In a world where Hollywood seems more focused on flashy explosions than storytelling, the latest trend in cinema is a re-release of a film that should perhaps have stayed in a galaxy far, far away. The 20th anniversary of Star Wars: Revenge of the Sith has hit theaters once again, and if the goal was to remind audiences just how low the bar can be set, mission accomplished. But let’s take a moment to dissect why this film, once and now, is a prime example of the issues prevalent in modern entertainment.
To start, the dialogue in Revenge of the Sith has been criticized since its original debut, and rightly so. It’s as if the writer concocted lines in a vacuum, without ever hearing a real conversation. This kind of writing might fly in the fantasy world of intergalactic politics and space battles, but on Earth, we expect a bit more authenticity. What we’re served instead are words strung together in a way that only a being from another planet, possibly with no understanding of human interaction, could devise.
Now, onto the acting, or lack thereof. An assembly of talented actors, including Hayden Christensen and Natalie Portman, somehow manage to deliver performances that leave much to be desired. When celebrated actors appear in a film with the emotional range of cardboard cutouts, one has to question whether the true culprit is the script. It’s a grim reminder that not even the brightest Hollywood stars can shine through a thoroughly foggy script.
If one were to hope for redemption through thrilling action sequences, let that hope be dashed. The action in Revenge of the Sith serves more as a visual bombardment than an engaging spectacle. Scenes drag on with plenty of explosions and flashing lights, sure, but without any real substance to root them in excitement or intrigue. Hollywood has become enamored with the idea that more equals better, but even the most intense fireworks show loses its magic if it carries on for too long.
The final straw is the story itself, a key component for any film, let alone one trying to cement its legacy in a franchise as iconic as Star Wars. Unfortunately, this narrative barely stays afloat amidst plot holes and inconsistencies that make suspension of disbelief a Herculean task. If a ship of this narrative magnitude took on as much water as this story does, it would have sunk long before reaching audiences.
Thus, as sequels, prequels, and spins-off continue to flood theaters, one can’t help but yearn for the days when storytelling led the charge, not CGI. Revenge of the Sith reminds us of the importance of good writing and believable characters, and why they’re needed now more than ever in this era of cinematic overindulgence. Let’s hope this retrospective viewing can serve as a cautionary tale for filmmakers, so that the next twenty years are filled with films that prioritize heart over spectacle.
