Archive for the ‘ROTS’ Category

General Grievous Coming Soon From Bandai

April 24, 2017

Star Wars The Prequel Trilogy (on Facebook) posted a couple of pictures of Bandai’s upcoming General Grievous 6-inch scale model figure.  It’s fully articulated:


Expect it out sometime this year.  I hope I’ll get to see it at SDCC this summer.

ROTS Tsum Tsums Out Today

April 4, 2017

You can order them for $6 apiece on the Disney Store’s site; unfortunately there are no special t-shirts to go with the collection.  Bummer.

Nick Gillard On Alternate “Dismemberment” Scene in ROTS

January 5, 2017

Prequels stunt coordinator Nick Gillard tells Australia’s Sci Fi Central on an alternate way he was going to have Anakin sliced and diced in ROTS:

Is ROTS Still The Darkest SW Film To Date?

December 21, 2016

Granted, “dark” is a descriptor and not unto itself an indicator of quality, but @prequelpositive says yes.

Order 66 is arguably the most devastating scene in this film, the music sets the tone as clips of the Clone Troopers turn against the Jedi and characters that we have gotten to know throughout the film are shot down by those they considered comrades and friends. This is made even more painful if you have watched The Clone Wars, in which many of these Jedi have side stories of their own.

Essay On ROTS

December 12, 2016

A Score To Settle is about music scores and this entry focuses on ROTS.  There’s a lot of great stuff here, check it out:

On the day it was released, I wound up seeing it twice – once in the early morning on my own and then again in the evening with friends. From the opening space battle to the visually poetic closing moments, I was riveted. As a first generation fan who caught each film from the classic trilogy in the theaters, I’d found myself fascinated on many levels by the era being presented in this second trilogy, the prequels. It was akin to watching a “period piece” of our own history, when mannerisms, dress and behaviors might differ to the present, such as Elizabethan dramas compared to present day. Not to everyone’s taste, but I was digging it. The world-building was imaginative and immersive, diving into other cultures and corners of the fictional galaxy previously unexplored or simply unknown. I plugged into the macro/micro level of parallel storytelling on display throughout, noting how over the course of the trilogy we witness both a democratic Republic and a compassionate Jedi Knight named Anakin Skywalker be manipulated and corrupted from the inside out, all by the same person, that being Chancellor Palpatine. Indeed, the fateful circumstances leading to Anakin’s downfall constitute the component to which I unexpectedly connected.

Terrific Version of “Battle of the Heroes”

December 12, 2016

Adam Adelsberger pointed out this video of a German orchestra performing “Battle of the Heroes” from ROTS.

ROTS & “Paradise Lost”

December 5, 2016

A reader passed along a link to this essay from a site called Clashing, “A Paradise Lost:  The Anatomy of a Fall.”  It focuses on Anakin’s fall in ROTS and compares it to John Milton’s “Paradise Lost.”

Anakin as a representation of temptation also parallels Eve and Adam as Palpatine slithers into the role of the serpent. Eve is amazed by the serpent who speaks of their gifts being bestowed upon them by tasting the fruit from the tree of knowledge. The serpent further gains Eve’s trust by flattering her beauty.

Palpatine gains Anakin’s trust by constant flattery, encouraging him to take pride in his exceptional skills and convincing him that despite his youth he deserves a spot on the Jedi Council. When fear begins to take hold of Anakin, Palpatine offers his own fruit to the falling Jedi: salvation from death. Anakin’s pride and fear feed into each other as his pride and arrogance don’t allow him to concede to the possibility that he might not save Padme. When Eve goes to wander Paradise alone, Adam fears for her.


November 12, 2016

For the generation on the go and with no time to watch a two-hour movie ;):

Update: Here are the gifs for AOTC and ROTS…

Cantina Cast Piece On ROTS

September 5, 2016

Cantina Cast’s Paul Depaola posted “Looking Back At ROTS”, a piece on the 2005 film and on Clone Wars:

Star Wars: Episode III Revenge of the Sith, was released in May of 2005. For me, this was the most anticipated film of the prequel trilogy. From the first moment that I heard that the prequel films were going to happen back in 1994, I wanted to see the fight between Obi-wan Kenobi and Anakin Skywalker. The “be all and end all” battle, where Anakin is forced into the Darth Vader suit, becoming more machine than man. So, by the time of the film’s release in 2005 I had been waiting nearly 11 years to see that climatic duel. Needless to say my anticipation of this film’s release was high.

Bright Lights Film Journal Article Says ROTS Might Be Lucas’s Best

August 29, 2016

Linda sent along a link to this article from Bright Lights Film Journal, which asserts that ROTS is George Lucas’s greatest artistic achievement:

Given the newly expansive potential afforded by digital technology, Lucas is no longer limited to simple filmic references. In Revenge of the Sith, he boldly visualizes his interests in classical mythology and literature; to be sure, the prequels recall the tragedies of Shakespeare, perhaps most evidently in Palpatine’s similarities to Othello’s Iago. However, Lucas digs deeper and further into the past when he depicts Anakin and Obi-Wan Kenobi duelling across the volcanic vistas of Mustafar. When discussing this scene, it is crucial to acknowledge Camille Paglia’s wonderful and laudatory piece in Glittering Images. Indeed, it is in this scene that the film’s awe-striking and unprecedented anachronism totally takes over: painting his images digitally, Lucas taps into our knowledge of Dante, of the legend of Faust, the Christian Hell and the Greek Hades, of the metaphoric burning of Icarus’s wings in the form of Anakin’s smoldering body. Appropriately, John Williams’s score moves further from Korngold-echoing whimsy with each successive prequel, and in Sith it acquires operatic overtones. Never one to divide “high” art from “low,” Lucas draws from every available well of visual representation to craft this uniquely digital genre entertainment, a film that is broadly drawn in its emotional strokes but rigorous in its cinematic grammar.

Go read this from someone who apparently really knows cinema and appreciates it.