Director BIO: Christopher Harvey (Blade Runner Fan Fiction Film)

Director Biography


Christopher Grant Harvey is a South African-born writer/director. At the age of 16, he began his film career at home making short films with friends, often taking on various production duties such as the writing, directing, acting, cinematography and editing. He received his bachelor’s degree in film and television production from the Motion Picture Academy of Pretoria, graduating cum laude. After international film festival success with his graduation film, he has continued his intense desire for storytelling with unique projects in development.

Director Statement

The making of Tears In the Rain has been a sometimes arduous five-year journey. I had no idea what I was in for when production began one cold night in 2012, and I often wanted to give up. I came very close, in fact, spending years in post-prod trying to get the perfect original visual effects and fitting score to bring the story to life, can lead to fatigue. This is particularly the case when resources are tight, and you have to find a way through the limitations. I asked myself why this particular film was so important. The pursuit of perfection and not settling for mediocrity was daunting and time-consuming. The burning desire, though, to delve deep inside and produce something that I could ultimately feel proud of (and be enjoyed by fans the world over) kept me going.


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Movie Reviews

Directed by Lauren Montgomery, Sam Liu

Voices: Mark Harmon, Alyssa Milano, William Baldwin, James Woods, Chris Noth, Gina Torres, Gary Cole,
Review by Evan McCaffrey


When an alternate universe of evil superheroes threatens to destroy their world, The Justice League must team up with Lex Luthor in order to save the day.


For the past few years, DC Comics and Warner Brothers have combined forces to deliver a slew of direct-to-video comic book adaptations to the market. It is a series of films that deals with the source material faithfully, and respects its viewing audience. These are not a watered down kids film. Each one is filled with level of emotion and intensity one would expect from the source material. “Justice League: Crisis on Two Earths” is no exception.

Often, when lesser-known entities of the comic book world are given feature film franchise, they are treated with less respect than they deserve, (i.e. ‘Daredevil’, ‘Ghost Rider’ to name a few.) The companies will take the name of the franchise, throw on a director who does not have the vision to fully realize these films, and then attach a star with little or no regard to how he fits in with the actual character. Fortunately, this film does not fall into that category. Though it is animated movie, it still contains everything you could want out of a Justice League film

As the movie begins, Lex Luthor and the Jester, an alternate universe Joker, have stolen a device of immense power. However, in doing so, they trip the alarms, and are quickly set upon by a mysterious and powerful force. It becomes quite clear at this point that this is not the Joker and Luthor we have grown to hate. In order to save his friend, the “Jester” sacrifices himself in order to give Luthor a head start, (something the Joker would never do.) Luthor’s head start is brief, and in moments, he is quickly surrounded by what appears to be a group of superheroes. Knowing he has no choice, he flicks on the device, and in a flash of light, he vanishes.

The story quickly shifts to our universe, where Luthor suddenly appears. Turning himself in to the Justice League, he convinces them he is not the Luthor this world despises so well, but from an alternate dimension where he is good and they are bad. On his planet, alternate versions of the Justice League have gone rogue and are creating a bomb that, if ignited, will destroy the entire planet. With little hesitation (the movies one quick and forgivable fault), the Justice League takes up Luthor’s cause, and joins forces to save his world from utter annihilation.

This is a fun movie. It provides roughly 78 minutes of solid entertainment. It never gets bogged down with too much exposition. It understands the audience watching this film, and it knows you already have an idea who most of the main characters are. Only once does it revert to a flashback, and that flashback is done in a way in which does not hinder the main story, but fleshes out one of the only characters I was slightly confused about. That is a testament to the writing abilities of the screenwriters. They know we have a solid foundation on most of the main characters. No one watching this film is going to be clueless about the motivations of either Superman or Batman. And most people have some sort of understanding of the Green Lantern, The Flash and Wonderwoman. It is this one character, J’onn J’onzz (The Martian Manhunter), that people will be confused about. Since the writers know this, he is the only character given a, if small, fleshed out backstory. I truly appreciate the respect and admiration these films have for their audience.

Now, as a story, does the film work. Yes. Absolutely. You will not go into this movie expecting the caliber of Christopher Nolan, but you will still get something immensely enjoyable out of this viewing. Not only is the story interesting, it is incredibly fun to watch. It is also very intense. People die, and, towards the end, the movie takes a dark turn reminiscent of “Watchmen.” It is a short movie, but one that delivers on all levels it intends to.

Studios take note; this is how you make a superhero movie. You do not need to always make an origin story. This is a movie that respects the audience and takes risks with its story. It knows what the fan base wants to see, and it delivers on all fronts. I can’t wait for the day that some company decides to stop playing the safe route, and to make comic films that deal with some of the more extreme stories in their universe. Until then, this movie more then satisfies that desire.


Movie Review: MAD MAX: FURY ROAD (USA/Australia 2015) ****

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mad_maxMAD MAX: FURY ROAD (USA/Australia 2015) ****
Directed by George Miller

Starring: Tom Hardy, Charlize Theron, Nicholas Hoult, Nathan Jones, Zoë Kravitz, Rosie Huntington-Whiteley

Review by Gilbert Seah

Aussie director George Miller, now in his 70s reboots his MAD MAX movies after decades with MAD MAX: FURY ROAD, a film that spurned two sequels and defined the anti-hero (Mel Gibson becoming famous in the process as a bad ass actor and human being).

The reboot is again set in a post apocalyptic future of a desert wasteland where petroleum is the needed commodity in which all tribes fight and kill for it. And water. The bad guy is Joe (Hugh Keays-Byrne) ruling his distraught tribe controlling their access to water. Imperator Furiousa (Charlize Theron) steals his brides escaping in a war rig. She meets Max (Tom Hardy) in a vicious fight but they become allies right to the end of the last reel.

What is marvellous about the film is that the story still manages to emerge despite the scant dialogue. There is no silly message but the characters do strive for hope and redemption. This is almost pure cinema where the audience gets everything, in true cinematic form.

The scenes of the various bikes, souped up vehicles and trucks chasing the war rig with warriors dangling on the poles trying to hop on to the rig are nothing short of spectacular. Inventive, scary, exciting and totally awesome! The stunts are for done with real vehicles and men without any silly CGI, according to the reports on the production sets.

This reboot is an American-Australian co-production unlike the original which is totally Aussie. But this film keeps the actors Australian with most speaking with an Aussie accent.
The word ‘mad’ never comes into the dialogue but the meaning is evident throughout the film, embedded in Max’s character. He looks completely mad (angry) throughout the first third of the film, forced to wear a mask that makes him look like a madman.
Miller’s film is complete action and chase from start to finish – a full 2 hours non-stop. The film’s camera work, atmosphere and look are excellent.

Miller’s name is synonymous with mayhem. His BABE IN THE CITY was so black darkly funny, it angered the financial backers and lost money despite being the most chaotic entertaining family film not for children. His first MAD MAX had the villain saw off his limb in order to survive and his American debut THE WITCHES OF EASTWICK was Jack Nicholson’s wildest. Miller has lived to his reputation with this reboot, though a reboot is hardly the correct term for this film. Though set in similar territory, the story, if it has one is radically different. And there is his expected mayhem all the way from start to finish. A cinematic treat of violence, blood and gore and of course, mayhem.

Compared to the original, FURY ROAD has achieved director Miller’s vision of heightened mayhem of his dystopian future. It is not a future one wishes for, but it makes great entertainment and a visual classic. Clearly, the best serious action film of 2015!

Movie Review: IRON MAN 3 (2013)

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Movie Reviews

Director: Shane Black

Stars: Robert Downey Jr., Guy Pearce, Gwyneth Paltrow, Don Cheadle

Review by Matthew Toffolo


Tony Stark uses his ingenuity to fight those who destroyed his private world and soon goes up against his most powerful enemy yet: the Mandarin. Tony Stark (Robert Downey, Jr.) has literally everything a man could ever want. More money and fame than he knows what to do with, a great girl (Gwyneth Paltrow), an amazing house and even better toys and to top it off when he’s not jetting around the world as a billionaire playboy he’s the superhero Iron Man. But when a crazed terrorist (Ben Kingsley) starts blowing up pieces of the world Tony begins to realize he may be up against the one thing even he can’t handle: the second sequel.

Third time’s the charm, isn’t that how it goes? Except usually not, at least as far as film franchises go. Third time is usually where the gasp of creativity that breathed life into the series to begin with finally starts to run out, leaving the filmmakers with one of two possible options: either keep repeating what has worked already on larger and larger scales ad nauseum, or break the series apart and come at it from a brand new angle.

Very few series opt for option two, since it is a very risky proposition at the best of times. At best you’ll generally get some sort of middle ground in between options 1 and 2 – which pretty well sums up writer-director Shane Black’s (“Lethal Weapon,” “Kiss Kiss, Bang Bang”) stab at “Iron Man 3.”

He has, like many before him, decided to focus on what has worked in Iron Man before and provide more of it. Fortunately for him what worked before has been less big effects or ideas and more along the lines of star Robert Downey, Jr. doing what he does. Like no other actor in a superhero film (except perhaps Heath Ledger’s turn as the Joker), Downey has made both the character of Tony Stark and the role of Iron Man his, and most of the joy of these films is watching him swagger and strut and attempt to hide Tony’s many faults through snark and arrogance. Of course, Downey has done this three times already now so he can do Iron Man in his sleep if he has to.

Fortunately, Black is not going to let anyone rest on their laurels. He’s given a real think at how to advance an Iron Man story beyond what has come before and the result is not only the cleverest action beats in the series to date, but the most work Downey has had to put into them. In fact, for all the many dozens of suits of armor flying around through the film and all the people wearing them (at one point it seems as if the entire cast is put into a suit at one point) Iron Man 3 actually boasts the least Iron Man of the series to date.

After brazenly calling out The Mandarin on live TV, Tony’s home soon comes under attack and is destroyed, leaving him on his own with only his mind and his wits to help him figure out what the Mandarin is up to and what it has to do with an old girlfriend (Maya Hall) and a shady think-tank called Advanced Idea Mechanics who have been cooking a up a means to make the human body stronger and better called Extremis.

It’s a bit of a gamble but it works as Downey is actually more relatable and more fun to watch out of his armor than in it, and he’s helped but tight script from Black and screenwriter Drew Pearce who have applied a liberal dose of comedy relief that has the benefit of actually being funny.

On the downside, along with the armor, a lot of Tony’s supporting cast tends to come and go for long periods, particularly once he disappears into rural Tennessee to follow up a lead. Sure they get stuff to do – Happy follows some suspicious characters and sets the plot in motion, Rhodey once again backs Tony up during the action finish after doing little else the rest of the time, and Pepper actually gets into the action movie game for the first time, particularly during the middle segment when she briefly gets a suit of her own.

But then they disappear so that Downey can go off and trade quips with a 10 year old for 30 minutes. Which is, it must be said, far better than it sounds due to Stark’s inability to actually be sappy but it’s still hard to feel like you’re being gipped somehow. After two films setting these characters up and making you care about them, they are shipped off because now no one knows what to do with them.

Those are generally small quibbles, though, as “Iron Man” continues to set the bar for Marvel’s solo superhero films through a combination of wit, charm and out and out entertainment. It’s not quite as good as “Iron Man 2” – but then I’m one of the few who thinks Iron Man 2 is the best of the series – but it’s not far off and certainly does no shame to the series. I don’t know how many more of these they can make, but so far it doesn’t look like they’ve run out of steam quite yet.



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Movie Review: IRON MAN 2 (2010)

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Movie Reviews

Directed by Jon Favreau

Cast: Robert Downey Jr., Scarlett Johansson, Sam Rockwell, Samuel L. Jackson, Gwyneth Paltrow, Don Cheadle, John Slattery, Clark Gregg, Paul Bettany, Gary Shandling, Jon Favreau
Review by Joshua Starnes


With the world now aware of his dual life as the armored superhero Iron Man, billionaire inventor Tony Stark (Robert Downey Jr.) faces pressure from the government, the press, and the public to share his technology with the military. Unwilling to let go of his invention, Stark, along with Pepper Potts (Gwyneth Paltrow), and James “Rhodey” Rhodes (Don Cheadle) at his side, must forge new alliances — and confront powerful enemies.



Most sequels offer you one of two choices in their approach: either bigger, louder and faster (the most popular choice), or smaller with a focus on characters over plot. Both of these choices offer certain costs and benefits. One gives you more bang for your buck but tends to be empty and heartless. The other will offer a surfeit of heart but with so little actually happening that you can’t help but feel unsatisfied. The ideal sequel will balance the two, upping the ante in threat and using it as an opportunity to deepen its characters and story.

“Iron Man 2” isn’t an ideal sequel but it is awful good, fixing most of the problems of the first movie without giving up what made it work to begin with.

To be fair, much of what made the first film work was Robert Downey, Jr.’s Tony Stark, and that’s still true in the sequel. Better yet director Jon Favreau and screenwriter Justin Theroux (“Tropic Thunder”) have given him some real problems to struggle with instead of just being charming and funny.

Because Tony Stark is dying. The materials in power core that keeps him alive are also deadly poisonous, it turns out, and Tony can’t find a cure. With the end starting to look nigh, Tony has turned his attention to his legacy, finding a good person to run his company and pick up his Iron Man mantle after he’s gone. Unfortunately there’s a dark side to his legacy as well in the form of mad Russian scientist Ivan Vanko (Mickey Rourke) who has figured out how to weaponize Stark’s power system and wants nothing more than to wipe Stark out once and for all.


They say you have to make one of these films to learn how to make one of these films and Favreau has certainly taken that lesson to heart, adding a great deal of style and panache to “Iron Man’s” already impressive repertoire. What was good about the first “Iron Man” is still good about the sequel and in many cases noticeably better. As good as Downey’s original performance was it is aided considerably by having to deal with the reality that he may not have cheated death after all, just put it off for a little bit. The quest sends him not just to cement his legacy but also an incentive to increase his already manic and unpredictable lifestyle–like spontaneously taking his Formula One driver’s place before the Monaco Grand Prix–which is the part of Stark that Downey really excels at.

It’s also a step above the original in terms of pure craft. While the original was solid but unassuming, the sequel looks every inch the big budget film it is. Matthew Libatique, who shot one of the best looking movies of the 00s—”The Fountain”—has substantially upped his game from the first film. The Monaco sequence in particular is gorgeous and illustrates in microcosm what makes “Iron Man 2” so successful. It’s extremely well paced, quick and funny and light on its feet before turning a sharp corner as Vanko attacks Stark on the racetrack while he is alone and unarmed. Even in the middle of a large action sequence Favreau keeps his eye solidly on his characters and working hard to make solid use of everyone, not just Downey, as his erstwhile Girl and Guy Friday’s—Pepper Potts (Gwyneth Paltrow) and Happy Hogan—drive against traffic in a Formula One race to get Stark’s armor to him.

IRON MAN 2 POSTERIn fact almost every character gets significantly more to do, from Pepper struggling with running the company to Stark’s best friend Rhodey (Don Cheadle) being forced to decide where his loyalties lie, to Stark or the US Air Force. New characters, like Sam Rockwell’s unctuous Justin Hammer (a sort of anti-Tony Stark) are just as good, and yet for the most part they don’t overwhelm the film.

However, while Favreau et al. have solved a lot of the problems of the first film, several of them still remain, not least its propensity to climax without warning. A great deal of work has been put into building up the action sequences, with Industrial Light & Magic putting in some fantastic effects work, only to have them suddenly finish. It’s not as noticeable as in the first film but it’s still there, particularly in any sequence involving Vanko.

More insidious it’s starting to develop the ‘comic book universe’ problem. These premade stories come packed with large amounts of ready made stories and characters, and plenty of fans who want to see them on screen. Inevitably this seems to turn to introducing characters just to introduce them, letting them eat of screen time that would be better spent somewhere else. It’s most noticeable in Scarlet Johansson’s Natasha Romanoff, who while well executed serves no important purpose. She moves the plot along, but there’s nothing she does that couldn’t be done by another, already existing character. However she does eat up valuable screen time that might be better used by Rhodey who is not around near enough considering how important he is to the climax. He’s the only character who still feels underdeveloped.

It’s also risking getting stuck in a rut. Because there are as yet no super powered people for Iron Man to fight he keeps getting stuck fighting iterations of ‘other guys in Iron Man armor’ and there’s only so many times you can go to that well.

Still “Iron Man 2” is far, far better than it is weak. Action junkies may find the middle more than a little slow as it dwells quite a bit on his existential dilemma, but that’s also where many of the films best moments lie. “Iron Man 2” is one of those rare films with something for everyone, good characters, excellent presentation and well designed adventure elements. Worth every penny.




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Movie Review: IRON MAN (2008)

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Movie Review

Directed by Jon Favreau
Starring Robert Downey Jr., Gwyneth Paltrow, Terrence Howard, Jeff Bridges,
Review by Salome Bell


When wealthy industrialist Tony Stark is forced to build an armored suit after a life-threatening incident, he ultimately decides to use its technology to fight against evil.


You can’t send a boy to do a man’s job, and you can’t put a man in a role that calls for him to be smarter than he is.

Fortunately for “Iron Man,” Robert Downey Jr. carries enough weight for any ten metallic suits, and seems like exactly the kind of guy who could build them

Popcorn movies have a tendency to underwhelm, but “Iron Man” has managed a pretty miraculous feat — to sneak in almost under the radar with few television ads and deliberately vague trailers, and to be the best flick I’ve seen this year and a natural to go on my list of top comic book films of all time.

Everything works. The casting is perfect. Paltrow shines as the essential but overlooked Poppy Potts, despite a last-moment shoe choice that says just about everything you can about fashion victimization. Jeff Bridges has just as much chemistry cast as the mentor/father figure to Downey Jr.’s obsessed Stark. The script is everything you could want — witty, intelligent, and steering clear for the most part of the usual comic cliches.

Even the ubiquitous Stan Lee cameo is a treat, which I will not spoil. .

If there’s one thing I could criticize, it’s that the story bogs down briefly while it shifts its bearings between Stark pre- and post-captivity, where it seems to be reinventing its moral center, much as Stark is at the same moment. Current films self-consciously walk the thin line between portraying the U.S. as a benevolent superpower or as a force just as prone to cause problems as solve them. “Iron Man” knows certain people have to die, and that because it’s a comic book movie, it has to relish the manner of those deaths to show off Stark’s new invention. But it never feels comfortable; in these years since the fall of the U.S.S.R., Hollywood is still searching for the perfect hateable villain.

But, smartly, things get personal and everything falls as snugly into place as Iron Man’s hydraulic armor. This film thunders through to the end, at once a flick that a newbie with no clue about Stark or Iron Man’s pic-lit roots can love while providing enough insider tips of the hat to thrill the fans with the feeling that, “Yes, Victoria, there is a Santa Claus watching over Marvel Comics movies.” The effects are seamless and organic so you feel every bump when Stark hits the ground (or a concrete wall), and Favreau has a brilliant touch with injecting just a little bit of humor into the darkest scenes. “Iron Man” is going to do well, really well, at the theatres, and it’s a movie not only a fan will want to own.

3 1/2 stars out of 4!

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Movie Reviews

Directed by George Lucas
Starring: Ewan McGregor, Hayden Christensen, Natalie Portman, Samuel L. Jackson, Ian McDiarmid, Frank Oz
Review by Andrew Kosarko


A long time ago, in a galaxy far, far away…. Sometime during Star Wars: Episode III Revenge of the Sith, Jedi Knight Anakin Skywalker will make a fateful decision. Faced with a choice between losing the one he loves or giving up his soul to gain the power to save her, Anakin will fall prey to the seductive temptations of the dark side of the Force. Just what Anakin’s decision is, why he makes it and how it leads him to don a frightening suit of black armor have been the stuff of Star Wars legend.

One word: Finally. And even that is pushing it.


The Story:

Finally, Lucas pushes the “Go” button that he’s been afraid to hit for the past 2 movies. And even so, he waits until halfway through this movie to hit it. The story is so much more focused than the other two prequels and really provides a dynomite character piece that overpowers the CGI and the action. This here, is the good stuff. We finally will get to see how it all goes down, and here folks, is where the mystery truly lies. We finally see the Jedi annihilated, but sadly, mostly from the hand of the Emperor and not Darth Vader. But don’t let that phase you, Darth Vader does murder children in this film. Yeah…as sick and depraved, this is what I have been waiting for. For once in the prequel trilogy I was emotionally captured throughout everything happening in the film. I recall seeing the film for the first time at midnight, watching the death of Mace Windu and thinking to myself “Oh man…this sucks.” Anakin finally embraces his selfish wants to save the galaxy and his woman by his own hands and we understand why and we can justify everything he does through his eyes. We needed not the filler of yester-film, just to know the man was in love and that he would do anything to save it. We also get a great story of a teacher who feels immense regret for his actions and his own selfish promises that have come to a great cost to his world. We see an evil dictator rise to power and the groups who realize they unknowingly helping it come to fruition. Basically, the story works great for mystery, betrayal and epic action.


Alright, here’s where I get defensive mode. It’s not Hayden’s fault for his performance. At first, I was like most and thought Lucas had hired the wrong man for the job. But once I got my hand on the DVD for this puppy, my view point changed. Watch some of the bonus features and see some alternate takes of Hayden performing. The man blows the roof off the house. And then watch as Lucas interrupts the take and asks him to change the performance to what we get in the final film. Sadly for Christensen, when George Lucas tells you to do something, you do it. Veteran actors like McGregor, Jackson, McDiarmid must have picked up on this way back in Episode 1 and figured out they were really on their own in terms of their performance. Even Portman steps it up in this film and impressed me. But of all the players, Christensen was the only one on his second outing. I don’t blame him for the faults in his portrayal of Anakin and even at it’s worse, it’s still somewhat tolerable.

Ewan rocks the house. I mean it. This is the Obi-wan we were all waiting for. It’s almost like he mixed a little of Harrison Ford’s Han Solo into his Obi-wan. But the detail is in the subtleties that really shows his ability. Watch the following shot after the end of the lightsaber duel between Anakin and Obi-wan. Anakin lays on the bank in pain and the first instinct of Obi-wan is to go and help his fallen brother. But he can’t. He stops himself. THAT, to me is absolutely phenomenal. I love it. Obi wan is a man driven in this film, which is what makes him most interesting. Just as Anakin becomes Darth Vader in this film, Obi-wan becomes the Obi-wan we’ve all been waiting for. He’s wise and understanding of the mistakes he’s made and out to fix them. Meanwhile, all trying to save his best friend. I mean come on, it just doesn’t get any more interesting than that if you ask me.

Lastly, I’d like to mention Ian McDiarmid. The dude steals every scene that he’s in. It’s not so subtle that he’s the one pulling the strings behind everything so they just run with it. It’s not revealed to us the audience until it’s revealed to the characters and that’s what makes it fun. We know it, but we’re not completely assured there’s a twist coming on it or not. Which is what makes it so rewarding that we can say “Yes! I knew it was him.” Even though most of us knew it from Episode 1 haha. But in all seriousness, the man goes from vile and mysterious to straight up evil and intimidating. A great arc is clearly seen in this film as he takes over the galaxy. So much, that this is more his movie than anyone else’s.


Lucas gets everything right this go around. Yes the CGI is still heavily there, but there’s so much great story going on and great character development that we don’t mind it. It only adds to the story the way we hope. That’s what we needed in the other films. My only complaint is that he was so influential on Christensen’s performance that it hurts the film overall from most of everyone else’s opinions. That and making the cyborg Vader scream out like a little punk bitch at the reveal of his wife’s death. There, I said it.


Stunning and original. This is when the HD 24p cameras were really working at full capacity. The film looks flawless. It really does capture a great crisp look that almost makes all of the CGI work better along with it so that it helps to suspend disbelief. Sad only because it’s the last film that will have it for Star Wars….at least until Star wars 7,8 and 9 come out.

Production Design:

Was there any? Aside from a few sets, everything is CGI. Most of the production design goes into costuming and set design, and even those are CGI influenced. As much as I praised the work above, I still favor actual objects when they can be there. But that’s just me.


Great, there’s never a side step the entire film. I’m captured in every moment and never find myself bored. The pacing is on and while it takes a little while for the story to reach the point we’re all waiting for, we still aren’t looking at our watches. It gets there like clockwork and flows nicely. Again, shame it only took them 3 movies to figure it out.


John Williams jumps back to the level of great scores that he had in A New Hope. This film has it all. A perfect 50/50 blend of the old and new films to bridge the gap. There’s exciting new music that still channels the spirit of the original trilogy and gives us an emotional backbone to support some of the great battle scenes – most notably “Battle of the Heroes” between Obi-wan and Anakin. Simply powerful.

Special Effects:

The movie is 75% CGI. Literally. While still, in my opinion, over stylized, the film’s story keeps the CGI from overpowering the image and removing our attention from the events at hand. Some of the work is very impressive, while other parts are very obvious CGI that got less attention and is needing heavy work. Massive props have to be given to the work on Yoda however. While it’s not perfect, it’s damn close to it. I was very impressed with how close to life like it looked.

In closing:

Revenge of the Sith delivers. It’s not how any of us would have done it, but it is indeed George Lucas’ baby. It’s not perfect, but it works greatly. It’s one of those darts that get’s so close to the bulls eye that your friends are like “alright, I’ll give you that one.”

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