bblorf

Lord, this sucked. There's a particular sort of sexual revolution flick from the 60s that manages to confuse sexual assault with sexual liberation. This film is an example. I lost track of how many times women are slapped, hit, whipped, or spanked in the film. And then there are all the times that women in the film fantasize about being slapped, hit, whipped or spanked (you know they want it, right?). Sometimes it is ostensibly part of safe fetish play-acting. Other times it plainly isn't, but you will wait in vain to see the heroine report to authorities that she has just been raped. Instead we get to hear her being lectured by her rapist about her inability to "let go".

Every scene of this film reeks of misogyny (speaking as a straight, white, married man in his late 30's, not a teenage lesbian women's studies major with a chip on her shoulder, lest you get the wrong idea).

Perhaps the one good thing about this film is that it provides a stark reminder of just how bad things really were for women only a few short decades ago.

I don't understand why this film is getting much better reviews than the first two. It's about the same. The acting is dreadful. The writing is worse. Anakin's turn to the dark side is utterly unconvincing. "He's unarmed", and "NOOOOOOOOO!" tie for most-cringe-inducing lines. The story has all the right plot elements, but Lucas seems unable to tell it. Halve the time spent on CGI and double the time spent on Anakin's internal struggle and you might have the beginnings of a watchable movie.

There is an interesting contrast between ROTS and The Godfather, a film which Lucas had a small hand in. The Godfather is also a story of a turn to the dark side, however it is singularly convincing.

This is one of the worst movies I've ever seen. None of it makes any sense, be it the "space-time continuum" gobblety-gook as pretense for resurrecting mom (with memories!) from a bit of hair, or the absurd conflict at home that begins the story.

The screen play is profoundly fractured. It opens with moody, precise scenes that remind one of Kubrick. It abruptly changes to an over-the-top trashy splatter flick, full of absurd action scenes, and completely cheese-ball. By the end it's fallen apart so badly they resort to a pretentious voice-over to tell you what's happening. It feels like three or four screen plays by different authors were pasted together.

Ham-fisted gimmicks for sentimental effect are everywhere. The central question of movie (machines with emotion) is barely explored at all, and what little is there makes no sense. "David" is supposed to be this dramatic technological advance, yet every machine in the movie (including the teddy bear) expresses emotion.

This movie has no redeeming features. If you're actually interested in thinking about machines of the future, as others have suggested, see 2001, Blade Runner, or any of the other competent films on the subject.