themes—heroism, sacrifice, friendship and love—are why (along with some cool light saber battles) I embraced the series from the very beginning, when I was 7 years old. And why, even today, hearing the opening orchestral fanfare makes me grin like I’m 7 again.

Paul Asay has been part of the Plugged In staff since 2007, watching and reviewing roughly 15 quintillion movies and television shows. He’s written for a number of other publications, too, including Time, The Washington Post and Christianity Today. The author of several books, Paul loves to find spirituality in unexpected places, including popular entertainment, and he loves all things superhero. His vices include James Bond films, Mountain Dew and terrible B-grade movies. He’s married, has two children and a neurotic dog, runs marathons on occasion and hopes to someday own his own tuxedo. Feel free to follow him on Twitter @AsayPaul.

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Star wars: episode ix: the rise of skywalker, common sense media reviewers.

Action-packed end of iconic series falls short of greatness.

A Lot or a Little?

What you will—and won't—find in this movie.

As with whole Star Wars franchise, main tension he

Rey continues to be strong, capable, courageous, b

Tons of sci-fi action violence, both large-scale s

Two characters continue to have an intense, supern

Infrequent use of insults and words of exasperatio

Nothing in the movie, but off camera there's an en

Parents need to know that Star Wars: Episode IX: The Rise of Skywalker is the ninth and final film in the four-decade-long Skywalker saga (and the third installment in the current trilogy). Following the events of Episode VIII: The Last Jedi , the film focuses on the battle between the…

Positive Messages

As with whole Star Wars franchise, main tension here is between good and evil, light and dark. Characters discover nuances of humanity and how people aren't generally all one thing or the other. Story underlines idea that everyone has a choice about which moral code to believe in, which mission to accept. Your family/background doesn't determine your destiny. Promotes transformative power of hope, and importance of friendship, courage, teamwork, loyalty, trust, listening to others, faith.

Positive Role Models

Rey continues to be strong, capable, courageous, but this time also deals with inner conflict. She must decide whether to follow the path of the Jedi or indulge in her newfound sense of anger and frustration. Other female characters -- including General Leia, Rose, and some new faces -- are well represented making tough decisions, leading bravely, and more. Finn and Poe learn to lead together and to put mission above personal conflicts. Their friendship and teamwork fittingly rallies the Republic around helping Rey. First Order is depicted as mostly male and largely white, while Resistance is notably diverse both in skin color and in various species, with women in leadership positions.

Violence & Scariness

Tons of sci-fi action violence, both large-scale space battles/explosions and one-on-one duels, shoot-outs, tense chases/crashes. A few explicit but not bloody deaths: A non-human severed head is unceremoniously presented to the First Order (some greenish goop, but no red blood), a traitor is summarily executed, an entire field of Resistance forces is shown dead, a character's skin and face crumble/melt away, Kylo Ren kills and maims many enemies with his lightsaber. One character's wound is shown close-up; a skeleton is seen. Both sides sustain lots of casualties. Spoiler alert: Several primary and supporting characters are killed, and nearly everyone is injured at one point. A couple of key characters are presumed captured or killed. A few deaths will be extra emotional for audiences. Many weapons are used in addition to lightsabers: blaster guns, planet-killer weapons, bombs, grenades, daggers, arrows, fighter planes. An officer orders an entire fleet destroyed. A leader orders an entire planet destroyed. Creepy villain, dark/scary locations, and a couple of large, scary worm-like monsters. Frequent peril and danger. Arguments.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Two characters continue to have an intense, supernatural bond that sometimes feels romantic. Poe comedically asks another character for a kiss two times. Several charged/longing looks. Embraces/brief kisses (both opposite-sex and, extremely briefly, same-sex).

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Infrequent use of insults and words of exasperation including "ass," "damn it," "hell," "stupid," "shut up," etc.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Nothing in the movie, but off camera there's an entire universe of merchandise available, from branded/themed apparel, board games, video games, accessories, housewares, action figures, Lego sets, food, toys, and just about anything else you can consume that can be a tie-in.

Parents Need to Know

Parents need to know that Star Wars: Episode IX: The Rise of Skywalker is the ninth and final film in the four-decade-long Skywalker saga (and the third installment in the current trilogy). Following the events of Episode VIII: The Last Jedi , the film focuses on the battle between the villainous First Order, led by Supreme Leader Kylo Ren ( Adam Driver ), and the virtuous Resistance fighters, embodied by the last Jedi, Rey ( Daisy Ridley ). Everything is on the line in this installment, which means the sci-fi action violence is ratcheted up a notch: You can expect even more major space battles, high-stakes destruction, tense chases/crashes, peril, injury, and fierce lightsaber duels (plus blasters, arrows, cannons, and other weapons). This movie feels a little more intense and darker than the previous two in this trilogy, with creepy villains and locations and a few explicit (but not bloody) deaths, including a beheading, a point-blank execution, and a body crumbling to bits. Spoiler alert: Several primary and supporting characters are killed, and a few of those deaths will be extra emotional for audiences. There are also some scenes with lots of flashing lights, which could be difficult for those with photosensitivity. While there's not a lot of romance, the film does include some longing looks, embraces, and a couple of kisses. Language isn't frequent, but you will hear "ass," "hell," and "damn." Women continue to hold strong positions in the Resistance, and there are strong messages of courage, teamwork, hope, and loyalty. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Based on 86 parent reviews

Pushing agendas

What's the story.

STAR WARS: EPISODE IX: THE RISE OF SKYWALKER starts off with the usual scrolling exposition: In a galaxy far, far away, what remains of the Resistance regroups after the devastating losses of The Last Jedi , while Rey ( Daisy Ridley ) trains with the Force and new Supreme Leader Kylo Ren ( Adam Driver ) and the First Order look for a secret Sith lair that's broadcasting pro-Emperor Palpatine propaganda. Poe ( Oscar Isaac ), Finn ( John Boyega ), and Chewbacca continue on their mission to subvert the First Order and help Rey save the day. Kylo Ren attempts to lure Rey to the Dark Side, believing that their special supernatural Force connection means they're destined to share a throne and rule together. In battle after battle, the two forces fight for the future of the galaxy.

Is It Any Good?

Technically slick and impressively performed, this final installment is definitely entertaining, but the considerable fan service and nostalgic callbacks make it less epic than we might have hoped. Audiences will marvel at the elaborate set pieces, the plentiful Easter eggs, and the intricately choreographed battle sequences (the storyboarding must have been amazing). The talented stars are all back -- even the late Carrie Fisher as General Leia Organa. Hopefully they were so bountifully compensated that they can now go on to long careers doing whatever film they want. It's telling, though, that of Driver's three big roles in 2019 (alongside Marriage Story and The Report ), this is his least extraordinary. That's because, despite the buddy-adventure humor of the Poe-and-Finn storyline, the fascinating plot revelations (no spoilers here!), and the Game of Thrones -style intrigue, the story and writing can occasionally become unwieldy as director J.J Abrams overstuffs the movie that signals the end of an era.

Speaking for those who don't possess encyclopedic knowledge of every character name and subplot of the three Skywalker trilogies, it's possible to enjoy this film without total recall of the earlier movies -- but those who do remember the meaning of particular characters, species, locations, and vehicles will feel extra rewarded. To spell those particulars out would be to spoil several applause-worthy moments, but if moviegoers have the time, they might re-watch The Empire Strikes Back , Revenge of the Sith , and The Last Jedi to maximize their understanding of the story in Episode IX . The best part of Rise of Skywalker might be the satisfying nostalgia, but it's ultimately about another central trio of friends with sketchy backgrounds (a former scavenger, a Stormtrooper, and a spice runner) who answered a higher calling for themselves, the Force, and the galaxy.

Talk to Your Kids About ...

Families can talk about the violence in Star Wars: Episode IX: The Rise of Skywalker . Do scenes of explosions and space battles affect you differently than those of close-up, one-on-one lightsaber duels and killings? Why do you think that is? What makes more of an impact: violence or loss? Why? How does this movie handle both topics?

Who are the movie's heroes? How are they role models ? Do they demonstrate character strengths such as courage and teamwork ?

How is diversity -- and a lack thereof -- used to indicate the values of the opposing sides of the conflict in the Star Wars series? Why is it notable that the First Order has very little diversity, while the Republic has a lot of it?

Talk about the themes from the previous movies that repeat themselves here. Why are issues of good vs. evil, mentorship, and so on so important to this series? How do they play out on-screen?

What are your thoughts on the way the Skywalker Saga ended? What do you think happens in the future for the characters, the Force, and the galaxy?

Movie Details

• In theaters : December 20, 2019
• On DVD or streaming : March 17, 2020
• Cast : Daisy Ridley , Adam Driver , John Boyega , Oscar Isaac
• Director : J.J. Abrams
• Inclusion Information : Female actors, Black actors, Latino actors
• Studio : Walt Disney Studios Motion Pictures
• Genre : Science Fiction
• Topics : Adventures , Friendship , Space and Aliens
• Character Strengths : Courage , Teamwork
• Run time : 141 minutes
• MPAA rating : PG-13
• MPAA explanation : sci-fi violence and action
• Last updated : April 25, 2024

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Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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May the 4th be with you! Here’s everything our critics have said about the ‘Star Wars’ franchise

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With “Star Wars” Day looming, it’s an apt time to take stock of The Times’ reviews of each installment — movies and TV shows — in the ever-evolving, paradigm-shattering intergalactic franchise.

Updating our list from 2015 , which came before a new wave of “Star Wars” films and TV series endeared the franchise to a new generation of fans, we’re including our reviews of the latest theatrical entries in “Star Wars” movie canon, and some notable mentions of the TV, streaming and serial projects that gave us backstories for Han Solo, Obi-Wan Kenobi, the Mandalorian and his beloved Grogu.

Here, in the order of the action in the “Star Wars” universe, are the reviews and features (some from a long time ago) that appeared in a newspaper in a galaxy not so far, far away ...

‘Star Wars: Episode I — The Phantom Menace’ (1999)

Former L.A. Times film critic Kenneth Turan — who reviewed all three prequel films — didn’t love “The Phantom Menace.” His review said it was obvious that the new addition to the franchise was “aimed at younger audiences” and noted that it “delivers lots of spectacle but is noticeably lacking in warmth and humor.”

Review: The Prequel Has Landed

‘Star Wars: Episode II — Attack of the Clones’ (2002)

Turan was also not feeling newcomer Hayden Christensen and his sulky take on Anakin Skywalker: “Judging by his performance here (perhaps not a wise thing to do), young Canadian actor Hayden Christensen was picked for Anakin strictly on his ability to radiate sullen teen rebellion, something he does a lot. Anakin chafes like a grounded adolescent at the restrictions Obi-Wan places on him, grousing that the master is “overly critical. He never listens. He just doesn’t understand. It’s not fair.”

Turan dubs the relationship between Anakin and his beloved Padme Amidala (Natalie Portman) “High School Confidential in Outer Space” and states that the two are less troubled by their forbidden love and more “burdened by a formidable lack of chemistry.”

Review: “When We Last Saw Our Heroes ...”

‘Star Wars: The Clone Wars’ (2008)

Times staff writer Michael Ordoña described the feature film that launched George Lucas’ computer-animated TV series as a “theatrical pilot for the upcoming animated television series” and wrote that “anyone older than 8 with the majority of brain functions intact will have a bad feeling about this.”

“But where new characters, plot threads and better dialogue might have made up for much, ‘Clone Wars’ simply doesn’t aim high enough,” he wrote. “For those who had expected improved writing from the last four films [‘Return of the Jedi’ to ‘Revenge of the Sith’], your hopes will be dashed on the ornately realized rocks of Tatooine.”

Review aside, the TV series ran for seven seasons — first on Cartoon Network, then Netflix and finally Disney+ — from 2008 to 2020. Not to mention, “The Clone Wars” (both film and series) introduced its share of key characters and lore that has been indispensable to the franchise in the Disney+ era.

Review: It’s a Weak Jedi Mind Trick

‘Star Wars: Episode III — Revenge of the Sith’ (2005)

Turan came in with show-stopping pun: “‘Revenge of the Sith’ is a visual stunner, but beware of the talk side.”

Enough said.

Review: It Looks Hot ...

‘Solo: A Star Wars Story’ (2018)

Former Times film critic Justin Chang took on the newer “Star Wars” installments after Turan left The Times in 2020. His duties involved reviewing the lesser-loved film “Solo,” whose rocky behind-the-scenes story involved the firing of original directors Phil Lord and Chris Miller and the hiring of their replacement, Ron Howard. The film details how fan-favorite rogue Han Solo scored the famous Millennium Falcon, met Chewbacca and came by his surname.

“[Howard] and his collaborators (including screenwriters Jonathan and Lawrence Kasdan) have cobbled together a high-speed, low-energy intergalactic heist movie, an opportunity to spend too much time with people you don’t care about and too little time with people you do,” Chang wrote.

Review: ‘Solo: A Star Wars Story’ Never Gets Off the Ground, But Don’t Blame Alden Ehrenreich

Obi-Wan Kenobi has a deep history. Before the Disney+ series, here’s what to know

We look back at the Star Wars history of Jedi Master Obi-Wan Kenobi, originated by Alec Guinness and played in ‘Obi-Wan Kenobi’ by Ewan McGregor.

May 26, 2022

‘Obi-Wan Kenobi’ (2022)

The titular former general and Jedi master, introduced in 1977’s “ A New Hope ” and whose backstory was expanded upon in 1999’s “ The Phantom Menace ,” got his own space adventure in this Disney+’s six-episode limited series starring Ewan McGregor.

Times staff writer Tracy Brown explained that for series co-write Joby Harold, part of the excitement of the Disney+ series was exploring what could have happened between “Revenge of the Sith” and “A New Hope” for McGregor’s Kenobi to become the version embodied by Alec Guinness. The series is also a touching tribute to everybody’s favorite princess: “Leia’s role in ‘Obi-Wan Kenobi’ both expands her significance in the overall ‘Star Wars’ story and recontextualizes existing canon in a way that deepens Leia’s imprint on the saga,” Brown wrote.

Commentary: How Disney’s ‘Obi-Wan Kenobi’ changes Princess Leia’s legacy forever

‘Star Wars Rebels’ (2014)

Times television critic Robert Lloyd wrote that the 2014 expression of the “Star Wars” brand seemed “sent to hold your attention until the arrival of the seventh live-action film.” The cartoon series premiered on the Disney Channel and was “the first tangible fruit of the incorporation of ‘Star Wars’ into the Walt Disney empire, and a Disney cartoon is very much what this is.”

“Though firmly in the Lucas tradition, this is also a Disney cartoon, for a Disney crowd and a Disney corporation — watching, you can almost feel the plastic and the plush — and whatever the characters are up to, however cute or sentimental the business, it is smartly designed and cinematically staged, and not hard to enjoy.”

Review: Disney Is the Driving Force of ‘Star Wars Rebels’

‘Andor’ (2022)

The critically hailed Disney+ series “Andor ” tells the story of how Cassian Andor (Diego Luna) transforms from disaffected, self-centered thief to committed resistance fighter willing to die for the cause, Brown wrote.

“Eschewing many of the familiar tropes and set pieces associated with the franchise, the series has pushed ‘Star Wars’ storytelling to new heights,” Brown said, and its political proclivities made the series must-see TV.

Commentary: ‘Star Wars’ Has Always Been Political. ‘Andor’ Made It Must-See TV

‘Rogue One: A Star Wars Story’ (2016)

Landing in theaters a year after “The Force Awakens,” the brisk and momentous story was actually set about three decades prior and is a “swiftly paced, rough-and-ready entertainment that, in anticipating the canonical events of ‘A New Hope,’ manages the tricky feat of seeming at once casually diverting and hugely consequential,” Chang wrote.

“With the Death Star undergoing its final quality assurance tests, the evil Galactic Empire is very much in the ascendant. The Rebel Alliance is fractious and disorganized. And what initially seems like a zippy stand-alone adventure soon reveals itself as a grimly exciting prequel to the first, or should I say fourth, film in the series, ‘Star Wars: Episode IV — A New Hope.’ (Think of the new movie, if you must, as ‘Star Wars: Episode III.V — Dawn of a New Hope.’)”

Review: ‘Rogue One’ Adds an Uneven but Thrilling Wrinkle to the Mythology of ‘Star Wars’

Unlike ‘Andor,’ ‘Mandalorian’ is going all in on ‘Star Wars’ lore. Here’s what to know

Season 3 features protective space dad Mando (Pedro Pascal) and adorable Grogu (Baby Yoda) on yet another journey steeped in “Star Wars” allusions.

March 1, 2023

‘Star Wars: Episode IV — A New Hope’ (1977)

The first-ever “Star Wars” film from director Lucas — originally titled simply “Star Wars” — was heralded by the late Times critic Charles Champlin as “the year’s most razzle-dazzling family movie, an exuberant and technically astonishing space adventure in which the galactic tomorrows of ‘Flash Gordon’ are the setting for conflicts and events that carry the suspiciously but splendidly familiar ring of yesterday’s westerns, as well as yesterday’s ‘Flash Gordon’ serials.”

Review: ‘Star Wars’ Hails the Once and Future Space Western

‘Star Wars: Episode V — The Empire Strikes Back’ (1980)

Champlin really got into the spirit of the Force, praising both the first film and this one for their optimism and more: “‘Star Wars’ and ‘The Empire Strikes Back,’ like all superior fantasies, have the quality of parable, not only on good and evil but on attitudes toward life and personal deportment and there is something very like a moral imperative in the films’ view of hard work, determination, self-improvement, concentration and idealism,” he wrote. “It does not take a savant to see that this uplifting tone only a little less than the plot and effects is a central ingredient of the wide outreach of the films.”

Review: In the ‘Star Wars’ Saga, ‘Empire’ Strikes Forward

‘Star Wars: Episode VI — Return of the Jedi’ (1983)

We found someone who loved the Ewoks! The late Times movie critic Sheila Benson called the final film in the original trilogy “frankly irresistible” and heaped tons of praise on the furry fiends from the moon of Endor.

Review: ‘Star Wars’ Continues With an Inventive ‘Jedi’

‘The Mandalorian’ (2019)

The big-budget, live-action series launched Disney’s streaming platform (and gave us the adorable “baby Yoda,” a.k.a. Grogu). Lorraine Ali, who was then a Times’ TV critic, described the show as “‘Star Wars’/Disney right down to its weird sand creatures and blighted outposts, and a safe-but-entertaining start” for Disney+.

“The premiere episode of the first live-action series in the ‘Star Wars’ universe is a direct descendant of the big-budget film franchise in both tone and execution. It’s long on impressive special effects and alien shootouts, and short on a fresh story line beyond the usual unwitting hero with a mysterious family tree and a destiny that involves saving the universe (or part of it),” she wrote. “The feel of the series is blockbuster cinema — action-packed, predictable, entertaining — so it’s jarring when the first episode ends at around 35 minutes.”

Review: ‘The Mandalorian’ Is ‘Star Wars’ to the Core: A Safe, Entertaining Blockbuster

‘The Book of Boba Fett’ (2021-22)

The first spinoff of “The Mandalorian” focuses on fan-favorite bounty hunter Boba Fett, who left a lasting impression despite only six minutes and 32 seconds of screen time and four spoken lines during the original trilogy, Brown wrote. (Hey, the action figure was cool.)

Picking up after the events of “The Mandalorian,” “The Book of Boba Fett” follows Fett (Temuera Morrison) as he establishes himself as the new crime lord in charge among the local scum and villainy on Tattooine, along with his faithful right hand, Fennec Shand (Ming-Na Wen). The series also filled in some gaps about what Fett was up to between the events of “Star Wars: Episode VI — Return of the Jedi” (1983) and his appearance in “The Mandalorian.”

Commentary: Boba Fett Had Four Lines in ‘Empire Strikes Back.’ How He Ended Up With His Own TV Show

‘Star Wars: Ahsoka’ (2023)

When Ahsoka Tano crashed into Anakin Skywalker’s life as his newly assigned padawan apprentice in 2008’s animated “Star Wars: The Clone Wars,” she changed “Star Wars” forever.

Much like her master, the teen was reckless, impulsive, stubborn and didn’t always follow the rules. She was also the first female Jedi protagonist who audiences got to see in action onscreen in a franchise that until pretty recently held the lightsaber-wielding users of the Force in the highest regard.

The next chapter in the character’s 15-year legacy was “Star Wars: Ahsoka,” which similarly broke new ground on the live-action side of the galaxy far, far away. Starring Rosario Dawson, the series boasts the first nonhuman “Star Wars” title hero as well as a core cast primarily composed of women. Both are representational milestones and examples of how “Star Wars” has become much more inclusive than it was when the original film premiered in 1977.

Commentary: ‘Ahsoka’ Proves That ‘Star Wars’ Has Long Been a Galaxy Where Women Can Be Heroes

‘Star Wars: Episode VII — The Force Awakens’ (2015)

Turan wrote that the most hotly anticipated motion picture since “Gone With the Wind” had “an erratic, haphazard quality to it” but was “a definite improvement” on the franchise’s “abortive” second trilogy set, “The Phantom Menace,” “Attack of the Clones” and “Revenge of the Sith.”

“‘The Force Awakens’ is only at its best in fits and starts, its success dependent on who of its mix of franchise veterans and first-timers is on the screen,” Turan wrote. “But ‘The Force Awakens’ is also burdened by casting miscalculations and scenes that are flat and ineffective. Sometimes the Force is with this film, sometimes it decidedly is not.”

The Force was certainly with it at the box-office. The film grossed $120.5 million on its opening day, and in 2016 became the highest grossing movie in U.S. history (at the time), not adjusting for inflation.

Review: ‘Star Wars: The Force Awakens’: Was It Worth the Wait?

‘Star Wars: Episode VIII — The Last Jedi’ (2017)

The series’ eighth official episode, directed by Rian Johnson, was hailed as “easily its most exciting iteration in decades” by Chang, who described it as “the first flat-out terrific ‘Star Wars’ movie since 1980’s ‘The Empire Strikes Back.’”

“It seizes upon Lucas’ original dream of finding a pop vessel for his obsessions — Akira Kurosawa epics, John Ford westerns, science-fiction serials — and fulfills it with a verve and imagination all its own.”

Review: ‘The Last Jedi’ Brings Emotion, Exhilaration and Surprise Back to the ‘Star Wars’ Saga

‘Star Wars: Episode IX — The Rise of Skywalker’ (2019)

“The Rise of Skywalker,” the frenzied big-bang conclusion of the franchise’s third movie trilogy, “offers itself up in the spirit of a ‘Last Jedi’ corrective, a return to storytelling basics, a nearly 2½-hour compendium of everything that made you fall in love with ‘Star Wars’ in the first place,” Chang wrote in 2019.

“The more accurate way to describe it, I think, is as an epic failure of nerve,” he said. “This ‘Rise’ feels more like a retreat, a return to a zone of emotional and thematic safety from a filmmaker with a gift for packaging nostalgia as subversion. Still, let’s acknowledge [director J.J.] Abrams for the proficient craftsman and genre-savvy showman he is. Like some of his other major pop-cultural contributions (two enjoyable ‘Star Trek’ movies and the twisty TV series ‘Lost’ among them), ‘The Rise of Skywalker’ is a swift and vigorous entertainment, with a sense of forward momentum that keeps you watching despite several dubious plot turns and cheap narrative fakeouts.”

Review: ‘Star Wars: The Rise of Skywalker’ Is Here to Remind You Just How Good ‘The Last Jedi’ Was

Former Times staff writer Meredith Woerner contributed to this report.

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Star Wars Movies In Order: How to Watch the Saga Chronologically

If you want to watch the Star Wars movies in chronological order, witnessing the separate rises of Anakin, Luke, and Rey as they unfolded in their timeline, we’ve ordered all the movies (and thrown in some bonus Mandalorian ) in one complete list.

The Star Wars movies are spread across three trilogies, with spin-offs and side-stories filling in the universe’s mythic lore. First comes the prequel trilogy ( The Phantom Menace , Attack of the Clones , and Revenge of the Sith ), introducing prodigy Anakin Skywalker and his fall from Jedi light side to become Darth Vader. You can wedge in 2008’s The Clone Wars between Attack and Revenge , which was followed up with its own, much better-received animated series . The Obi-Wan Kenobi show is set close after that.

Afterwards, it’s time to meet a certain space rogue in Solo: A Star Wars Story . Next in the timeline would be animated show Star Wars Rebels , which takes place simultaneously with Andor. The political thriller series famously leads into  Rogue One , a movie whose story events lead directly into the original trilogy. We’ll see Luke Skywalker emerging from the desert, his hero’s journey against the Galactic Empire seen across A New Hope , The Empire Strikes Back , and The Return of the Jedi . The infamous Star Wars Holiday Special , no longer canon, can be viewed between Hope and Empire if you’re into that kind of thing.

Additionally, two 1980s TV movies, Caravan of Courage: An Ewok Adventure and Ewoks: The Battle for Endor (also both now uncanonized) have generally been placed as occurring before Return of the Jedi .

But that’s all that remains for strange satellite films within Star Wars : In 2014, a great disturbance was felt when the Lucasfilm Story Group rebooted the canon, preserving the main films and shows, and punting the associated TV movies, books, games, and comics into the “ Star Wars Legends” category. That now leaves the reconstructive decades post- Return of the Jedi wide open for stories, with  The Mandalorian the first to officially toss his helmet in.

Finally, we approach the sequel trilogy, as Rey (last name pending) takes on the Jedi mantle in The Force Awakens , The Last Jedi , and The Rise of Skywalker . Animated series Star Wars Resistance runs parallel across the three sequel-trilogy movies. Now see the full list of Star Wars movies and shows in order below!  (And for more guides, check out  Star Wars  movies ranked by Tomatometer .) — Alex Vo

Star Wars: Episode I - The Phantom Menace (1999) 52%

Star Wars: Episode II - Attack of the Clones (2002) 65%

Star Wars: The Clone Wars (2008) 19%

Star Wars: Episode III - Revenge of the Sith (2005) 79%

Star Wars: The Bad Batch (2021) 88%

Solo: A Star Wars Story (2018) 69%

Obi-Wan Kenobi (2022) 82%

Star Wars Rebels (2014) 98%

Andor (2022) 96%

Rogue One: A Star Wars Story (2016) 84%

Star Wars: Episode IV - A New Hope (1977) 93%

Star Wars: Episode V - The Empire Strikes Back (1980) 95%

Star Wars: Episode VI - Return of the Jedi (1983) 83%

The Mandalorian (2019) 90%

The Book of Boba Fett (2021) 66%

Star Wars: Ahsoka (2023) 86%

Star Wars Resistance (2018) 92%

Star Wars: The Force Awakens (2015) 93%

Star Wars: The Last Jedi (2017) 91%

Star Wars: The Rise of Skywalker (2019) 51%

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Star Wars Day is here! Celebrate with our ultimate 'Star Wars' movie ranking

Unless you’ve been held captive by a Wampa, crash-landed a TIE Fighter on Jakku or were eaten by the Sarlacc – though  Boba Fett  did come back like a champ from that doomsday scenario – it’s probably not news that  "The Phantom Menace" is celebrating its 25th anniversary  this month.

In honor of Star Wars Day ( May the 4th ) – and the very special birthday – it's time to hit up Disney+ and/or bust out the old tapes, DVDs and Blu-rays to rewatch all 11 "Star Wars" films (the nine-chapter Skywalker Saga, plus a couple of spinoffs) in this galactic franchise. (Pro tip: If you're a total newbie, watch the original 1977 "Star Wars" first.) And if you're dying to see "Phantom Menace" on a bigger screen, it's back in theaters now for an  anniversary re-release .

But which "Star Wars" is the best of the best? These are the rankings you’re looking for .

11. 'Star Wars: Episode I – The Phantom Menace' (1999)

George Lucas’ prequels  get a bad rap  and, well, they kind of deserve it at times. Especially this one. What basically is a two-hour trailer for the rest of Anakin Skywalker’s story is kind of a mess – he was immaculately conceived? What’s this about midichlorians and the Force? The pod-race set piece is fun the first five times yet gets old quick, Darth Maul is the coolest guy in the movie and he's in it for all of three minutes, trade negotiations are not the way to start a sci-fi movie, and as for Jar Jar Binks … yeah. One thing it does do well is set up the political atmosphere that leads to the Empire and introduces Anakin as the chosen one who will bring balance to the Force. Just not in the way anybody expects.

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10. 'Star Wars: Episode II – Attack of the Clones' (2002)

There are so many sleek special effects used in this thing that you miss the trash heaps and spit-and-gum filmmaking of Lucas’ original movies. Also, Hayden Christensen and Natalie Portman have ZERO chemistry as doomed lovers Anakin and Padmé – they have a picnic in the middle of the movie, battle monsters together on Geonosis and get married at the end, and yet even a modicum of actual romance isn’t to be found. That all said, "Clones" isn’t a bad film and it’s pretty good whenever Ewan McGregor’s Obi-Wan Kenobi is around: His and Anakin’s chase after Zam Wesell is a scene from the great Jedi buddy-cop comedy we never got, and the discovery of the Republic’s clone army on the rainy planet Kamino is obviously important. (Never forget, though: Stormtroopers > clone troopers.)

9. 'Star Wars: Episode III – Revenge of the Sith' (2005)

It’s no coincidence that the prequel that’s closest to the original trilogy in tone, story and theme is the best one. Anakin finally has his full turn to the dark side, though it still seems a little whiplash-y how quickly he goes from broody, anti-authoritarian kid to child-killing, baddest man in the galaxy. And Padmé dying from a broken heart is a little much. However, Yoda takes on Senator Palpatine/Darth Sidious/Emperor in a neato lightsaber battle, when Order 66 comes down it’s a little heartbreaking, and Obi-Wan and Anakin’s violent brawl on Mustafar is arguably the most hellacious in any "Star Wars" film. (Those who miss those two mortal enemies definitely want to watch their rematch in the Disney+ "Obi-Wan Kenobi" series.)

8. 'Star Wars: The Rise of Skywalker' (2019)

It could also be called " Star Wars : Attack of the Callbacks" since it bends over backward – and sacrifices a lot of good storytelling and fun new characters (we totally heart little Babu Frik) – to pay homage to familiar faces and aspects from previous films. Jedi-in-training Rey ( Daisy Ridley ), reluctant hero Finn ( John Boyega ) and X-wing warrior Poe Dameron ( Oscar Isaac ) lead the ragtag Resistance against a returning  Emperor Palpatine  (Ian McDiarmid) in a film that's full of logic fumbles and muddies the focus of the third and final trilogy.

The evolving relationship between Rey and the First Order's hotheaded Kylo Ren (Adam Driver) goes some interesting places, and director  J.J. Abrams ' "Skywalker" is one last tribute to General Leia Organa (the late Carrie Fisher) and the way certain returning characters have molded decades of this expansive story. Hardcore fans will find lots to love and it's plenty entertaining with bombastic spectacle, but "Rise" crashes and burns as an actual finale.

7. 'Rogue One: A Star Wars Story' (2016)

For its maiden standalone voyage, "Star Wars" brass blended the old – the Rebel Alliance freaking out about the construction of the Empire’s mighty Death Star – with something new: In this case, a war movie digging into the battlefields on land and in space with insurgents rising up against “the Man.”

The results are a mixed bag : Ex-con Jyn Erso ( Felicity Jones ) heads up the squad of armed misfits to steal the Death Star plans, though a snarky droid ends up being the best character in the bunch (for the record,  K-2SO is way cooler than C-3PO ); the Empire is full of bickering bureaucrats, which is fun to watch though bad for getting the Death Star done in a timely manner; and Darth Vader power walks into scenes that both undermine his icon status yet also cement it. While the fan service goes too far – for example,  the old-school CGI character who is just as distracting as Jar Jar  – "Rogue One" does introduce some neato supporting aliens like Admiral Raddus, a military mashup of Patton, Churchill and a lobster. 

6. 'Solo: A Star Wars Story' (2018)

A young Han Solo movie doesn't sound like a great idea ...  until you actually see a young Han Solo movie . Mostly free of lightsabers, Jedi and Rebels, "Solo" is a "Star Wars" take on an Indiana Jones jam, and the first movie to tackle the underworld through its most famous anti-hero. This Han ( Alden Ehrenreich ) is an idealistic sort willing to go to extreme and illegal lengths to see his girlfriend (Emilia Clarke) again. Han and Chewie ( Joonas Suotamo ) are awesome together, Han and Lando (Donald Glover) aren't bad either, it boasts a bunch of new creatures and crooks, and the film even ties into "Star Wars" past in surprising fashion. This, not "Rogue One," should be the template for future spinoffs.

5. 'Star Wars: The Last Jedi' (2017)

For those who love spectacular space battles, the cute audacity of  porgs  and bad guys with British accents snarling, “Rebel scum,” there’s a lot to love in writer/director Rian Johnson’s  "Episode VIII."  Fans have plenty to unpack in a lengthy runtime and  "Last Jedi,"  like other franchise vehicles, demands repeat viewings, but  Luke Skywalker  (Mark Hamill) is the coolest he’s been since "The Empire Strikes Back." Plus, the next-generation heroes of the Resistance take a great leap in being a real rebellion like we saw in the original trilogy.

Johnson is also winningly subversive, having Luke call out his own past and challenging the foundation that Lucas put in place 40 years ago – one character even says, “Good guys, bad guys. Made-up words.” The galaxy is no longer a hotbed of chosen ones, a place where a nobody, a lowly First Order janitor or a Resistance mechanic, can save the universe – a switch from the days of Anakin and Luke. "Last Jedi" is unsurprisingly dedicated to “our princess” Carrie Fisher, and her integral role speaks volumes to the legacy of the core characters played by her, Hamill and Harrison Ford, yet also points out the need for  fresh icons  to take the franchise to new heights.

4. 'Star Wars: Return of the Jedi' (1983)

Let's just put this out there now: Ewoks aren’t that bad. And the alien creature quotient is at an all-time high when you toss in Jabba the Hutt’s crew, Admiral Ackbar and Nien Nunb. What makes this movie so special are all the satisfying conclusions. Luke says goodbye to Yoda in a touching moment, Leia finding out that Luke is her brother is emotional but not cloying, the Rebel Alliance vs. Empire space sequence is a highlight, Han Solo is less of a scoundrel than ever, and Luke and Vader’s climactic father-son throwdown is a thing of redemptive wonder. Check yourself for a pulse if you’re not getting the chills after Vader tosses the Emperor down a shaft or when he says, “Let me look on you with my own eyes” to Luke before dying. A perfect ending – at least until ol’ George went and got rid of the Ewoks’ celebratory “Yub nub” song and stuck young Anakin in the Dead Jedi Ghost Club.  

3. 'Star Wars: The Force Awakens' (2015) 

J.J. Abrams introduces the best characters since fans first laid eyes on Han, Luke and Leia. Daisy Ridley's Rey is wicked smart and a capable hero in a universe with the baddies of the First Order on the warpath, John Boyega's ex-Stormtrooper Finn and Han are brothers from another mother, Oscar Isaac's pilot Poe is as cool and refreshing as a tall glass of blue milk, and Adam Driver's Kylo does his best Vader impression as a maniacal villain with some serious emotional issues. Abrams gets dangerously close to recycling old material, but instead  he uses those familiar motifs to set the stage for an exciting third trilogy  and crafts arguably the best final shot ever in a "Star Wars" film. 

2. 'Star Wars' (1977)

Whether Han shot first or not , the original remains the real deal mostly because of all the great character moments. Luke is a whiny farmboy who has big dreams when he looks out over the two-sun horizon of Tatooine and he knows his destiny lies beyond. Old “Ben” Kenobi explaining to Luke that Darth Vader “murdered” his father Anakin, a scene that has much more richness revisiting it later. Han cynically explaining that hokey religions and ancient weapons are no match for a good blaster, though it seems like he’s trying to convince himself of this a bit. C-3PO constantly complaining to R2-D2 and Artoo taking it like a champ. And Leia putting on a brave face as she faces Vader and the destruction of her planet. Even Vader feeling there’s something up when Luke makes his trench run on the Death Star. We don’t need to know much about their history or where they come from to quickly fall in love with all these players as they begin their long journey.

1. 'Star Wars: The Empire Strikes Back' (1980)

Simply the best. It might rank highly just due to AT-ATs, the Imperial Walkers that are arguably the coolest things that have ever stomped across a movie screen. Yet there is so much greatness to "Empire" on a surface level but also digging deeper. Vader’s reveal to Luke about being the kid’s father is an all-time truth bomb, and is made better when compared to Luke’s visions of the man behind the mask when training with Yoda. Luke training with Yoda and each kinda getting ticked off at the other is priceless.

But really "Empire" is like a Star Destroyer full of these scenes: Han saving Luke in the deadly cold of Hoth by warming him up in Tauntaun guts; Lando Calrissian (Billy Dee Williams) betraying his old friend Han in order to save his city; Han and Leia’s "I love you/I know” exchange before the smuggler gets frozen in carbonite. And on and on. You could argue that it’s one of the best sequels of all time but for this series at least, it’s the chapter that takes a cool sci-fi fairy tale with Arthurian overtones and sent it on its way to being a masterwork of storytelling.

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I Ranked All 11 "Star Wars" Movies From Worst To Best, And I'm Sure This Will Open A Calm And Collected Discourse

I've got a bad feeling about this.

BuzzFeed Contributor

My entire childhood was molded by Star Wars . As a kid, I collected all the action figures, owned the special edition VHS collection, and even fought Darth Vader as a Padawan at Disney World (I won, but almost fell off the stage beforehand).

I have gone a full calendar year without watching a single star wars movie just for a chance to create this list. truly, i am trusting the force to guide me in making this list., here is how i ranked all 11 live-action star wars films:.

Disclaimer: I love all the movies, but I can acknowledge their flaws. This list is based purely on how I feel about them years later.

*SPOILERS AHEAD*

11. Solo: A Star Wars Story

Solo is the only movie on this list that I honestly believe didn't need to exist. The film's high point surprisingly comes from the performances, especially Donald Glover as Lando. He is truly a scene-stealer every time he comes on screen.

Alden Ehrenreich as Han Solo really felt like a young Han rather than a cosplay or impression, which I appreciated. He and Woody Harrelson as Beckett had great chemistry.

The movie answers Han Solo questions that didn't really need to be asked.

The quest of "coming into the light" style of filmmaking was a good concept, as the movie starts dark and progresses into the light, but the film felt dull and too dark despite that being the goal.

Hollywood also has a problem with making casts too big, refusing to allow side characters to be side characters. A backstory for every character, even the ones about to croak 10 minutes later, is so unnecessary to good filmmaking, and this film suffers from that.

Of all the Star Wars films, I cannot share one interesting moment that happened in it. Star Wars should never be forgettable, and unfortunately, this film was just that.

10. Star Wars: Episode II — Attack of the Clones

This movie has its moments of fun action, but that's about it. If I made a Top-100  Star Wars moments list, I don't think a single scene from this or Solo would make it.

It does have some sneaky good moments of storytelling, like when Count Dooku tells Obi-Wan the truth about Darth Sidious. Anakin finding his mother and slaughtering Tusken Raiders is well executed. Plus, the soundtrack by John Williams is the most daring in the franchise.

And the direction of the action is actually top-tier movie making by George Lucas , but the excess of CGI and green screens waters the good direction down.

Episode II has it moments, but ultimately, is the weakest of the Skywalker Saga.

The Yoda fight scene got a huge pop from the crowd when I saw it in theaters, but the excitement instantly died down when he started jumping around everywhere.

At the end of the day, the CGI clones look terrible, the love story flounders, and the pacing is too hellbent to sprinkle action everywhere that it misses what other movies did well. The acting and script are the weakest of the prequels, but I at least enjoy rewatching it.

9. Rogue One: A Star Wars Story

This film is a wonderful tease of what spinoff stories should look like. From top to bottom, it truly feels Star Wars .

The performances by Diego Luna as Andor, Ben Mendelsohn as Director Krennic, and Forest Whitaker as Saw Gerrera are the most memorable. Little things like having all the characters look like they are from the '70s because that's when A New Hope came out was brilliant.

But, there's always a but...

There is so much to love about Rogue One, especially its commitment to honoring what came before it, but it deserves criticism with what didn't work, too.

I am in the minority, but I don't think the film is as great as many believe.

There are plenty of forgettable elements about this film because people remember that spicy Vader-hallway scene. And it starts with a pretty weak lead in Jyn Erso, who has a very cookie-cutter backstory. The cast itself is also overstuffed, and tries too hard to capture the standard "rebel group" we are familiar with in A New Hope .

The second act lags, and fails to bond the excess of characters while also splitting them up. Then the final battle misses the mark and the stakes fall flat because it is a prequel and we know, even if they don't live, the mission will succeed. (I also hate film prequels in general for that.)

I feel " Star Wars adults" exist similarly to Disney adults. Mostly, all the fans I hear say Rogue One is their favorite also add, "it's  Star Wars for adults." The originals, and Disney films, have always been dark. We're talking about the company that killed Mufasa and had Simba mourn over his dead body. And A New Hope  had Luke stare at the crispy corpses of his uncle and aunt.

The film takes itself too seriously by trying to please those Star Wars adults, and in return, sucks the fun out of what makes  Star Wars wonderful. It also benefits from not having to do anything too daring visually since it is such a close prequel to A New Hope .

By the way, in case it sounds like I didn't, I still really enjoyed the film and will turn it on if it's on TV.

8. Star Wars: Episode III — Revenge of the Sith

I think this entry will get the most hate, but I am also learning I am a "third act" hater when it comes to trilogies. Even Lucas admits he cheated in making  Episode III , saying that there is a lot of "they fight" in the script.

That said, Revenge has the best performances of the prequels. The opera house scene is a Top-10 Star Wars scene for me and Order 66 is pretty close. John Williams cooks up another classic soundtrack (of course).

As a prequel, Episode III had the easiest path to finish the story, yet it still managed to stumble into the lava of Mustafar.

The dots needed to be connected, and some things like Padmé having "sad girl death disease" and Yoda going out like a punk didn't sit well with me even as a kid. The pacing seems to be all over the place, as are most third acts. Even the opening, which I love, fails to mimic the suspenseful  Return of the Jedi opening.

Also, a long-documented unpopular opinion I have is that the lightsaber fights veer away from the magic of  The Phantom Menace , and become borderline silly. The first prequel entry looked like trained swordsmen trying to kill each other, whereas this looks like a fan film and, as they say in the pro wrestling business, is a "spot fest" of going from one cool move to the next.

I love this film, and there is an argument that it could be the most re-watchable one. That said, one prequel shockingly works better as a film...

7. Star Wars: Episode I — The Phantom Menace

The script for this film is actually the best of the trilogy. Fans had an "internet group think shock factor" from all the new things that didn't feel very Star Wars -like, but the internet hate shouldn't dictate long-term opinions.

Jar Jar is the worst character, but he has 20 minutes of screen time. Lucas's version of goofy just didn't work like Artoo and Threepio.

But the story still hits all the right beats. The pod race still looks great, and was a thrill ride in theaters as a kid. Maul is an excellent villain and proof not every villain needs a backstory to be terrifying or understood. The moment Obi-Wan and Maul fight one-on-one is the greatest lightsaber duel, and maybe cinematic sword fight, ever.

Focusing on the movie itself, I find Episode I to be the most enjoyable story of the prequel trilogy.

I hated the "Space Jesus" angle, but as a kid, I found Jake Lloyd's performance relatable, especially him having to leave his mom, which crushed me. The story doesn't rely on action to move it forward, and Liam Neeson as Qui-Gon was a wonderful and layered addition to the universe.

So many  Episode III -lovers don't give enough credit to the building blocks Episode I created. Flawed? Yes. But blemishes and all, this movie was as daring as the original, which is something movies don't do today. Risks are harder to take in the age of influencers making two-hour video essays undressing every movie.

This is a fun movie where people allow their hate to cloud their opinions. And it is one of two movies in the saga that suffer from that.

6. Star Wars: The Rise of Skywalker

Even I agree, this seems a little high, but people are sleeping on this film.

Looking at it as an individual movie, and ignoring the retcon overhaul, this movie has some great moments despite a rocky landing.

Our new trio finally gets their moment together, which should have happened in the previous film. The dialogue feels like a Star Wars movie even with an imperfect script. All the visuals are stunning and give homage to every film before it.

They gave all three OGs the best sendoff they could. Leia's death gives it sentimental bias, Luke finally raises his X-Wing from the water, and Han says the quiet part out loud: Leia stood against tyranny, and everyone failed to stand behind her. Star Wars was built on Leia, and it was only right that her death rallied the rebellion of all people across the galaxy. Even the simple idea that Leia stopped her training for Kylo added a lot more weight to the plot as a whole.

(All this would have landed better in two movies.)

Episode IX was destined for failure thanks to the internet, and there is a lot to love about the flawed film, but it is VERY flawed.

This movie tried way too hard to please everyone. Like all third acts, it relies too much on action. There is too much "tell" and not enough "show" because it is too busy trying to retcon.

"Too much" could be the review of the movie.

Even the return of the Emperor could have been done better...like, a lot better. And I HATED the retcon of Rey being a nobody, because the Skywalker ending would have hit so much better having the Skywalkers accept an orphan into their family name.

So why so high? Even with all its flaws, I thought it was a fun film. It's the same reason why I love Episode III . Don't believe me?

There's a reason why this film crossed $1B in the box office: kids. Star Wars is for everyone, but kids especially, and like Revenge of the Sith,  despite the hate, kids kept coming back because they enjoyed it. I saw the film twice in theaters. The first time, a girl dressed as Rey cheered the loudest. The second time, two boys gave it a standing ovation. Kids know how to have fun still, whereas most adults can't enjoy things for what they are anymore, and Star Wars  is a popcorn flick.

Despite its pacing being shifted to ludicrous speed, I enjoyed Episode IX more than The Last Jedi , but in good faith, I can't say it is a better movie...which leads us to...

5. Star Wars: The Last Jedi

This is the movie that split a fandom to the bone, but all opinions are different, and I feel mine doesn't align perfectly with anyone.

I loved Luke's regression and finding his way again. Projecting himself was such a Luke move, and it showed that he grew to be the most powerful Jedi.

The film took a ton of chances unlike the one before it, and that throne room scene is one of the best fights in the series.

This is a great film, but its flaws make me question if it is a good Star Wars film.

Despite the divisiveness of this film among fans, Episode VIII is actually a well-done and beautiful film, but the story needed more critical eyes.

Luke and Kylo received heavy backstory, which sidelined both Rey and Finn. The comedy missed the mark by a country mile which The Force Awakens nailed thanks to Lawrence Kasdan.

Other little things failed that hurt the series as a whole, and it broke rules the wrong way. The space chase felt like a runtime delay, and sidelined the entire rebellion. The movie itself needed a time jump, so everything else happening outside of Rey and Luke felt like filler. That Finn story arc might be the worst arc put on film, and John Boyega didn't deserve that. At times, it felt like this movie wanted to be the conclusion rather than the Act II bridge, then, other times it felt like it didn't want to move at all.

If The Force Awakens felt like too many producers' hands were in the writers' room, Episode VIII felt like a first draft, which is a shame because that falls on the studio. With more time given to fix the very deep problems with this script, this could have been a contender for the greatest Star Wars film ever. And I hope Rian Johnson has the courage and self-reflection to tackle Star Wars again one day. Fans should also welcome him back with open arms and give him a big apology.

4. Star Wars: Episode VI — Return of the Jedi

This film has one of the greatest opening 20 minutes in a film. Jabba's palace is perfectly constructed with the right amount of tension and buildup to the action.

Every scene with Luke, Vader, and the Emperor is top-tier Star Wars . Vader using Leia turning to the dark side as a threat to Luke is done masterfully, including John Williams going wild on the soundtrack. Vader before he stopped the Emperor, showing the conflict of a man with a mask, is special cinema and maybe my favorite scene in the saga (before it was ruined by adding him screaming "no").

Episode VI features some legendary moments and was a sound conclusion to the original trilogy.

That said, it's an Act III of a trilogy, which means I'm drinking that Jeremy Hayter-aid.

All the Endor moon scenes feel dragged and like filler. People who complain about Finn's arc in the sequel trilogy should examine Han closely in this final flick. He's kind of just there simping over Leia and doesn't add a lot besides some laughs.

There is not a ton of story beyond Luke's arc, which, honestly, works well.

This one, like many third movies, is very rewatchable for the action. I'm also an original trilogy lover, so I'd say it's the best Act III movie of the saga.

3. Star Wars: The Force Awakens

People can hate on the sequels all day, but this Episode VII lit a fire under the fanbase like never before. The excitement lasted even after the movie's release because Star Wars was back, baby.

John Boyega and Daisy Ridley's earnest performances helped carry the film into a new age while Harrison Ford felt like Han Solo again. The practicalness and on-location filmmaking resurrected movie magic, a feeling I still haven't felt since it came out, including the feeling of not wanting the film to end while watching it for the first time.

Like A New Hope , it gave closure, but like The Empire Strikes Back,  it gave a daring and shocking cliffhanger that the saga had never tried before.

Flowers will eventually be showered upon Episode VII for being a film that revived an entire franchise with hope.

The script played it safe with plot devices (Wannabe Death Star and Droid-with-vital-thing) but offered enough newness to really drop us back into a galaxy far, far away. We saw cool things like Kylo stopping a blast mid-air and his dark interrogation-like Force powers.

It weaves a compelling mystery that had audiences asking where Luke is through new characters that have great chemistry together. There was a great raw emotion to it all while not relying too much on telling over showing.

The 30-year jump helped take the saga to new heights, while leaving enough blank spaces to give the OG characters their peace earned from victory.

I can't imagine someone watching this movie and not having fun.

2. Star Wars: Episode IV — A New Hope

I know it sounds silly to say the movie originally titled Star Wars is an underrated Star Wars movie, but Episode IV is a masterpiece of storytelling and character development

The introduction of every character does not feel forced (pun intended), and everything the cast does feels authentic. There is so much mythical movie magic in this film, and just enough screen time for the most sinister villain ever, Darth Vader.

The last battle not being a sword fight and being an epic trench run is something everyone sleeps on in a movie titled after a "war in the stars." The suspense is masterful and still looks out of this world.

A case can easily be made for Episode IV as not only the best Star Wars film, but the greatest sci-fi flick ever made.

How can someone criticize this movie?

There is so much from this movie that films today still try to recapture. From the sets to the aliens, everything feels raw and grounded, despite the fact that it takes place in another galaxy.

The dialogue feels like something out of a fairytale, and in doing so, it separates itself from "hard science fiction." In short, this movie is one-in-a-million, kid.

Now, let's blow this thing and go home...

1. Star Wars: Episode V — The Empire Strikes Back

It was, no doubt, the easiest decision I've ever made creating a list. Not only is this the greatest sequel of all time, but for me, it's probably the greatest film ever made.

I've used the word "mythical," and that best describes every second of this film. As a kid watching it, it was the first time words from a character like Yoda really made you think. In a similar fashion of Sesame Street , having the wisest Jedi be a puppet for children is truly brilliant.

Luke's journey from training to confronting this all-powerful evil that took two movies of building up to is cinema gold. The side quest of Han and Leia meeting Lando is the greatest in the saga. Their love story is compelling, and their evading the Empire ties in perfectly with Vader's story.

No amount of words in any amount of essays can describe how special Episode V is to cinema.

The claymation tauntaun looks dated, I guess. I don't know. I can't find anything I dislike about this movie.

The greatest twist in movie history comes from a space soap opera that was always labeled for "nerds." Everything about this script was a huge risk, and it paid off.

I know how civil Star Wars fans can be, so please drop your own full Star Wars movie ranking in the comments below! Feel free to share your favorite moment, too!

(And remember: This is just a list and can't hurt your Star Wars  viewing experience.)

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Critics hated 'The Phantom Menace.' It might be time to reconsider

A Jedi and a Jar Jar walk into a movie... Maximum Film/Alamy hide caption

A Jedi and a Jar Jar walk into a movie...

The year is 1999. Fans are lined up around theaters. News stations are treating it like a breaking news event.

On May 19, Star Wars: Episode I — The Phantom Menace hit theaters, the first movie of the franchise to be released in well over a decade. It promised to tell the origin story of how Anakin Skywalker became Darth Vader.

Fans were so excited some camped out for days, sometimes even weeks, to see the film on opening day.

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"The original trilogy was so phenomenal," said one eager moviegoer. "People have been waiting for this for, like, 16 years." Another went so far as to say, "There are now eight wonders of the world, one of them being this movie."

When one reporter asked a crowd if there was any concern the movie might be bad, they responded with a resounding "No." Oh how wrong they were.

You're reading the Consider This newsletter, which unpacks one major news story each day. Subscribe here to get it delivered to your inbox, and listen to more from the Consider This podcast .

The consensus? It was a huge flop

NPR sent two critics to review the film. Neither had much good to say.

Here's how Tom Shales described the movie: "The new Star Wars movie Episode 1 — The Phantom Menace is a menace. It's not about storytelling and it's not about people ... it's about effects and technology. It's a computer movie through and through, by computers and maybe for computers."

NPR's Bob Mondello took issue with the infamous Jar Jar Binks: "'What could he have been thinking,' you say to yourself as [George Lucas] introduces a race of idol-worshiping primitives who speak with Caribbean accents and behave like refugees from Amos n Andy ."

The trailer for Star Wars: Episode I — The Phantom Menace

The backlash didn't stop there. People hated nine-year-old Darth Vader. They didn't like all the talk of taxes and trade embargoes.

Hating on The Phantom Menace has become somewhat of a punchline in Star Wars circles, says Erich Schwartzel, who covers the film industry for The Wall Street Journal and is writing a book about George Lucas and Star Wars.

He told NPR the hype only amplified the sting of disappointment: "It's really, looking back I think, the first example that I have, and maybe the film industry has, of the movie almost being beside the point."

25 years later, nostalgia has given the film new life

While the overwhelming consensus was The Phantom Menace was terrible, only a Sith deals in absolutes (sorry).

To understand how popular opinion on the film has changed, Schwartzel points to Jar Jar Binks. Schwartzel said most of the fans who grew up on the original Star Wars trilogy would have been in their late 20s or early 30s when they lined up to watch The Phantom Menace .

"[Jar Jar] represents the inherently childish nature of Star Wars, and how childish it can be," Schwartzel said. "I think Jar Jar is a bit of an affront to those fans, sort of being a reminder that this is also for kids."

Fans line up at the Ziegfeld Theatre in New York on May 6, 1999 to be the first to see the movie, Star Wars: Episode 1 — The Phantom Menace . Stan Honda/AFP via Getty Images hide caption

Fans line up at the Ziegfeld Theatre in New York on May 6, 1999 to be the first to see the movie, Star Wars: Episode 1 — The Phantom Menace .

Now that those kids, whose introduction to the Star Wars world was The Phantom Menace , are adults, it's unsurprising the film is remembered more fondly. The "prequel kids," as Schwartzel puts it, hold The Phantom Menace as dear to them as older fans revere A New Hope .

After a recent anniversary screening of the film in D.C., All Things Considered host Scott Detrow met 29-year-old Eleni Salyers, who said she's been a fan of the prequels since she was a kid: "For me it's nostalgic. Growing up I always preferred the prequels, which is a hot take for many Star Wars fans."

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To fans like Salyers, some of the best moments include the lightsaber fights, which compared to those in the original trilogy, are faster and flashier. The Phantom Menace also introduced fans to podracing, with its now iconic visual and sound effects.

The prequel trilogy has played a foundational role in building the Star Wars franchise into a "multigenerational juggernaut," Schwartzel said. He notes that if you look at the fire hose of Star Wars content Disney has released over the last decade, you'll see much of the themes and characters come from the world the prequels created.

This episode was produced by Marc Rivers. It was edited by Jeanette Woods. Our executive producer is Sami Yenigun.

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What to watch with your kids: ‘Kingdom of the Planet of the Apes’ and more

Common Sense Media reviews of “Kingdom of the Planet of the Apes,” “Star Wars: Tales of the Empire,” “Unfrosted” and “Prom Dates.”

Kingdom of the Planet of the Apes (PG-13)

Stand-alone sequel has violence and sympathetic characters.

“Kingdom of the Planet of the Apes” is a stand-alone sequel to “War for the Planet of the Apes” and set many generations after the death of the ape leader Caesar, whose teachings have begun to unravel. Violence is the biggest issue: Expect deaths (and mourning, with funeral pyres), bloody wounds, spitting blood, characters being stabbed with knives and zapped with electric prods, falls from high places, a cabinet full of guns, a gunshot, pounding, throwing, bashing, trampling, a lethal chokehold, an explosion and more. Ape characters also struggle with rising floodwaters, and human characters are captured in nets and via ropes around the ankles. “S---” is used three times, but there’s not much other language, and there’s no notable sexual content, product placement or substance use. The movie looks great and has sympathetic characters (albeit not a very diverse cast), though it seems less ambitious than its predecessors. (145 minutes)

Available in theaters.

Star Wars: Tales of the Empire (TV-PG)

Solid Star Wars miniseries has lots of sci-fi violence.

“Star Wars: Tales of the Empire” is an animated action miniseries set in the Star Wars universe. It explains how two characters — Barriss Offee (voiced by Meredith Salenger) and Morgan Elsbeth (Diana Lee Inosanto) — converted to the dark side. There’s a lot of fighting with sci-fi weapons like lightsabers, some of which results in (non-gory) deaths. The main characters show some remorse for their actions, but their violence is rewarded with positions of power. Characters are in constant peril, and there’s an ominous tone throughout, but there aren’t any jump scares. Besides the near-constant action scenes, there’s not much other iffy content. (Six episodes)

Available on Disney Plus.

Unfrosted (PG-13)

All-star comedy has innuendo, language and stereotypes.

The Jerry Seinfeld-directed Pop-Tarts sendup “Unfrosted” is a silly 1960s-set comedy with some swearing, suggestive language, drinking and violence. Men also behave in sexist ways. Violence and intimidating behavior or threats are played for comedy, but people do get blown up, beaten, electrocuted, drugged and kidnapped — and “tortured” with cow flatulence. There are jokes about a man’s privates showing in his pants and references to “eating you,” a wife “coming back for more,” whether “a man’s pleasure is also hers,” the possibility of having sex to close a business deal, a “lewd” dance, sexy advertisements and a U.S. president having affairs. People drink and smoke. Swearing includes “damn,” “goddamn,” “hell,” “a--” and some potty humor and insults. Stereotypes are played for laughs. The all-star cast includes Amy Schumer, Melissa McCarthy and Hugh Grant. (93 minutes)

Available on Netflix.

Prom Dates (Unrated)

Boozy, crass teen comedy has lots of sex, language, drugs.

“Prom Dates” is a rowdy teen buddy comedy about best friends (played by Antonia Gentry and Julia Lester) on the hunt for escorts to the big dance. Teens drink a lot , smoke joints and cigarettes, snort lines of cocaine, get offered Molly, and pass out. There’s discussion of going “all the way,” using condoms, oral sex and more, and characters engage in various sexual acts. A stripper dances at a frat party. Language includes “f---,” “s---,” “a--hole,” “hell” and “b----,” as well as anatomical slang and insults. Violence — played for comedy — includes cuts, falls, concussions and an attempted human sacrifice. Characters also vomit on one another. Although the film aims for positive representation, the script also plays into stereotypes. (86 minutes)

Available on Hulu.

Common Sense Media helps families make smart media choices. Go to commonsense.org for age-based and educational ratings and reviews for movies, games, apps, TV shows, websites and books.

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LEGO Star Wars: Rebuild the Galaxy

A nerf-herder discovers an artifact that twists the Star Wars universe, swapping the roles of heroes and villains. He embarks on an adventure to restore order and emerge as the savior who re... Read all A nerf-herder discovers an artifact that twists the Star Wars universe, swapping the roles of heroes and villains. He embarks on an adventure to restore order and emerge as the savior who reassembles the fractured galaxy. A nerf-herder discovers an artifact that twists the Star Wars universe, swapping the roles of heroes and villains. He embarks on an adventure to restore order and emerge as the savior who reassembles the fractured galaxy.

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Netflix’s new comedic thriller “Bodkin” opens with the show’s protagonist, Gilbert Power ( Will Forte ), stating, “When I started this podcast, I didn't expect to solve anything. I didn't expect it to change my life.” It sets up the characters' preoccupations well, and also exposes the main problem with the genre their fictional series is embedded in. The series follows American true crime podcast host Gilbert and his researcher Emmy ( Robyn Cara ), who team up with journalist Dove ( Siobhán Cullen ) to uncover the mysterious disappearances that plagued the Irish town of Bodkin decades prior. 

As these amateur detectives continue to dig deeper for answers, they garner the attention of the town's various inhabitants. Some are fans of the show, while others are more than hostile to the new visitors. Despite this, Gilbert and Emmy are determined to get another hit on their hands, while Dove becomes entwined with the mystery and will stop at nothing to expose their identity. The three of them start off on the wrong foot, but as the series unfolds, they grow to care for one another, and surprisingly, their different methods of interviewing and interrogating work in the group's favor. 

From the first glares the trio receives, it’s clear that Bodkin and its community are hiding some big secrets. On their first few days in the town, this causes a malicious hit-and-run (thankfully, it doesn’t end in death) and their driver’s car to be set on fire. The town’s charming scenery, which often catches Gilbert off guard, covers up a woven bed of secrets that each member of the community wants to keep hidden. This is the main point of contention in the series and works well to showcase the failings of the true crime genre.

The series, in its first few episodes, is about the repercussions that come with telling a story about a place you’re not originally from and a place whose people don’t trust outsiders. Whether it be a podcast or a documentary, the relationship that listeners or viewers have with the media they consume is one filled with discord. Right off the bat, Gilbert says to Emmy that “the best stories are always mysteries,” showing us that he himself doesn’t understand that the stories he’s telling belong to real people. Dove on the other hand aptly compares true crime podcasts to “public hangings” putting her and Gilbert and Emmy on opposite sides of the play field.

As the series further unfolds, the themes it was attempting to juggle aren’t necessarily gone from “Bodkin’s” inner workings. Still, they do take a backseat compared to the actual mystery at hand. However, with episode 4, the show begins to give a voice to the supporting characters, giving a voice to the people whom the trio of protagonists unknowingly exploit. The most interesting here is undoubtedly Seamus (David Wilmont), one of the town's most illusive, and powerful members. While Dove is convinced that he is responsible for the disappearances of the three people who went missing during the Samhain festival, Gilbert isn’t so convinced. 

In an attempt to get more information from the man, Gilbert spends the better part of episodes 4 and 5 with Seamus. In their time together, it becomes apparent to Gilbert and us that there’s more to him than meets the eye. The growing relationship between the two is almost heartwarming – if such a word can exist in a black comedy like this – and the chemistry between Forte and Wilmot is electric. As they drive around to settle a debt Gilbert has with a bar patron, the two confide in each other about their romantic and life failings. As their relationship becomes more sincere, Gilbert becomes increasingly desperate for Seamus not to be the evil man Dove is convinced he is. It’s the best relationship in a series that hinges on brief or extended conversations and truly allows the show's writing and acting to shine.

Ultimately, “Bodkin” succeeds in a landscape of thrillers and true crime expansions. It expertly crafts a riveting mystery but also fleshes out its central – and supporting – characters. A series like this hinges on the chemistry of the show’s cast, and thankfully, each and every player gives it their all. Dove’s determination and coyness mix well with Gilbert and Emmy’s sweet disposition and, in turn, allow the Americans to become detectives in their own right. The difference in how they not only see the world but see their professions allows them to crack the case wide open and expose that this cold case might not even be lukewarm. 

Instead, the case at hand is a simmering beast waiting to be exposed, lying dormant beneath the soil of Bodkin for decades. It’s been waiting to be unearthed, and with the work of Dove, Gilbert, and Emmy, it soon will be. Each secret is mentioned by a passerby fleetingly, though the biggest ones stay hidden between the tight-lipped mouths of the show's most important players. The story never overstays its welcome and instead unfolds into one of the most entertaining shows of the year. Underneath it all is a warning that perhaps some things don’t need to be uncovered, and perhaps they’re left better off dead. 

All episodes were screened for review. On Netflix now.

Kaiya Shunyata

Kaiya Shunyata is a freelance pop culture writer and academic based in Canada. They have written for RogerEbert.com, Xtra, Okayplayer, The Daily Beast, AltPress and more. 

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