Judging CFE's tastes, there are about 4 films I'm trying to figure out how CFE's going to fit in. By Kubrick (no, the other film), Spielberg (x2), and Lang. Figuring that CFE's not going to combine the OT into one entry. Or say that Ridley Scott's 1979 film is horror not science fiction.
CFE's 100 Science Fiction Film Countdown
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Infinity9999x
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That's why it gave me pause. It's certainly not the traditional sci-fi Aliens & Robots, but I would classify it more towards sci-fi then anything. It uses scientific principles to set up the story. Michael Critchon was a big sci-fi guy, and if we were ranking top sci-fi novels, I'd definitely have Andromeda strain in there. The movie wasn't bad either.http://forums.superherohype.com/newreply.php?do=newreply&p=17843152
Dark Victory
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I've yet to see the original Invasion of the Body Snatchers, but I enjoyed the 1978 remake a lot. Great review.
CFE
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#15
A group of Earth children help a stranded alien botanist return home.
----------------------------------------------
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What makes a movie powerful is something intangible something that goes beyond the boundaries of shot composition or a calibrated sequence; a cue in the score or the words in a screenplay.
Its that sense of dazzle the majesty and wonder of motion pictures that every so often allows itself to be caught by a filmmaker.
Its that very same majesty and wonder that fuels one of the best films of the past 27 years a film that, at its core, is no more or less than about the bond between a small boy and an alien longing to return home.
He may have stopped our hearts with Jaws, but Steven Spielberg inarguably captured them with 1982s E.T. The Extra Terrestrial.
In a small home in the heart of suburban America lives a family the mother, Mary (Dee Wallace) and her children Michael (Robert MacNaughton), Gertie (a very young debut by Drew Barrymore) and Elliott (Henry Thomas). On one particularly ordinary night as Elliott waits to get a Pizza for Michael and his friends, something extraordinary happens he comes face to face with an alien.
Trying to lure him back over a few days (and with a little help from some Reeses Pieces), Elliott discovers and befriends the alien, whom he names E.T. The creature is an odd one, waddling around with a retractable neck and a fondness for beer developed over his time with Elliott. Unable to keep the secret for long, Elliott lets Michael and Gertie in on it. Taught how to speak by Gertie, E.T. tells them where hes from and that he wishes to return.
E.T. phone home.
As time runs out, Elliott and his siblings decide to help their newfound friend with his dilemma. But when the U.S. Government tracks down E.T. and plans to capture and study him, its up to Elliott and E.T.s adopted family to contact E.T.s ship and safely deliver him to his rightful family.
There's a reason why this movie is so enduringly popular and successful: you would have to be a very hard, unemotional person not to feel SOMETHING watching this movie. It tugs at the heartstrings effectively without doing so in an overly saccharine manner. The plot of the film, in all honesty, is quite simple but its through Spielbergs direction and the attention to pathos and wit that makes E.T. as charming as it is and impossible not to love.
I still vividly remember seeing E.T. for the first time when I was a child the scene of Elliots discovery of E.T. through the use of Reeses Pieces always stuck with me for some odd reason. The film has forever remained one of my favorite Spielberg exploits just shy of the first three Indiana Jones films, Jurassic Park and Jaws.
It's amazing to think that such a simple and standard story would go on to become a global phenomenon. E.T. blasted its way into pop culture and simultaneously became one of the most cherished films of all time. It's not hard to see why, for E.T. appeals to every member of the family, from it's joyous set ups as E.T. stumbles around middle America suburbia, to the doses of magic so gleefully constructed by Spielberg's inner child. Those wishing to scratch away at the surface (and there are many who have previously) will find Spielberg affecting his picture with divorce subtexts (his parents divorce was known to upset him deeply and it shows in the bulk of his films, which display a perverted family dynamic more often than not), whilst the government "villains" show an astute aside to paranoia of the times and suspicions of political operatives in the wake of the Communist frenzy of the 50s and the budding Nuclear Arms Race of the 80s.
The cast is just superb. Henry Thomas gives a remarkable performance for a child actor and its his emotional connection to E.T. that remains the focal point of the entire picture. He pulls off such emotion with incredible tact for someone his age and it works exceedingly well.
Dee Wallace is also a personal favorite as Elliotts stressed out mom its very nice to see her finally come to her sons aid by the films conclusion. Then you have the role of older brother Michael, played by Robert MacNaughton, he was great as the smart-alec older brother, however as the circumstances start to become more serious, he becomes a responsible person in the tricky situation. And seeing a very young Drew Barrymore is also quite a treat something about her in the role with those pigtails still makes you just smile at the simple and good-hearted nature of it all.
Even E.T. himself essentially a giant puppet manages to pull off a convincingly poignant performance. Not since Yoda had a puppet managed that...I suppose that our contemporary answer to the notion of a non-existent character giving a tremendous performance is perhaps Gollum from Lord of the Rings but since thats a CG character its a bit different. The light, raspy, and yet warm vocalizations for E.T by Debra Winger and Pat Welsh help give the lovable creature significant charm and the astounding visual effects that create his facial expressions are amazing. And who could ever forget the iconic image of his finger lighting up in order to heal a dead flower? Brilliant.
The cinematography is ingeniously simple throughout most of the picture, with DP Allen Daviau successfully pulling off an almost nostalgic approach to 80s suburbia that was clearly ahead of its time given that they were just on the cusp of the decade. His work in the woods however is most impressive, using giant flood lights and quick cuts for the films beginning in which E.T. makes his escape from the task force. But perhaps no lighting in the film is more operatic then E.T. and Elliott saying their goodbyes to one another.
Ill be right here
The visual effects orchestrated by Industrial Light & Magic are wonderfully simplistic perhaps better to remain nostalgic as opposed to the further advancements made in the Star Wars films. The most memorable effect in the film, of course, HAS to be the famous bicycle chase as Elliot, E.T. and their friends attempt to escape from the authorities only to be lifted into the skies by both E.T.s own power and John Williams rousing theme.
The image of Elliot and .E.T riding through the night, backit by the moon, has become an incredible icon of contemporary cinema becoming the logo for Spielbergs own Amblin Entertainment and going on to be lampooned countless times.
The exploits of Elliott and E.T. soar to a rollicking conclusion with a tearful farewell scene that is given an almost operatic quality by the emotional music of composer John Williams. Williams wrings every drop of emotion out of his skillful score and it remains not only one of his very best, but one of the few elements of the film that doesnt show its age. Its clear why Williams won the Academy Award for this material its simply breathtaking.
At its heart it IS, admittedly, a child film but theres nothing wrong with that at all.
A cherished and heartwarming classic for all time, E.T.: The Extra Terrestrial is a film that is truly for the entire family. At a time when cinema was becoming harsher and more brutal with films such as Death Race 2000 or The French Connection the decade just before, to see Spielberg bring a sense of fun and imaginative spectacle to the screen in light of those films is just incredible.
Such an endearing and timeless classic for all time, this will remain a pivotal motion picture for years to come.
As an adult E.T. is still a pretty decently made, if cynical, picture.
But for the inner child in all of us the one who seeks the intangible majesty and wonder of motion pictures its perfection.
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E.T.: THE EXTRA TERRESTRIAL (1982)
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Directed by ... Steven Spielberg
Written by Melissa Mathison
Produced by Kathleen Kennedy, Melissa Mathison and Steven Spielberg
Cinematography by ... Allen Daviau
Production Design by James D. Bissell
Set Decoration by Jackie Carr
Make Up Design by Robert Sidell
Visual Effects Design by Industrial Light & Magic
Editing by ... Carol Littleton
Original Motion Picture Score composed by ... John Williams
Henry Thomas ... Elliott
Dee Wallace ... Mary
Robert MacNaughton ... Michael
Drew Barrymore ... Gertie
Peter Coyote ... Keys
K.C. Martel ... Greg
Sean Frye ... Steve
C. Thomas Howell ... Tyler
David M. O'Dell ... Schoolboy
Richard Swingler ... Science Teacher
Frank Toth ... Policeman
Robert Barton ... Ultrasound Man
Michael Darrell ... Van Man
Pat Welsh ... E.T. (voice)
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Directed by ... Steven Spielberg
Written by Melissa Mathison
Produced by Kathleen Kennedy, Melissa Mathison and Steven Spielberg
Cinematography by ... Allen Daviau
Production Design by James D. Bissell
Set Decoration by Jackie Carr
Make Up Design by Robert Sidell
Visual Effects Design by Industrial Light & Magic
Editing by ... Carol Littleton
Original Motion Picture Score composed by ... John Williams
Henry Thomas ... Elliott
Dee Wallace ... Mary
Robert MacNaughton ... Michael
Drew Barrymore ... Gertie
Peter Coyote ... Keys
K.C. Martel ... Greg
Sean Frye ... Steve
C. Thomas Howell ... Tyler
David M. O'Dell ... Schoolboy
Richard Swingler ... Science Teacher
Frank Toth ... Policeman
Robert Barton ... Ultrasound Man
Michael Darrell ... Van Man
Pat Welsh ... E.T. (voice)
A group of Earth children help a stranded alien botanist return home.
----------------------------------------------
He is afraid. He is totally alone. He is 3 million light years from home.
----------------------------------------------
What makes a movie powerful is something intangible something that goes beyond the boundaries of shot composition or a calibrated sequence; a cue in the score or the words in a screenplay.
Its that sense of dazzle the majesty and wonder of motion pictures that every so often allows itself to be caught by a filmmaker.
Its that very same majesty and wonder that fuels one of the best films of the past 27 years a film that, at its core, is no more or less than about the bond between a small boy and an alien longing to return home.
He may have stopped our hearts with Jaws, but Steven Spielberg inarguably captured them with 1982s E.T. The Extra Terrestrial.
In a small home in the heart of suburban America lives a family the mother, Mary (Dee Wallace) and her children Michael (Robert MacNaughton), Gertie (a very young debut by Drew Barrymore) and Elliott (Henry Thomas). On one particularly ordinary night as Elliott waits to get a Pizza for Michael and his friends, something extraordinary happens he comes face to face with an alien.
Trying to lure him back over a few days (and with a little help from some Reeses Pieces), Elliott discovers and befriends the alien, whom he names E.T. The creature is an odd one, waddling around with a retractable neck and a fondness for beer developed over his time with Elliott. Unable to keep the secret for long, Elliott lets Michael and Gertie in on it. Taught how to speak by Gertie, E.T. tells them where hes from and that he wishes to return.
E.T. phone home.
As time runs out, Elliott and his siblings decide to help their newfound friend with his dilemma. But when the U.S. Government tracks down E.T. and plans to capture and study him, its up to Elliott and E.T.s adopted family to contact E.T.s ship and safely deliver him to his rightful family.
There's a reason why this movie is so enduringly popular and successful: you would have to be a very hard, unemotional person not to feel SOMETHING watching this movie. It tugs at the heartstrings effectively without doing so in an overly saccharine manner. The plot of the film, in all honesty, is quite simple but its through Spielbergs direction and the attention to pathos and wit that makes E.T. as charming as it is and impossible not to love.
I still vividly remember seeing E.T. for the first time when I was a child the scene of Elliots discovery of E.T. through the use of Reeses Pieces always stuck with me for some odd reason. The film has forever remained one of my favorite Spielberg exploits just shy of the first three Indiana Jones films, Jurassic Park and Jaws.
It's amazing to think that such a simple and standard story would go on to become a global phenomenon. E.T. blasted its way into pop culture and simultaneously became one of the most cherished films of all time. It's not hard to see why, for E.T. appeals to every member of the family, from it's joyous set ups as E.T. stumbles around middle America suburbia, to the doses of magic so gleefully constructed by Spielberg's inner child. Those wishing to scratch away at the surface (and there are many who have previously) will find Spielberg affecting his picture with divorce subtexts (his parents divorce was known to upset him deeply and it shows in the bulk of his films, which display a perverted family dynamic more often than not), whilst the government "villains" show an astute aside to paranoia of the times and suspicions of political operatives in the wake of the Communist frenzy of the 50s and the budding Nuclear Arms Race of the 80s.
The cast is just superb. Henry Thomas gives a remarkable performance for a child actor and its his emotional connection to E.T. that remains the focal point of the entire picture. He pulls off such emotion with incredible tact for someone his age and it works exceedingly well.
Dee Wallace is also a personal favorite as Elliotts stressed out mom its very nice to see her finally come to her sons aid by the films conclusion. Then you have the role of older brother Michael, played by Robert MacNaughton, he was great as the smart-alec older brother, however as the circumstances start to become more serious, he becomes a responsible person in the tricky situation. And seeing a very young Drew Barrymore is also quite a treat something about her in the role with those pigtails still makes you just smile at the simple and good-hearted nature of it all.
Even E.T. himself essentially a giant puppet manages to pull off a convincingly poignant performance. Not since Yoda had a puppet managed that...I suppose that our contemporary answer to the notion of a non-existent character giving a tremendous performance is perhaps Gollum from Lord of the Rings but since thats a CG character its a bit different. The light, raspy, and yet warm vocalizations for E.T by Debra Winger and Pat Welsh help give the lovable creature significant charm and the astounding visual effects that create his facial expressions are amazing. And who could ever forget the iconic image of his finger lighting up in order to heal a dead flower? Brilliant.
The cinematography is ingeniously simple throughout most of the picture, with DP Allen Daviau successfully pulling off an almost nostalgic approach to 80s suburbia that was clearly ahead of its time given that they were just on the cusp of the decade. His work in the woods however is most impressive, using giant flood lights and quick cuts for the films beginning in which E.T. makes his escape from the task force. But perhaps no lighting in the film is more operatic then E.T. and Elliott saying their goodbyes to one another.
Ill be right here
The visual effects orchestrated by Industrial Light & Magic are wonderfully simplistic perhaps better to remain nostalgic as opposed to the further advancements made in the Star Wars films. The most memorable effect in the film, of course, HAS to be the famous bicycle chase as Elliot, E.T. and their friends attempt to escape from the authorities only to be lifted into the skies by both E.T.s own power and John Williams rousing theme.
The image of Elliot and .E.T riding through the night, backit by the moon, has become an incredible icon of contemporary cinema becoming the logo for Spielbergs own Amblin Entertainment and going on to be lampooned countless times.
The exploits of Elliott and E.T. soar to a rollicking conclusion with a tearful farewell scene that is given an almost operatic quality by the emotional music of composer John Williams. Williams wrings every drop of emotion out of his skillful score and it remains not only one of his very best, but one of the few elements of the film that doesnt show its age. Its clear why Williams won the Academy Award for this material its simply breathtaking.
At its heart it IS, admittedly, a child film but theres nothing wrong with that at all.
A cherished and heartwarming classic for all time, E.T.: The Extra Terrestrial is a film that is truly for the entire family. At a time when cinema was becoming harsher and more brutal with films such as Death Race 2000 or The French Connection the decade just before, to see Spielberg bring a sense of fun and imaginative spectacle to the screen in light of those films is just incredible.
Such an endearing and timeless classic for all time, this will remain a pivotal motion picture for years to come.
As an adult E.T. is still a pretty decently made, if cynical, picture.
But for the inner child in all of us the one who seeks the intangible majesty and wonder of motion pictures its perfection.
----------------------------------------------
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I was too old for E.T. when it came out to get the full effect and didn't see it until I was an adult. The thing that strikes me about it now is how Elliott is a child of divorce and the effect it has on the how family. The father is the missing element of that household and E.T. temporarily fills part of the void. Elliott accepting that E.T. must leave is perhaps also dealing with the absence of his father.
Also, John Williams score is magnificent.
Also, John Williams score is magnificent.
SuperFerret
King of the Urban Jungle
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There's no fantasy in Jurassic Park. The original Star Wars trilogy is more fantasy due to the (then) magical nature of the Force. A spaceship does not Sci Fi make.
Figs
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There's no fantasy in Jurassic Park. The original Star Wars trilogy is more fantasy due to the (then) magical nature of the Force. A spaceship does not Sci Fi make.
Thanks for telling me the obvious.
It's kind of funny that you make a comment like that SuperFerret but then you bring up that fantasy is more of the likes of Star Wars. If anything both Jurassic Park and Star Wars have a bit of both fantasy and Sci Fi in them, whether you think so or not.
TruerToTheCore
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Sci-Fi is more a setting than a genre. It can be everything -- drama, horror, action, comedy...
El Payaso
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Same here. E.T. is more about a lonely traumatized child's imaginary friend than about aliens.
TruerToTheCore
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E.T. = Perfection
gwynplaine
L'homme qui rit.
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.
Aesop Rocks
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God CFE, I really wish you could have seen Moon. I'm sure it'd make it on this list. 
SuperFerret
King of the Urban Jungle
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Thanks for telling me the obvious.
It's kind of funny that you make a comment like that SuperFerret but then you bring up that fantasy is more of the likes of Star Wars. If anything both Jurassic Park and Star Wars have a bit of both fantasy and Sci Fi in them, whether you think so or not.
Fantasy needs elements of the impossible, namely magic. Sci Fi tends to be, for lack of a better term, more grounded in the real world. Cloning dinosaurs is potentially scientifically possible, as is a warp drive, a planet populated by evolved apes, etc. Use of the Force is (pre-midichlorians) inherently magical, and thus fantasy.
Of course, Sci Fi and Fantasy do overlap quite a bit, comic book superheroes being a prime example. On one hand, you have an alien man from a dead planet, truly Sci Fi stuff. On the other hand, you have a young boy who can invoke the name of a wizard to become the idealized avatar of the best of six mythical beings, pure fantasy. Then we see that these men share the same world, and have actually met a multitude of times. That's the overlap.
Jurassic Park, however, has no overlap. It's just Sci Fi.
CFE
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#14
In 1985, Doc Brown invents time travel; in 1955, Marty McFly accidentally prevents his parents from meeting, putting his own existence at stake.
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Hopping into the driver’s seat of a time-traveling Delorean built by an eccentric scientist…
What could be more fun?
Set your flux capacitors and strap yourselves in with 1985’s “Back to the Future.”
In present day 1985 teenager Marty McFly (Michael J. Fox) is a bit of an outcast…longing after girlfriend Jennifer (Claudia Wells), practicing his guitar and spending his evenings hanging out with eccentric professor Doc Emmett Brown (Christopher Lloyd) and his various crazy and failed inventions. However when Doc asks Marty to meet him late one night in a mall parking lot, he learns that the Doc has invented a working system for time travel…and inserted it into a DeLorean. Much to Doc's joy and Marty's surprise the machine works on its test run and Doc is all set to be the first man to travel in time when he is killed by the Libyan terrorist group who stole plutonium for him with the impression he was making them a bomb. Marty flees in the DeLorean but accidentally punches it up to 88 m.p.h. (the speed needed for time travel) and winds up back in 1955.
Back there he convinces Doc to help him out and come up with a way of getting him back to the future (hence the title). However the problem of no plutonium appears small when compared to Marty’s changing of the past…which ends up stopping his parents from meeting and falling in love.
Now, as Brown works to get McFly back into his own time, Marty must successfully have his parents fall in love…or he’ll cease to exist.
A clever combination of sci-fi and comedy that’s as light and enjoyable as you could ever hope for, director Robert Zemeckis does everything in his power (and succeeds) in hopes of making a film that never takes itself TOO seriously and is, in the end, just a really good time to be had at the movies.
One of the best things about “Back to the Future” is that it really makes you think. You can have in-depth conversations about the plausibility of the story-line and spend hours discussing the film. The story is awesome, it is delivered cleverly and entertainingly, and the movie as a whole is just so much FUN that it can be forgiven whatever number of time-travel discrepancies that may be found in the plot.
“Back to the Future”s cast is among one of the best assembled. Michael J. Fox created an iconic character with Marty McFly, a perfectly pitched precursor to the likes of Bart Simpson as the rebellious punk kid with a good heart who only wanted to get the girl, play his axe and skateboard his troubles away…its an endearing portrayal of the all American kid in all of us and it’s one that I’m sure has stuck with many a guy just like it has with me.
On the flipside, who doesn’t LOVE Doc Brown!? Christopher Lloyd admittedly hams it up quite a bit but c’mon…it’s Doc Brown we’re talking about! Crazed white hair and eccentricities abound as Lloyd makes quick work of stealing every scene he’s featured in. His chemistry with Fox (which went on to be fermented in “Back to the Future” parts II and III) also works incredibly well for the piece.
There’s also Thomas F. Wilson as dim-witted Biff…a tremendous numbskull of a foil for both Marty and George, Wilson’s sense of bravado makes the character quite intriguing though at times he can be a bit annoying.
Then you’ve got hottie Lea Thompson as Marty’s own mother…which by the way IS in fact quite weird to consider she’s got the hots for him (eww). Lea’s presence in the film (along with the less than stellar “Howard the Duck”
made her a fleeting yet unforgettable 80s icon and truth be told, if I were my age now back then, I’d definitely be longing for her. Crispin Glover is quite kooky as George McFly and I was always disappointed that he never reprised his role in the sequels…kind of a bummer but at least we got him in this one. Glover appears to be born to depict weirdos and uncanny freaks, so the role of introvert and mysterious George fits him perfectly.
While the plot of the film is somewhat simple, that’s not to say that “Back to the Future” isn’t iconic…it most certainly is. The film has a rhythm and sense of forward dynamics that makes it incredibly appealing whenever you watch it.
One of the best examples, of course, is the film’s finale. Following in the footsteps, given Spielberg’s involvement as executive producer, of “Raiders of the Lost Ark” and “Star Wars,” “Back to the Future” has the incredibly enthralling aspect of having each scenario topped by the next…just when you think the dilemma is solved, another takes its place.
It’s an overwhelming list of factors that McFly and Brown have to calculate for the famous Clock Tower sequence and it just keeps building and building and building as the DeLorean speeds down the street towards the tower…until finally, with a stroke of sheer luck and a bolt of lightning, Brown and McFly pull it off!!!
Just spectacular filmmaking, folks…astounding!
Dean Cundey’s cinematography is wonderfully refreshing given previous films for John Carpenter such as “Halloween,” “Escape from New York” and “The Thing” and its nice to see him being utilized by Zemeckis with more open, sweeping camera moves and kinetic shot composition.
The production design of Lawrence G. Paull is a complete 180 from his work on “Blade Runner,” and I’m particularly a fan of the films most famous locale…the Hill Valley town square. Particularly in its 1955 representation, Paull pulls out all the stops to transport both McFly and the audience back 30 years and it looks amazing…not too realistic though; more of a caricature of what the 50s were…but I still like that approach, it works for the film.
The visual effects work of Industrial Light & Magic, as it always tends to be, is exquisite and inspired. The actual act of time travel, complete with flaming tire tracks (though those are pulled off with practical effects work) is iconic in its own right…but it was ILM’s magic that got that DeLorean off the ground in the film’s shockingly awesome finale.
“Roads? Where we’re going we don’t need…Roads.”
How can you not feel good and uplifted with an ending like that!?
The film is offered an incredibly bombastic score composed by the one and only Alan Silvestri…whose rip roaring “Back to the Future” theme brings back fond memories of such proceeding material as the “Death Star Trench Run” or the “Raiders March”…it’s a piece of music that just gives you goosebumps and gets you raring to go with its vibrant horns and percussion work. Marvelous!
We’re also given a hip and awesome theme song with Huey Lewis and the News’ catchy “Back in Time” which I quickly became a fan of after seeing the film for the first time. They also had a big hit with the opening song "The Power of Love". Don't miss Lewis' cute cameo as a teacher at the beginning.
“Back to the Future” is, if you'll excuse the pun, a timeless classic. It is fit to be enjoyed by people of all ages and generations, and the fact that it's very much an eighties movie and relishes in that nostalgia never gets in its way.
As slick and as fun as it is engaging, “Back to the Future” is just one of those films that you can’t help but stand up and cheer for.
I notice more and more that the film is becoming part of a newer generation. “Back to the Future” works so well because of its triumphant story and its charming sense of humor…the entire cast and crew worked very hard together and made a terrific movie that will be looked back on thirty years from now and still be considered ‘cool.’
Easily.
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BACK TO THE FUTURE (1985)
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Directed by ... Robert Zemeckis
Written by … Bob Gale and Robert Zemeckis
Executive Produced by … Steven Spielberg, Kathleen Kennedy and Frank Marshall
Produced by … Neil Canton and Bob Gale
Cinematography by ... Dean Cundey
Production Design by … Lawrence G. Paull
Art Direction by … Todd Hallowell
Costume Design by … Deborah Lynn Scott
Editing by ... Harry Keramidas and Arthur Schmidt
Original Motion Picture Score composed by ... Alan Silvestri
Michael J. Fox ... Marty McFly
Christopher Lloyd ... Dr. Emmett Brown
Lea Thompson ... Lorraine Baines McFly
Crispin Glover ... George McFly
Thomas F. Wilson ... Biff Tannen
Claudia Wells ... Jennifer Parker
Marc McClure ... Dave McFly
Wendie Jo Sperber ... Linda McFly
George DiCenzo ... Sam Baines
Frances Lee McCain ... Stella Baines
James Tolkan ... Mr. Strickland
Jeffrey Jay Cohen ... Skinhead
Casey Siemaszko ... 3-D
Billy Zane ... Match
Harry Waters Jr. ... Marvin Berry
Donald Fullilove ... Goldie Wilson
Lisa Freeman ... Babs
Cristen Kauffman ... Betty
Elsa Raven ... Clocktower Woman
Will Hare ... Pa Peabody
Ivy Bethune ... Ma Peabody
Jason Marin ... Sherman Peabody
Katherine Britton ... Daughter Peabody
Jason Hervey ... Milton Baines
Maia Brewton ... Sally Baines
Courtney Gains ... Mark Dixon
Richard L. Duran ... Libyan Terrorist
Jeff O'Haco ... Libyan Van Driver
Johnny Green ... Scooter Kid #1
Jamie Abbott ... Scooter Kid #2
Norman Alden ... Lou Caruthers
Read Morgan ... Hill Valley Cop
Sachi Parker ... Bystander #1
Robert Krantz ... Bystander #2
Gary Riley ... Guy #1
Karen Petrasek ... Girl #1
George 'Buck' Flower ... Red Thomas
Tommy Thomas ... Starlighter
Granville 'Danny' Young ... Starlighter
David Harold Brown ... Starlighter
Lloyd L. Tolbert ... Starlighter
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Directed by ... Robert Zemeckis
Written by … Bob Gale and Robert Zemeckis
Executive Produced by … Steven Spielberg, Kathleen Kennedy and Frank Marshall
Produced by … Neil Canton and Bob Gale
Cinematography by ... Dean Cundey
Production Design by … Lawrence G. Paull
Art Direction by … Todd Hallowell
Costume Design by … Deborah Lynn Scott
Editing by ... Harry Keramidas and Arthur Schmidt
Original Motion Picture Score composed by ... Alan Silvestri
Michael J. Fox ... Marty McFly
Christopher Lloyd ... Dr. Emmett Brown
Lea Thompson ... Lorraine Baines McFly
Crispin Glover ... George McFly
Thomas F. Wilson ... Biff Tannen
Claudia Wells ... Jennifer Parker
Marc McClure ... Dave McFly
Wendie Jo Sperber ... Linda McFly
George DiCenzo ... Sam Baines
Frances Lee McCain ... Stella Baines
James Tolkan ... Mr. Strickland
Jeffrey Jay Cohen ... Skinhead
Casey Siemaszko ... 3-D
Billy Zane ... Match
Harry Waters Jr. ... Marvin Berry
Donald Fullilove ... Goldie Wilson
Lisa Freeman ... Babs
Cristen Kauffman ... Betty
Elsa Raven ... Clocktower Woman
Will Hare ... Pa Peabody
Ivy Bethune ... Ma Peabody
Jason Marin ... Sherman Peabody
Katherine Britton ... Daughter Peabody
Jason Hervey ... Milton Baines
Maia Brewton ... Sally Baines
Courtney Gains ... Mark Dixon
Richard L. Duran ... Libyan Terrorist
Jeff O'Haco ... Libyan Van Driver
Johnny Green ... Scooter Kid #1
Jamie Abbott ... Scooter Kid #2
Norman Alden ... Lou Caruthers
Read Morgan ... Hill Valley Cop
Sachi Parker ... Bystander #1
Robert Krantz ... Bystander #2
Gary Riley ... Guy #1
Karen Petrasek ... Girl #1
George 'Buck' Flower ... Red Thomas
Tommy Thomas ... Starlighter
Granville 'Danny' Young ... Starlighter
David Harold Brown ... Starlighter
Lloyd L. Tolbert ... Starlighter
In 1985, Doc Brown invents time travel; in 1955, Marty McFly accidentally prevents his parents from meeting, putting his own existence at stake.
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He was never in time for his classes... He wasn't in time for his dinner... Then one day... he wasn't in his time at all.
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Hopping into the driver’s seat of a time-traveling Delorean built by an eccentric scientist…
What could be more fun?
Set your flux capacitors and strap yourselves in with 1985’s “Back to the Future.”
In present day 1985 teenager Marty McFly (Michael J. Fox) is a bit of an outcast…longing after girlfriend Jennifer (Claudia Wells), practicing his guitar and spending his evenings hanging out with eccentric professor Doc Emmett Brown (Christopher Lloyd) and his various crazy and failed inventions. However when Doc asks Marty to meet him late one night in a mall parking lot, he learns that the Doc has invented a working system for time travel…and inserted it into a DeLorean. Much to Doc's joy and Marty's surprise the machine works on its test run and Doc is all set to be the first man to travel in time when he is killed by the Libyan terrorist group who stole plutonium for him with the impression he was making them a bomb. Marty flees in the DeLorean but accidentally punches it up to 88 m.p.h. (the speed needed for time travel) and winds up back in 1955.
Back there he convinces Doc to help him out and come up with a way of getting him back to the future (hence the title). However the problem of no plutonium appears small when compared to Marty’s changing of the past…which ends up stopping his parents from meeting and falling in love.
Now, as Brown works to get McFly back into his own time, Marty must successfully have his parents fall in love…or he’ll cease to exist.
A clever combination of sci-fi and comedy that’s as light and enjoyable as you could ever hope for, director Robert Zemeckis does everything in his power (and succeeds) in hopes of making a film that never takes itself TOO seriously and is, in the end, just a really good time to be had at the movies.
One of the best things about “Back to the Future” is that it really makes you think. You can have in-depth conversations about the plausibility of the story-line and spend hours discussing the film. The story is awesome, it is delivered cleverly and entertainingly, and the movie as a whole is just so much FUN that it can be forgiven whatever number of time-travel discrepancies that may be found in the plot.
“Back to the Future”s cast is among one of the best assembled. Michael J. Fox created an iconic character with Marty McFly, a perfectly pitched precursor to the likes of Bart Simpson as the rebellious punk kid with a good heart who only wanted to get the girl, play his axe and skateboard his troubles away…its an endearing portrayal of the all American kid in all of us and it’s one that I’m sure has stuck with many a guy just like it has with me.
On the flipside, who doesn’t LOVE Doc Brown!? Christopher Lloyd admittedly hams it up quite a bit but c’mon…it’s Doc Brown we’re talking about! Crazed white hair and eccentricities abound as Lloyd makes quick work of stealing every scene he’s featured in. His chemistry with Fox (which went on to be fermented in “Back to the Future” parts II and III) also works incredibly well for the piece.
There’s also Thomas F. Wilson as dim-witted Biff…a tremendous numbskull of a foil for both Marty and George, Wilson’s sense of bravado makes the character quite intriguing though at times he can be a bit annoying.
Then you’ve got hottie Lea Thompson as Marty’s own mother…which by the way IS in fact quite weird to consider she’s got the hots for him (eww). Lea’s presence in the film (along with the less than stellar “Howard the Duck”
made her a fleeting yet unforgettable 80s icon and truth be told, if I were my age now back then, I’d definitely be longing for her. Crispin Glover is quite kooky as George McFly and I was always disappointed that he never reprised his role in the sequels…kind of a bummer but at least we got him in this one. Glover appears to be born to depict weirdos and uncanny freaks, so the role of introvert and mysterious George fits him perfectly.While the plot of the film is somewhat simple, that’s not to say that “Back to the Future” isn’t iconic…it most certainly is. The film has a rhythm and sense of forward dynamics that makes it incredibly appealing whenever you watch it.
One of the best examples, of course, is the film’s finale. Following in the footsteps, given Spielberg’s involvement as executive producer, of “Raiders of the Lost Ark” and “Star Wars,” “Back to the Future” has the incredibly enthralling aspect of having each scenario topped by the next…just when you think the dilemma is solved, another takes its place.
It’s an overwhelming list of factors that McFly and Brown have to calculate for the famous Clock Tower sequence and it just keeps building and building and building as the DeLorean speeds down the street towards the tower…until finally, with a stroke of sheer luck and a bolt of lightning, Brown and McFly pull it off!!!
Just spectacular filmmaking, folks…astounding!
Dean Cundey’s cinematography is wonderfully refreshing given previous films for John Carpenter such as “Halloween,” “Escape from New York” and “The Thing” and its nice to see him being utilized by Zemeckis with more open, sweeping camera moves and kinetic shot composition.
The production design of Lawrence G. Paull is a complete 180 from his work on “Blade Runner,” and I’m particularly a fan of the films most famous locale…the Hill Valley town square. Particularly in its 1955 representation, Paull pulls out all the stops to transport both McFly and the audience back 30 years and it looks amazing…not too realistic though; more of a caricature of what the 50s were…but I still like that approach, it works for the film.
The visual effects work of Industrial Light & Magic, as it always tends to be, is exquisite and inspired. The actual act of time travel, complete with flaming tire tracks (though those are pulled off with practical effects work) is iconic in its own right…but it was ILM’s magic that got that DeLorean off the ground in the film’s shockingly awesome finale.
“Roads? Where we’re going we don’t need…Roads.”
How can you not feel good and uplifted with an ending like that!?
The film is offered an incredibly bombastic score composed by the one and only Alan Silvestri…whose rip roaring “Back to the Future” theme brings back fond memories of such proceeding material as the “Death Star Trench Run” or the “Raiders March”…it’s a piece of music that just gives you goosebumps and gets you raring to go with its vibrant horns and percussion work. Marvelous!
We’re also given a hip and awesome theme song with Huey Lewis and the News’ catchy “Back in Time” which I quickly became a fan of after seeing the film for the first time. They also had a big hit with the opening song "The Power of Love". Don't miss Lewis' cute cameo as a teacher at the beginning.
“Back to the Future” is, if you'll excuse the pun, a timeless classic. It is fit to be enjoyed by people of all ages and generations, and the fact that it's very much an eighties movie and relishes in that nostalgia never gets in its way.
As slick and as fun as it is engaging, “Back to the Future” is just one of those films that you can’t help but stand up and cheer for.
I notice more and more that the film is becoming part of a newer generation. “Back to the Future” works so well because of its triumphant story and its charming sense of humor…the entire cast and crew worked very hard together and made a terrific movie that will be looked back on thirty years from now and still be considered ‘cool.’
Easily.
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Double Down
A New Kind of Thrill
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I really want them to make one of those Lego video games of Back to the Future. That would be killer.
gwynplaine
L'homme qui rit.
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Speaking of Time Machine where's the awesome "Time after Time"?
H.G. Welles (Malcolm McDowell) vs Jack the ripper (David Warner)
.
H.G. Welles (Malcolm McDowell) vs Jack the ripper (David Warner)
.
CFE
The never-ending battle
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#13
Admiral Kirk's midlife crisis is interrupted by the return of an old enemy looking for revenge and a potentially destructive device.
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Undoubtedly the single greatest Star Trek film theres been yet in fact, it just might be the best work bearing the name Star trek that has ever been produced.
With its snappy direction, quick-wit, charming screenplay and wonderful performances, its a piece of work that Treks creator can be proud of.
And why not?
Truly, 1982s Star Trek II: The Wrath of Khan is Gene Roddenberrys legend at its absolute best.
The film is based off of the classic Trek episode Space Seed, (playing very much like an extension of that episode).
The episode introduced us to Kahn Noonian Singh (Ricardo Montalban), a genetically engineered super-warrior from the 20th century (1996 to be precise) who survived in cryogenic freeze until the crew of the Enterprise found his derelict space ship and revived him. Alas, his instinct to conquer survived as well, and only after an epic struggle is Captain Kirk able to deposit Kahn and his band of supermen in permanent exile on a garden planet called Ceti Alpha V.
Fast forward to present day the 23rd century
Our story now finds Admiral Kirk (William Shatner) in the beginnings of his mid-life crisis he feels conflicted, the weight of his own age bearing down on him as he spends his time in Starfleet training cadets when his heart truly lies in his former command of the Enterprise.
Meanwhile, the U.S.S. Reliant is on a mission to secure a dead planet-sized form in space to be used for conducting Project Genesis a device created by Dr. Carol Marcus and her son David (Bibi Besch and Merritt Butrick respectively) at Space Lab Regula One which, according to their work, can generate life itself if shot into the dead form, it will instantaneously create a new matrix that will transform the dead planet into one of lush life capable of sustaining organisms.
The power of creation itself.
The one drawback is that if the effect were to be used on a target populated with life, the existing life would be destroyed in favor of the new life created by Genesis.
Stumbling upon what they believe to be the prime candidate for the experiment, Ceti Alpha VI, Reliant Captain Tyrell (Paul Winfield) and Chekov (Walter Koenig) discover that it is, in fact, Ceti Alpha V as they are confronted by none other than Khan and the remaining crew of the Botany Bay; his loyal subjects. Khan decrees that he will take the Genesis device and use it as a weapon for himself.
Now, with time of the essence, the Enterprise must uncover the mystery of Genesis and stop Khan from having his vengeance both on Kirk and the Federation.
While J.J. Abrams is the one responsible for updating Roddenberrys opus for a new generation, it (just barely mind you) pales in comparison to the triumph of Khan. Predating J.J. by a hefty 27 years, Nicholas Meyer took the film as an opportunity to inject a sense of more kinetic pace and relentless action into the Trek universe...the results of which remain today unparalleled and spectacular.
Clearly, the fact that J.J. had to adopt so much material from Wrath should tell you something.
The film is magnificent in every way that good Star Trek can possibly be there is heroism, epic conflict, character depth and a completely fulfilling story that excites, captivates and above all it moves you.
A Star Trek film that actually provokes pure emotion thats a beautiful thing, I think.
On top of that, Khan is full of symbolism.
Right off the bat, theres the Kobayashi Maru test in it the instructors (who are the former senior staff of the Starship Enterprise) fake their own deaths. This is the first hint in the film that symbolically Admiral Kirk and his crew are dead. He and his crew accepted promotion to teach at Starfleet Academy, and stopped being the explorers in command of a starship facing the unknown.
For his birthday, Spock gives Kirk Dicken's "A Tale of Two Cities" and Kirk reads the first line, "It was the best of times; it was the worst of times." This begins Kirk's journey in the film that parallels the themes of the book. In Dicken's story, Dr. Manette is imprisoned and symbolically dies until word arrives that his daughter, Lucy with brilliant gold hair, resurrects him into the outside world of France, which is disintegrating to social unrest under ruthlessness of the monarchy and royalty.


At the same time that Kirk sits in the prison of his own promotion, Khan is buried alive on a barren windy desert planet where Kirk had placed him decades ago. Khan is resurrected from his "death" by the chance landing of Genesis Project terra-formers who are working with Starfleet and the chance to revenge himself upon Kirk. The Genesis Project is a missile that when detonated will take all matter in an area and recreates it into a planet livable for human life.
Similarly to Dickens' story, Kirk is contacted by one of the terra-formers who is the mother of his son, because they face imminent attack from Khan who had taken control of a Starfleet research vessel. Kirk is given permission to respond with the Enterprise and the trainee crew and to rescue his son.


In addition to Kirk's rescue of his son, vengeance at this point becomes the catalytic event that resurrects Kirk and Khan from their symbolic deaths. Khan takes on the obsession of Melville's Captain Ahab in "Moby Dick" and relentlessly pursues Kirk for revenge, despite protestations that he could do so much more with his new found freedom.


The price of vengeance is death.
After Khan's first devastating attack, a young engineering crewman dies. Kirk stands at his bedside and as the crewman reaches out for Kirk's tunic, blood smears on Kirk's white bib just before the crewman dies. In "A Tale of Two Cities" red wine or blood foreshadowed death for an aristocrat who killed a baby with his horse drawn coach.

Kirk and Khan at the end of the film engage in a battle to the death. However, just prior to Khan's death, Khan engages the Genesis device that will devastate all life and matter in the area, in its effort to reformulate the matter to make it a planet fit for human life. It appears that Kirk will die in the end as well. Spock makes the supreme sacrifice and repairs the ship at the cost of his own life, which allows the ship and Kirk to escape the Genesis explosion.
The cast of the original series and the first Motion Picture return for, in my opinion, their finest hour.
William Shatner, after the stinging reviews of his stilted performance in the first film, needed a strong script to provide 'damage control', and he got it. In perhaps his finest performance as Kirk, he absolutely dominates the screen, whether ruminating on his own mortality with McCoy, explaining how he 'beat' the Kobiyashi Maru scenario by cheating ("I dont like to lose"), discovering that after years as an interstellar lothario, he is a father (and by the one woman he truly 'loved'), playing 'cat and mouse' with Khan, or facing the ultimate sacrifice of his friend, Spock. Both decisive and likable, Shatner's Kirk is the glue that holds The Wrath of Khan together, and he is brilliant.
Leonard Nimoy, getting every actor's dream of 'dying' onscreen, gives Spock a poignancy that is, ultimately, heartbreaking.
Now lets take a small moment to comment on what remains to this day one of the most shocking and heart wrenching moments in Science Fiction no in Film itself, Id say.
The concept of Spocks death is one that many fans were obviously apprehensive of. After all Spock, maybe even more so than Kirk, represents the heart of Star Trek despite his own penchant for logic over emotion.
Spock makes the supreme sacrifice and repairs the ship at the cost of his own life, which allows the ship and Kirk to escape the Genesis explosion.


Spock's sacrifice mirrors Charles Darnay's and Sidney Carton's sacrifice at the end of "A Tale of Two Cities" where one person is hanged in place of the other.

Just as the film began with the first line of "A Tale of Two Cities", the film ends with the last line of "A Tale of Two Cities".
"It is a far better thing I do, than I have ever done before. It is a better resting place, than I have ever known."
Its such a powerful moment in the history of these characters to this day, Spocks death can still put a pump in my throat if I allow it to. Its the ultimate symbol of Spocks friendship with Jim and it brings this incredible dynamic to their relationship as characters that is full realized in the resulting Star Treks III and IV that make up the trilogy.
I have been and always shall be your friend.
Back to the cast.
DeForest Kelley, excellent as Dr. McCoy, not only offers righteous indignation over the implications of the Genesis Project, but projects such an obvious affection for both Kirk and his 'sparring partner', Spock, that, far more than in the first film, you can see the nearly symbiotic link between the three leads. The rest of the original cast, despite small roles, still have far more to do than in the first film, and are obviously enjoying themselves (except, understandably, Walter Koenig's 'Chekov', when the parasite is put into his ear!)
Of the other leads, Ricardo Montalban lustily chews up the scenery as an 'Ahab'-influenced older Khan but while it is a bit camped up, it works. Why? Because you can clearly identify the passion in Montalbans performance he was loving every minute of it and you can tell. His fire, his rage and his madness against Kirk is palpable.
But what makes it work even better is that, despite hamming it up every so often, Khan plays his insanity quiet. Hes not raving like the mad man that he is the entire time but you can still tell that underneath the stilted dialect and superior artificial intelligence that he is, in fact, insane.
Ive done far worse than kill you Ive hurt you and I wish to go on hurting you
A pre-Cheers Kirstie Alley joins the cast as a newbie, giving Vulcan Lieutenant Saavik far more sex appeal than her Search for Spock successor Robin Curtis.
Paul Winfield makes the most of his brief role as Chekov's new boss, the doomed Captain Terrell; and Bibi Besch provides a combination of intellect, toughness, and affection playing Kirk's lost love, Carol Marcus.
The only personal disappointment is Merritt Butrick as Kirk's newly-revealed son, David; in a poorly-written role, he has little to do but gripe about Kirk, before and after he discovers their relationship.
The visual stylings of Khan are absolutely astounding.
With the recent creation of ILM, the films visual and optical effects look better than ever before the Enterprise herself is given an even bigger sense of noble majesty than in the Robert Wise film though, admittedly, the space dock sequence in the original film is still magnificent; so much so that Khan used it again!
The film had terrific effects for its time, particularly during the Mutaran Nebula sequence and its uses of both the space dock and voyage sequences from Star Trek: the Motion Picture are quite effective. The space battle scene between the Enterprise and Reliant is one of the best sequences in the entire 'Star Trek' film series...filled with incredible tension and spectacle.
The films production and costume design are also a treat One of my favorite sets in the film, used briefly, is Kirks apartment back at Starfleet. Its architecture and use of glass and muted metallic surfaces is a sign of impeccable taste on the part of designer Joseph Jennings (I LOVE that fireplace!) and his attention to detail aboard both the Enterprise and Reliant is also wonderful. And then of course theres Regula One, looking like a supped up version of the Adam West Batcave which I was charmed by.
The costumes for our heroes are a vast improvement over the PJs they wore in the first film I just love that they are now all in a unified uniform, which helps with a sense of ranking among the crew (though the whole Yellow/Blue/Red shirt concept is still good to). And then theres Khan and the Botany Bay refugees looking like they stepped out of The Road Warrior. For me it works and I think its also an improvement over Khans original garb in Space Seed.
The film is capped with a delightful score composed by James Horner. Originally told not to incorporate any of Jerry Goldsmith's themes from The Motion Picture; he later admitted that he sneaked a bit of it in anyway, along with Alexander Courage's original TV themes. While lacking Goldsmith's grandeur, Horners music is evocative and sweeping, particularly in the films Main Title and the cue that begins the final battle as Kirk and co. beam up from the Genesis Cave and re-board the Enterprise. Horner would return to score The Search for Spock, though its more or less just the same material.
To study "Star Trek II: The Wrath of Khan" is to delve into some of the most important human themes in English literature. It is a "Star Trek" film that aspired to be more than the mindless action films that come out every year. It is a study of characters' death and rebirth that one rarely finds in any film. Each of the characters are well acted and the direction and cinematography are outstanding.
If one studies "Star Trek II: The Wrath of Khan", understands all that it attempted and succeeded in doing, I think without a doubt it will be considered one of the towering cinematic achievements in science fiction film history.
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STAR TREK II: THE WRATH OF KHAN (1982)
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Directed by ... Nicholas Meyer
Story by Harve Bennett, Jack B. Sowards and Samuel A. Peeples
Screenplay by Jack B. Sowards and Nicholas Meyer
Based on characters created by Gene Roddenberry
Executive Produced by Harve Bennett
Produced by Robert Sallin and William F. Phillips
Cinematography by ... Gayne Rescher
Production Design by Joseph R. Jennings
Art Direction by Michael Minor
Make Up Design by Werner Keppler and james Lee McCoy
Visual Effects Design by Industrial Light & Magic
Costume Design by Robert Fletcher
Editing by ... William Paul Dornisch
Original Motion Picture Score composed by ... James Horner
William Shatner ... Admiral James Tiberius Kirk
Leonard Nimoy ... Captain Spock
Ricardo Montalban ... Khan
DeForest Kelley ... Dr. Leonard Bones McCoy
James Doohan ... Montgomery Scott/Scotty
Walter Koenig ... Mr. Pavel Chekov
George Takei ... Mr. Hikaru Sulu
Nichelle Nichols ... Cmdr. Uhura
Bibi Besch ... Dr. Carol Marcus
Merritt Butrick ... Dr. David Marcus
Kirstie Alley ... Lt. Saavik
Jeff McBride ... Khan's Crewman
Paul Winfield ... Capt. Clark Terrell
Ike Eisenmann ... Midshipman Peter Preston
John Vargas ... Jedda
John Winston ... Cmdr. Kyle
Paul Kent ... Lt. Cmdr. Beach
Nicholas Guest ... Cadet
Russell Takaki ... Madison
Kevin Rodney Sullivan ... March
Joel Marstan ... Crew Chief
Teresa E. Victor ... Bridge (voice)
Dianne Harper ... Radio (voice)
David Ruprecht ... Radio (voice)
Marcy Vosburgh ... Computer (voice)
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[YT]wRnSnfiUI54[/YT]
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Directed by ... Nicholas Meyer
Story by Harve Bennett, Jack B. Sowards and Samuel A. Peeples
Screenplay by Jack B. Sowards and Nicholas Meyer
Based on characters created by Gene Roddenberry
Executive Produced by Harve Bennett
Produced by Robert Sallin and William F. Phillips
Cinematography by ... Gayne Rescher
Production Design by Joseph R. Jennings
Art Direction by Michael Minor
Make Up Design by Werner Keppler and james Lee McCoy
Visual Effects Design by Industrial Light & Magic
Costume Design by Robert Fletcher
Editing by ... William Paul Dornisch
Original Motion Picture Score composed by ... James Horner
William Shatner ... Admiral James Tiberius Kirk
Leonard Nimoy ... Captain Spock
Ricardo Montalban ... Khan
DeForest Kelley ... Dr. Leonard Bones McCoy
James Doohan ... Montgomery Scott/Scotty
Walter Koenig ... Mr. Pavel Chekov
George Takei ... Mr. Hikaru Sulu
Nichelle Nichols ... Cmdr. Uhura
Bibi Besch ... Dr. Carol Marcus
Merritt Butrick ... Dr. David Marcus
Kirstie Alley ... Lt. Saavik
Jeff McBride ... Khan's Crewman
Paul Winfield ... Capt. Clark Terrell
Ike Eisenmann ... Midshipman Peter Preston
John Vargas ... Jedda
John Winston ... Cmdr. Kyle
Paul Kent ... Lt. Cmdr. Beach
Nicholas Guest ... Cadet
Russell Takaki ... Madison
Kevin Rodney Sullivan ... March
Joel Marstan ... Crew Chief
Teresa E. Victor ... Bridge (voice)
Dianne Harper ... Radio (voice)
David Ruprecht ... Radio (voice)
Marcy Vosburgh ... Computer (voice)
Admiral Kirk's midlife crisis is interrupted by the return of an old enemy looking for revenge and a potentially destructive device.
----------------------------------------------
At the end of the universe lies the beginning of vengeance.
----------------------------------------------
Undoubtedly the single greatest Star Trek film theres been yet in fact, it just might be the best work bearing the name Star trek that has ever been produced.
With its snappy direction, quick-wit, charming screenplay and wonderful performances, its a piece of work that Treks creator can be proud of.
And why not?
Truly, 1982s Star Trek II: The Wrath of Khan is Gene Roddenberrys legend at its absolute best.
The film is based off of the classic Trek episode Space Seed, (playing very much like an extension of that episode).
The episode introduced us to Kahn Noonian Singh (Ricardo Montalban), a genetically engineered super-warrior from the 20th century (1996 to be precise) who survived in cryogenic freeze until the crew of the Enterprise found his derelict space ship and revived him. Alas, his instinct to conquer survived as well, and only after an epic struggle is Captain Kirk able to deposit Kahn and his band of supermen in permanent exile on a garden planet called Ceti Alpha V.
Fast forward to present day the 23rd century
Our story now finds Admiral Kirk (William Shatner) in the beginnings of his mid-life crisis he feels conflicted, the weight of his own age bearing down on him as he spends his time in Starfleet training cadets when his heart truly lies in his former command of the Enterprise.
Meanwhile, the U.S.S. Reliant is on a mission to secure a dead planet-sized form in space to be used for conducting Project Genesis a device created by Dr. Carol Marcus and her son David (Bibi Besch and Merritt Butrick respectively) at Space Lab Regula One which, according to their work, can generate life itself if shot into the dead form, it will instantaneously create a new matrix that will transform the dead planet into one of lush life capable of sustaining organisms.
The power of creation itself.
The one drawback is that if the effect were to be used on a target populated with life, the existing life would be destroyed in favor of the new life created by Genesis.
Stumbling upon what they believe to be the prime candidate for the experiment, Ceti Alpha VI, Reliant Captain Tyrell (Paul Winfield) and Chekov (Walter Koenig) discover that it is, in fact, Ceti Alpha V as they are confronted by none other than Khan and the remaining crew of the Botany Bay; his loyal subjects. Khan decrees that he will take the Genesis device and use it as a weapon for himself.
Now, with time of the essence, the Enterprise must uncover the mystery of Genesis and stop Khan from having his vengeance both on Kirk and the Federation.
While J.J. Abrams is the one responsible for updating Roddenberrys opus for a new generation, it (just barely mind you) pales in comparison to the triumph of Khan. Predating J.J. by a hefty 27 years, Nicholas Meyer took the film as an opportunity to inject a sense of more kinetic pace and relentless action into the Trek universe...the results of which remain today unparalleled and spectacular.
Clearly, the fact that J.J. had to adopt so much material from Wrath should tell you something.
The film is magnificent in every way that good Star Trek can possibly be there is heroism, epic conflict, character depth and a completely fulfilling story that excites, captivates and above all it moves you.
A Star Trek film that actually provokes pure emotion thats a beautiful thing, I think.
On top of that, Khan is full of symbolism.
Right off the bat, theres the Kobayashi Maru test in it the instructors (who are the former senior staff of the Starship Enterprise) fake their own deaths. This is the first hint in the film that symbolically Admiral Kirk and his crew are dead. He and his crew accepted promotion to teach at Starfleet Academy, and stopped being the explorers in command of a starship facing the unknown.
For his birthday, Spock gives Kirk Dicken's "A Tale of Two Cities" and Kirk reads the first line, "It was the best of times; it was the worst of times." This begins Kirk's journey in the film that parallels the themes of the book. In Dicken's story, Dr. Manette is imprisoned and symbolically dies until word arrives that his daughter, Lucy with brilliant gold hair, resurrects him into the outside world of France, which is disintegrating to social unrest under ruthlessness of the monarchy and royalty.


At the same time that Kirk sits in the prison of his own promotion, Khan is buried alive on a barren windy desert planet where Kirk had placed him decades ago. Khan is resurrected from his "death" by the chance landing of Genesis Project terra-formers who are working with Starfleet and the chance to revenge himself upon Kirk. The Genesis Project is a missile that when detonated will take all matter in an area and recreates it into a planet livable for human life.
Similarly to Dickens' story, Kirk is contacted by one of the terra-formers who is the mother of his son, because they face imminent attack from Khan who had taken control of a Starfleet research vessel. Kirk is given permission to respond with the Enterprise and the trainee crew and to rescue his son.


In addition to Kirk's rescue of his son, vengeance at this point becomes the catalytic event that resurrects Kirk and Khan from their symbolic deaths. Khan takes on the obsession of Melville's Captain Ahab in "Moby Dick" and relentlessly pursues Kirk for revenge, despite protestations that he could do so much more with his new found freedom.


The price of vengeance is death.
After Khan's first devastating attack, a young engineering crewman dies. Kirk stands at his bedside and as the crewman reaches out for Kirk's tunic, blood smears on Kirk's white bib just before the crewman dies. In "A Tale of Two Cities" red wine or blood foreshadowed death for an aristocrat who killed a baby with his horse drawn coach.

Kirk and Khan at the end of the film engage in a battle to the death. However, just prior to Khan's death, Khan engages the Genesis device that will devastate all life and matter in the area, in its effort to reformulate the matter to make it a planet fit for human life. It appears that Kirk will die in the end as well. Spock makes the supreme sacrifice and repairs the ship at the cost of his own life, which allows the ship and Kirk to escape the Genesis explosion.
The cast of the original series and the first Motion Picture return for, in my opinion, their finest hour.
William Shatner, after the stinging reviews of his stilted performance in the first film, needed a strong script to provide 'damage control', and he got it. In perhaps his finest performance as Kirk, he absolutely dominates the screen, whether ruminating on his own mortality with McCoy, explaining how he 'beat' the Kobiyashi Maru scenario by cheating ("I dont like to lose"), discovering that after years as an interstellar lothario, he is a father (and by the one woman he truly 'loved'), playing 'cat and mouse' with Khan, or facing the ultimate sacrifice of his friend, Spock. Both decisive and likable, Shatner's Kirk is the glue that holds The Wrath of Khan together, and he is brilliant.
Leonard Nimoy, getting every actor's dream of 'dying' onscreen, gives Spock a poignancy that is, ultimately, heartbreaking.
Now lets take a small moment to comment on what remains to this day one of the most shocking and heart wrenching moments in Science Fiction no in Film itself, Id say.
The concept of Spocks death is one that many fans were obviously apprehensive of. After all Spock, maybe even more so than Kirk, represents the heart of Star Trek despite his own penchant for logic over emotion.
Spock makes the supreme sacrifice and repairs the ship at the cost of his own life, which allows the ship and Kirk to escape the Genesis explosion.


Spock's sacrifice mirrors Charles Darnay's and Sidney Carton's sacrifice at the end of "A Tale of Two Cities" where one person is hanged in place of the other.

Just as the film began with the first line of "A Tale of Two Cities", the film ends with the last line of "A Tale of Two Cities".
"It is a far better thing I do, than I have ever done before. It is a better resting place, than I have ever known."
Its such a powerful moment in the history of these characters to this day, Spocks death can still put a pump in my throat if I allow it to. Its the ultimate symbol of Spocks friendship with Jim and it brings this incredible dynamic to their relationship as characters that is full realized in the resulting Star Treks III and IV that make up the trilogy.
I have been and always shall be your friend.
Back to the cast.
DeForest Kelley, excellent as Dr. McCoy, not only offers righteous indignation over the implications of the Genesis Project, but projects such an obvious affection for both Kirk and his 'sparring partner', Spock, that, far more than in the first film, you can see the nearly symbiotic link between the three leads. The rest of the original cast, despite small roles, still have far more to do than in the first film, and are obviously enjoying themselves (except, understandably, Walter Koenig's 'Chekov', when the parasite is put into his ear!)
Of the other leads, Ricardo Montalban lustily chews up the scenery as an 'Ahab'-influenced older Khan but while it is a bit camped up, it works. Why? Because you can clearly identify the passion in Montalbans performance he was loving every minute of it and you can tell. His fire, his rage and his madness against Kirk is palpable.
But what makes it work even better is that, despite hamming it up every so often, Khan plays his insanity quiet. Hes not raving like the mad man that he is the entire time but you can still tell that underneath the stilted dialect and superior artificial intelligence that he is, in fact, insane.
Ive done far worse than kill you Ive hurt you and I wish to go on hurting you
A pre-Cheers Kirstie Alley joins the cast as a newbie, giving Vulcan Lieutenant Saavik far more sex appeal than her Search for Spock successor Robin Curtis.
Paul Winfield makes the most of his brief role as Chekov's new boss, the doomed Captain Terrell; and Bibi Besch provides a combination of intellect, toughness, and affection playing Kirk's lost love, Carol Marcus.
The only personal disappointment is Merritt Butrick as Kirk's newly-revealed son, David; in a poorly-written role, he has little to do but gripe about Kirk, before and after he discovers their relationship.
The visual stylings of Khan are absolutely astounding.
With the recent creation of ILM, the films visual and optical effects look better than ever before the Enterprise herself is given an even bigger sense of noble majesty than in the Robert Wise film though, admittedly, the space dock sequence in the original film is still magnificent; so much so that Khan used it again!
The film had terrific effects for its time, particularly during the Mutaran Nebula sequence and its uses of both the space dock and voyage sequences from Star Trek: the Motion Picture are quite effective. The space battle scene between the Enterprise and Reliant is one of the best sequences in the entire 'Star Trek' film series...filled with incredible tension and spectacle.
The films production and costume design are also a treat One of my favorite sets in the film, used briefly, is Kirks apartment back at Starfleet. Its architecture and use of glass and muted metallic surfaces is a sign of impeccable taste on the part of designer Joseph Jennings (I LOVE that fireplace!) and his attention to detail aboard both the Enterprise and Reliant is also wonderful. And then of course theres Regula One, looking like a supped up version of the Adam West Batcave which I was charmed by.
The costumes for our heroes are a vast improvement over the PJs they wore in the first film I just love that they are now all in a unified uniform, which helps with a sense of ranking among the crew (though the whole Yellow/Blue/Red shirt concept is still good to). And then theres Khan and the Botany Bay refugees looking like they stepped out of The Road Warrior. For me it works and I think its also an improvement over Khans original garb in Space Seed.
The film is capped with a delightful score composed by James Horner. Originally told not to incorporate any of Jerry Goldsmith's themes from The Motion Picture; he later admitted that he sneaked a bit of it in anyway, along with Alexander Courage's original TV themes. While lacking Goldsmith's grandeur, Horners music is evocative and sweeping, particularly in the films Main Title and the cue that begins the final battle as Kirk and co. beam up from the Genesis Cave and re-board the Enterprise. Horner would return to score The Search for Spock, though its more or less just the same material.
To study "Star Trek II: The Wrath of Khan" is to delve into some of the most important human themes in English literature. It is a "Star Trek" film that aspired to be more than the mindless action films that come out every year. It is a study of characters' death and rebirth that one rarely finds in any film. Each of the characters are well acted and the direction and cinematography are outstanding.
If one studies "Star Trek II: The Wrath of Khan", understands all that it attempted and succeeded in doing, I think without a doubt it will be considered one of the towering cinematic achievements in science fiction film history.
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Vengeance
Only verdict is Vengeance
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I know a lot of people hold it in high regard and atop most peoples list of Star Trek movies but I actually consider it the 3rd worst though not to ay it isn't good cause I do like all the Star Trek movies.
I miss the Zemeckis with the cartoon sensibilities and energy of BTTF and Who Framed Roger Rabbit? His legacy was in that old, screwball energy and not into trying to be Lucas or Cameron with motion capture technology.
Wrath of Khan I think is far ahead of every other Star Trek movie and a model of how to do a franchise entry. The stakes are big. The villain is compelling. Kirk goes on a true emotional journey. And there are many directions to go in at the end.
One of the things that I think really sells Spock's death and adds an extra dimension of poignancy is the fact that they're separated by inches of clear plastic. There's no human contact in their last goodbye. Their separation has already begun.
Wrath of Khan I think is far ahead of every other Star Trek movie and a model of how to do a franchise entry. The stakes are big. The villain is compelling. Kirk goes on a true emotional journey. And there are many directions to go in at the end.
One of the things that I think really sells Spock's death and adds an extra dimension of poignancy is the fact that they're separated by inches of clear plastic. There's no human contact in their last goodbye. Their separation has already begun.
thejon93
Forever Haunted
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I actually preferred 'First Contact' to 'Wrath of Khan'. 'The Voyage Home' would actually be #2 on my list, as well. 'Khan' would take place at third. But, that's what I always loved about the 'Star Trek' films. They're all pretty much different from the previous version released.
'The Motion Picture' was a blatant rip-off of '2001'. 'Khan' was something completely fresh and original. 'Search For Spock' was fun and entertaining. 'The Voyage Home' felt like you were on a trip with the crew. And, it goes on and on and on. That's why I think that many lists can vary for people when it comes to 'Star Trek' films. It's only the ones that can break the barrier that matters.
'The Motion Picture' was a blatant rip-off of '2001'. 'Khan' was something completely fresh and original. 'Search For Spock' was fun and entertaining. 'The Voyage Home' felt like you were on a trip with the crew. And, it goes on and on and on. That's why I think that many lists can vary for people when it comes to 'Star Trek' films. It's only the ones that can break the barrier that matters.
TruerToTheCore
Sidekick
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I must agree here, WoK is a little bit overrated, still a very good movie for me. But to be honest, half of the Star Trek movies suck.
thejon93
Forever Haunted
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I've seen a lot of highly praised movies. But, for the great mass of those movies, I wish that they had been recorded as cult-classics. One that I can say that to is (unfortunately) 'The Dark Knight'. I think that it's a great movie, overblown by a bunch of fanboy wannabes who love to compare it to everything. It's annoying and it's unnecessary. No film should ever be compared to another; unless it's a blatant rip-off of a past film. It's just pointless. Enjoy a film if you enjoyed it. Don't beat it too bloody death, though.
CFE
The never-ending battle
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#12
Luke Skywalker has returned to
his home planet of Tatooine in
an attempt to rescue his
friend Han Solo from the
clutches of the vile gangster
Jabba the Hutt.
Little does Luke know that the
GALACTIC EMPIRE has secretly
begun construction on a new
armored space station even
more powerful than the first
dreaded Death Star.
When completed, this ultimate
weapon will spell certain doom
for the small band of rebels
struggling to restore freedom
to the galaxy
----------------------------------------------
----------------------------------------------
What began as a galactic fairy tale in 1977 had grown into the single greatest space opera for all time.
And with two highly successful films laid down, the stakes for the final chapter in George Lucas saga were higher than they had ever been before. Would the Rebellion prevail, or be decimated by the Empire? Would the series burn itself out or make box office history again? Would Lucas captivating story end with a clunker or deliver a rousing finish?
Only time and a large amount of work would bring us the answers
And they did, with gusto in 1983s Return of the Jedi.
An unknown yet short amount of time has passed since the series of terrible events that plagued our heroes culminating in the abduction of Han Solo (Harrison Ford) by Boba Fett and the Empire while Luke Skywalker (Mark Hamill) discovered his true heritage as the son of Darth Vader.
Luke returns to his home planet Tatooine in the hope of reclaiming Han from notorious gangster Jabba the Hutt, whos holding Solo hostage for overdue debts upon safely collecting his friend, Luke travels back to Dagobah while Han, Leia Organa (Carrie Fisher), Lando Calrissian (Billy Dee Williams), Chewbacca (Peter Mayhew) and the droids C-3PO and R2-D2 (Anthony Daniels and Kenny Baker, respectively) regroup with the Rebel Fleet to prepare for their final assault against the Imperial Forces.
Learning that the Empire is constructing a larger and deadlier battle station just above the forest moon of Endor and that the Emperor (Ian McDiarmid) is overseeing the completion himself, the Rebellion take it as the perfect opportunity to strike feeling that the death of the Emperor and the destruction of the 2nd Death Star will be more than enough leverage to disband the Galactic Empire once and for all.
But the struggle will not be easy as Vader and the Emperor plan one final attempt to lure Luke to the dark side of the Force.
Now, many fans are divided over Jedi. Some consider it the best of the saga (I wouldnt go that far) while others consider it to be beneath the Prequels (why would ANYONE go that far?). Thematically its true maybe the story material of Episode III IS stronger.
But cmon this is the triumphant conclusion of the saga and Id most certainly place all three original films over the prequels any day.
Directed by late Eye of the Needle helmer Richard Marquand (tapped for his character driven approach to storytelling) Jedi isnt as strong as its two predecessors but it fits in its own right as the third chapter in the continuing adventures of Luke Skywalker and the Rebel Alliance. It ends the trilogy on such a definitive and high note that you can't help but love. What makes the trilogy as a whole so spectacular is that, as stated by Empire director Irvin Kershner, each film is like the movement of a symphony.
Each Original Episode, despite Lucas intent of being part of a larger picture, acts as there own little entities of awesomeness and Jedi is no exception.
So its not my favorite Star Wars film that hardly makes it a bad film by any means. Compared to many films around the same time and up until today, Jedi is gold.
The cast of the film is back from Empire with pardon the pun force.
Mark Hamill delivers his finest performance as Luke Skywalker, finally coming into his own as a full fledged Jedi Knight complete with a kick ass green-bladed lightsaber (at the time, we had only seen red and blue so to see a new color blade always struck me as a big and awesome deal). Its a complete 180 from the whiny farm boy of A New Hope into this developed and provoking man that is well spoken and well carried as he attempts to redeem his father and destroy the Empire.
That said, Harrison and Carrie take somewhat of a back seat which I suppose is only fair sine they were clearly the focal point of The Empire Strikes Back. Theyre chemistry is still pretty good, but theres always a small part in the back of your mind that feels that Hans story had run its course.
There have been reports that both screenwriter Lawrence Kasdan and Harrison himself wanted Han to commit self-sacrifice and die to save Luke and Leia and in a lot of thematic ways that wouldve worked very well.
Nevertheless, we get yet another fun-filled Han which isnt so bad really.
Hey its me!
Whats probably most intriguing about the cast is that one of its most prominent players isnt even human. Of course, Im referring to the one and only Jabba the Hutt.
Not too pleasant of a being bringing back some vague memory of Sydney Greenstreet in Casablanca, Jabba delivers quite the performance for a puppet almost as good as Yoda, who takes his final bow in a short yet captivating appearance before becoming one with the Force.
The costumes of the film are also a note worth commenting on.
First things first whoever came up with the idea of putting Luke Skywalker into all black back in 83 I salute you! Jedi Luke Skywalker was such a bad ass when I first saw the film and it all stems from that costume. Now I know that its meant to parallel Anakin in Episode III, whose Jedi robes were black as opposed to the traditional off-white but thats of no consequence to the costume here I just thought it looked cool.
Another, of course you know where this is going.
Two words: Slave Leia.
Such an icon of fanboyism you cant help but beam if youre a guy thinking about that gold bikini. Its the one universal constant for geeky guy foreplay
French Maid? No.
Nurse? No.
Slave Leia? HELL F**KING YES!
Carrie never looked better (well thats not entirely true I thought she was quite beautiful in Empire.)
When it comes to the visual condition, youd be hard pressed to find anything that can top the original Star Wars films and truly, ILM pulls off yet more incredible work with Jedi.
First youve got the magnificent Sail Barge Assault sequence, which is dynamic and bombastic the only way Star Wars can be. When you can take a sequence and lace it with all these layers of heroics, humor, swashbuckling and victory its just so breathtaking.
Fortunately the film doesnt stop there in trying to top itself.
Case in point the famous Speeder Bike Chase through the forests of Endor.
I vividly remember being floored by the movement of that sequence. Also, who doesnt love that awesome sounds the bikes made when they passed by camera? The speeder bikes themselves were also a pretty sweet design; I remember seeing a childrens tricycle version at a Sci-fI Expo years ago far out! But that scene is one of a handful from Jedi that are the most memorable its kinetic in the same vein as the Asteroid Chase in Empire.
But of course the biggest and brassiest sequence HAS to be the Battle of Endor itself.
A precursor to the Battle of Naboo in Phantom Menace, youve got:
The Space Battle between the Rebel and Imperial Fleets, The Forest Battle with Han, Leia, Chewie and the Ewoks destroying the Shield Generator and the most personal battle of them all in a lightsaber duel between Luke and Vader presided over by the Emperor.
The Space Battle is like the Battle of Yavin times 100 with a barrage of Tie Fighters and Tie Interceptors dueling with X-Wings, Y-Wings, B-Wings, A-Wings and, of course, the Millenium Falcon. And just like the Battle of Yavin, you can feel every single laser bolt every sharp bank and every explosion as Williams music keeps laying on the tension and spectacle quite thick.
I also loved the plethora of new ships the Rebel Fleet looks magnificent as they all go to light speed to approach the Death Star.
And this time around, the battle station looks even more ominous thanks to its incomplete façade. I cant imagine the sheer volume of hours that went into the construction of all these models, but they look breathtaking.
Another favorite is the Imperial Shuttle Tydirium I always liked the three-winged design of that ship.
And that moment when the Super Star Destroyer Executor crashes into a fireball on the Death Star surface? WOW!
The Forest Battle is a bit smaller in scale than, say the Grass Battle between the droids and the Gungans, but its still amazing. Whats so compelling about both that struggle and the film at large is its underlying message that it doesnt matter how powerful your technology is or how much resource you have that having the heart and the will is all you need to triumph and conquer over evil.
Again Im not sure why people were so up in arms about the Ewoks, I always thought that was such a wonderful message to send to audiences and, in particular, the children seeing the movie.
But then youve got Luke and Vaders battle which, in my opinion, is the most emotional lightsaber duel in the entire series (even more so than Anakin and Obi-Wan). Its very downplayed compared to their battle at Besbin and I remember initially being disappointed that it wasnt more bombastic.
But thats not the point.
There struggle is clearly more on internal terms with Vaders threat against Leia, leading to a pivotal and climactic moment where, with a scream, Luke charges his father. Using his anger and hatred just as his father had done before, striking him down again and again. Its so powerful and nearly tragic to see Luke just on the verge of unknowingly turning to the Dark Side, you cant help but hold your breath in that moment.
But then it turns and you feel validated and uplifted as Luke refuses the Emperor.
I am a Jedi like my father before me
And then, just when all hope seems lost BOOM!
The Shield Generator explodes, the Death Star is destroyed and in the most pivotal moment in the entire saga, Anakin finally reemerges to kill Palpatine and reclaim his humanity as the Chosen One he was always destined to be.
His final moments, played beautifully by Sebastian Shaw, are so tragic and yet so powerful.
Theres also all of Phil Tippetts wonderful practical effects coupled with ILMs camera work and matte paintings from Jabba and the Max Rebo band to the AT-ST Chicken Walkers on Endor, everything is of just as much quality as the first two films and it all looks spectacular.
And who can forget Admiral Ackbar?
Its a TRAP!
With all of the elements in place, the only thing left to bring the traditional Star Wars bravado is a dynamite John Williams composed score and Return of the Jedi is yet another superb musical contribution to the galaxy far far away.
First theres the triumphantly quirky Parade of the Ewoks that establishes the surprise heroes of the film. Williams manages a fleeting theme thats more than worthy of the simple nature of the Ewoks their curiosity, their sense of mischief and, in the end, their whimsical sense of determination and heroism that allows their will to dominate against the Empire. The theme is led by an assortment of odd tribal instruments meant to hearken on their way of life while the powerful brass showcases the will that resides beneath the fur.
Then youve got the kinetic momentum of such cues as The Pit of Carkoon/Sail Barge Assault and The Battle of Endor III two of my personal favorites.
The former is well known for having a clever horn motif that plays out the beginnings of Lukes assault on Jabba which each horn signaling a tense cut to each of our characters and with a single gesture towards R2, the Star Wars theme kicks in as R2 launches Lukes lightsaber for his master to begin the attack. Tremendous!
And then you have the ladder, which very much extends on the cue from A New Hope where Luke and Han destroy the pursuing Tie Fighters while escaping the Death Star only this time its built up a thousand fold, all to an incredible cresendo of power and emotion as Lando speeds out of the 2nd Death Star while a fireball hot on the Falcons trail.
Landos YEE-HAH! is just icing on the cake!!!
But one of my favorite cues from the film, probably my most favorite, is none other than the poignant and sweeping Luke and Leia. With the Prequels in place, its clear that this is to the Skywalker children what Anakins Theme from Episode I is to their father. It symbolizes their bond as a family and that, through all their hardship, theyll always have one another they will always have the hope that their own births brought to the Galaxy at the end of Episode III. I love that cue so much, its such a beautiful piece of music.
In the end, Return of the Jedi is meant to be a celebration of the Rebels victory of Luke making peace with his father through the symbolic fire pyre and, above all, of George Lucas completion (at the time) of his galactic opus.
Its a touching story that perfectly renders the essence of Star Wars in a more character-driven way amidst all the dazzle (something the Prequels never quite managed ever) and, in the end, Jedi remains both a favorite Star Wars film and, for its small number of faults, a favorite film period.
The Saga is, truly, Complete.
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STAR WARS EPISODE VI: RETURN OF THE JEDI (1983)
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Directed by ... Richard Marquand
Story by George Lucas
Screenplay by Lawrence Kasdan and George Lucas
Based on characters created by George Lucas
Executive Produced by George Lucas
Produced by Howard G. Kazanjian, Jim Bloom and Robert Watts
Cinematography by ... Alan Hume
Production Design by Norman Reynolds
Make Up Design by Graham Freeborn, Stuart Freeborn and Phil Tippett
Costume Design by Aggie Guerard Rodgers and Nilo Rodis-Jamero
Visual Effects by Industrial Light & Magic
Art Direction by Fred Hole and James L. Schoppe
Editing by ... Sean Barton, Duwayne Dunham, Marcia Lucas and George Lucas
Original Motion Picture Score composed by ... John Williams
Mark Hamill ... Luke Skywalker
Harrison Ford ... Han Solo
Carrie Fisher ... Princess Leia
Billy Dee Williams ... Lando Calrissian
Anthony Daniels ... C-3PO
Peter Mayhew ... Chewbacca
Sebastian Shaw ... Anakin Skywalker
Ian McDiarmid ... The Emperor
Frank Oz ... Yoda (voice)
James Earl Jones ... Darth Vader (voice)
David Prowse ... Darth Vader
Alec Guinness ... Ben 'Obi-Wan' Kenobi
Kenny Baker ... R2-D2 / Paploo
Michael Pennington ... Moff Jerjerrod
Kenneth Colley ... Admiral Piett
Michael Carter ... Bib Fortuna
Denis Lawson ... Wedge
Timothy M. Rose ... Admiral Ackbar
Dermot Crowley ... General Madine
Caroline Blakiston ... Mon Mothma
Warwick Davis ... Wicket
Jeremy Bulloch ... Boba Fett
Femi Taylor ... Oola
Annie Arbogast ... Sy Snootles
Claire Davenport ... Fat Dancer
Jack Purvis ... Teebo
Mike Edmonds ... Logray / Jabba Puppeteer
Jane Busby ... Chief Chirpa
Malcolm Dixon ... Ewok Warrior
Mike Cottrell ... Ewok Warrior
Adam Bareham ... Stardestroyer Controller #1
Jonathan Oliver ... Stardestroyer Controller #2
Pip Miller ... Stardestroyer Captain #1
Tom Mannion ... Stardestroyer Captain #2
Toby Philpott ... Jabba Puppeteer
David Alan Barclay ... Jabba Puppeteer
[YT]SKh2MENj7ug[/YT]
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[YT]qrrrmhUz2o4[/YT]
[YT]TGMvadAFqLQ[/YT]
[YT]wRY5dl_oxvo[/YT]
[YT]P3nBaaxkDpo[/YT]
Directed by ... Richard Marquand
Story by George Lucas
Screenplay by Lawrence Kasdan and George Lucas
Based on characters created by George Lucas
Executive Produced by George Lucas
Produced by Howard G. Kazanjian, Jim Bloom and Robert Watts
Cinematography by ... Alan Hume
Production Design by Norman Reynolds
Make Up Design by Graham Freeborn, Stuart Freeborn and Phil Tippett
Costume Design by Aggie Guerard Rodgers and Nilo Rodis-Jamero
Visual Effects by Industrial Light & Magic
Art Direction by Fred Hole and James L. Schoppe
Editing by ... Sean Barton, Duwayne Dunham, Marcia Lucas and George Lucas
Original Motion Picture Score composed by ... John Williams
Mark Hamill ... Luke Skywalker
Harrison Ford ... Han Solo
Carrie Fisher ... Princess Leia
Billy Dee Williams ... Lando Calrissian
Anthony Daniels ... C-3PO
Peter Mayhew ... Chewbacca
Sebastian Shaw ... Anakin Skywalker
Ian McDiarmid ... The Emperor
Frank Oz ... Yoda (voice)
James Earl Jones ... Darth Vader (voice)
David Prowse ... Darth Vader
Alec Guinness ... Ben 'Obi-Wan' Kenobi
Kenny Baker ... R2-D2 / Paploo
Michael Pennington ... Moff Jerjerrod
Kenneth Colley ... Admiral Piett
Michael Carter ... Bib Fortuna
Denis Lawson ... Wedge
Timothy M. Rose ... Admiral Ackbar
Dermot Crowley ... General Madine
Caroline Blakiston ... Mon Mothma
Warwick Davis ... Wicket
Jeremy Bulloch ... Boba Fett
Femi Taylor ... Oola
Annie Arbogast ... Sy Snootles
Claire Davenport ... Fat Dancer
Jack Purvis ... Teebo
Mike Edmonds ... Logray / Jabba Puppeteer
Jane Busby ... Chief Chirpa
Malcolm Dixon ... Ewok Warrior
Mike Cottrell ... Ewok Warrior
Adam Bareham ... Stardestroyer Controller #1
Jonathan Oliver ... Stardestroyer Controller #2
Pip Miller ... Stardestroyer Captain #1
Tom Mannion ... Stardestroyer Captain #2
Toby Philpott ... Jabba Puppeteer
David Alan Barclay ... Jabba Puppeteer
Luke Skywalker has returned to
his home planet of Tatooine in
an attempt to rescue his
friend Han Solo from the
clutches of the vile gangster
Jabba the Hutt.
Little does Luke know that the
GALACTIC EMPIRE has secretly
begun construction on a new
armored space station even
more powerful than the first
dreaded Death Star.
When completed, this ultimate
weapon will spell certain doom
for the small band of rebels
struggling to restore freedom
to the galaxy
----------------------------------------------
Return To A Galaxy... Far, Far Away
----------------------------------------------
What began as a galactic fairy tale in 1977 had grown into the single greatest space opera for all time.
And with two highly successful films laid down, the stakes for the final chapter in George Lucas saga were higher than they had ever been before. Would the Rebellion prevail, or be decimated by the Empire? Would the series burn itself out or make box office history again? Would Lucas captivating story end with a clunker or deliver a rousing finish?
Only time and a large amount of work would bring us the answers
And they did, with gusto in 1983s Return of the Jedi.
An unknown yet short amount of time has passed since the series of terrible events that plagued our heroes culminating in the abduction of Han Solo (Harrison Ford) by Boba Fett and the Empire while Luke Skywalker (Mark Hamill) discovered his true heritage as the son of Darth Vader.
Luke returns to his home planet Tatooine in the hope of reclaiming Han from notorious gangster Jabba the Hutt, whos holding Solo hostage for overdue debts upon safely collecting his friend, Luke travels back to Dagobah while Han, Leia Organa (Carrie Fisher), Lando Calrissian (Billy Dee Williams), Chewbacca (Peter Mayhew) and the droids C-3PO and R2-D2 (Anthony Daniels and Kenny Baker, respectively) regroup with the Rebel Fleet to prepare for their final assault against the Imperial Forces.
Learning that the Empire is constructing a larger and deadlier battle station just above the forest moon of Endor and that the Emperor (Ian McDiarmid) is overseeing the completion himself, the Rebellion take it as the perfect opportunity to strike feeling that the death of the Emperor and the destruction of the 2nd Death Star will be more than enough leverage to disband the Galactic Empire once and for all.
But the struggle will not be easy as Vader and the Emperor plan one final attempt to lure Luke to the dark side of the Force.
Now, many fans are divided over Jedi. Some consider it the best of the saga (I wouldnt go that far) while others consider it to be beneath the Prequels (why would ANYONE go that far?). Thematically its true maybe the story material of Episode III IS stronger.
But cmon this is the triumphant conclusion of the saga and Id most certainly place all three original films over the prequels any day.
Directed by late Eye of the Needle helmer Richard Marquand (tapped for his character driven approach to storytelling) Jedi isnt as strong as its two predecessors but it fits in its own right as the third chapter in the continuing adventures of Luke Skywalker and the Rebel Alliance. It ends the trilogy on such a definitive and high note that you can't help but love. What makes the trilogy as a whole so spectacular is that, as stated by Empire director Irvin Kershner, each film is like the movement of a symphony.
Each Original Episode, despite Lucas intent of being part of a larger picture, acts as there own little entities of awesomeness and Jedi is no exception.
So its not my favorite Star Wars film that hardly makes it a bad film by any means. Compared to many films around the same time and up until today, Jedi is gold.
The cast of the film is back from Empire with pardon the pun force.
Mark Hamill delivers his finest performance as Luke Skywalker, finally coming into his own as a full fledged Jedi Knight complete with a kick ass green-bladed lightsaber (at the time, we had only seen red and blue so to see a new color blade always struck me as a big and awesome deal). Its a complete 180 from the whiny farm boy of A New Hope into this developed and provoking man that is well spoken and well carried as he attempts to redeem his father and destroy the Empire.
That said, Harrison and Carrie take somewhat of a back seat which I suppose is only fair sine they were clearly the focal point of The Empire Strikes Back. Theyre chemistry is still pretty good, but theres always a small part in the back of your mind that feels that Hans story had run its course.
There have been reports that both screenwriter Lawrence Kasdan and Harrison himself wanted Han to commit self-sacrifice and die to save Luke and Leia and in a lot of thematic ways that wouldve worked very well.
Nevertheless, we get yet another fun-filled Han which isnt so bad really.
Hey its me!
Whats probably most intriguing about the cast is that one of its most prominent players isnt even human. Of course, Im referring to the one and only Jabba the Hutt.
Not too pleasant of a being bringing back some vague memory of Sydney Greenstreet in Casablanca, Jabba delivers quite the performance for a puppet almost as good as Yoda, who takes his final bow in a short yet captivating appearance before becoming one with the Force.
The costumes of the film are also a note worth commenting on.
First things first whoever came up with the idea of putting Luke Skywalker into all black back in 83 I salute you! Jedi Luke Skywalker was such a bad ass when I first saw the film and it all stems from that costume. Now I know that its meant to parallel Anakin in Episode III, whose Jedi robes were black as opposed to the traditional off-white but thats of no consequence to the costume here I just thought it looked cool.
Another, of course you know where this is going.
Two words: Slave Leia.
Such an icon of fanboyism you cant help but beam if youre a guy thinking about that gold bikini. Its the one universal constant for geeky guy foreplay
French Maid? No.
Nurse? No.
Slave Leia? HELL F**KING YES!
Carrie never looked better (well thats not entirely true I thought she was quite beautiful in Empire.)
When it comes to the visual condition, youd be hard pressed to find anything that can top the original Star Wars films and truly, ILM pulls off yet more incredible work with Jedi.
First youve got the magnificent Sail Barge Assault sequence, which is dynamic and bombastic the only way Star Wars can be. When you can take a sequence and lace it with all these layers of heroics, humor, swashbuckling and victory its just so breathtaking.
Fortunately the film doesnt stop there in trying to top itself.
Case in point the famous Speeder Bike Chase through the forests of Endor.
I vividly remember being floored by the movement of that sequence. Also, who doesnt love that awesome sounds the bikes made when they passed by camera? The speeder bikes themselves were also a pretty sweet design; I remember seeing a childrens tricycle version at a Sci-fI Expo years ago far out! But that scene is one of a handful from Jedi that are the most memorable its kinetic in the same vein as the Asteroid Chase in Empire.
But of course the biggest and brassiest sequence HAS to be the Battle of Endor itself.
A precursor to the Battle of Naboo in Phantom Menace, youve got:
The Space Battle between the Rebel and Imperial Fleets, The Forest Battle with Han, Leia, Chewie and the Ewoks destroying the Shield Generator and the most personal battle of them all in a lightsaber duel between Luke and Vader presided over by the Emperor.
The Space Battle is like the Battle of Yavin times 100 with a barrage of Tie Fighters and Tie Interceptors dueling with X-Wings, Y-Wings, B-Wings, A-Wings and, of course, the Millenium Falcon. And just like the Battle of Yavin, you can feel every single laser bolt every sharp bank and every explosion as Williams music keeps laying on the tension and spectacle quite thick.
I also loved the plethora of new ships the Rebel Fleet looks magnificent as they all go to light speed to approach the Death Star.
And this time around, the battle station looks even more ominous thanks to its incomplete façade. I cant imagine the sheer volume of hours that went into the construction of all these models, but they look breathtaking.
Another favorite is the Imperial Shuttle Tydirium I always liked the three-winged design of that ship.
And that moment when the Super Star Destroyer Executor crashes into a fireball on the Death Star surface? WOW!
The Forest Battle is a bit smaller in scale than, say the Grass Battle between the droids and the Gungans, but its still amazing. Whats so compelling about both that struggle and the film at large is its underlying message that it doesnt matter how powerful your technology is or how much resource you have that having the heart and the will is all you need to triumph and conquer over evil.
Again Im not sure why people were so up in arms about the Ewoks, I always thought that was such a wonderful message to send to audiences and, in particular, the children seeing the movie.
But then youve got Luke and Vaders battle which, in my opinion, is the most emotional lightsaber duel in the entire series (even more so than Anakin and Obi-Wan). Its very downplayed compared to their battle at Besbin and I remember initially being disappointed that it wasnt more bombastic.
But thats not the point.
There struggle is clearly more on internal terms with Vaders threat against Leia, leading to a pivotal and climactic moment where, with a scream, Luke charges his father. Using his anger and hatred just as his father had done before, striking him down again and again. Its so powerful and nearly tragic to see Luke just on the verge of unknowingly turning to the Dark Side, you cant help but hold your breath in that moment.
But then it turns and you feel validated and uplifted as Luke refuses the Emperor.
I am a Jedi like my father before me
And then, just when all hope seems lost BOOM!
The Shield Generator explodes, the Death Star is destroyed and in the most pivotal moment in the entire saga, Anakin finally reemerges to kill Palpatine and reclaim his humanity as the Chosen One he was always destined to be.
His final moments, played beautifully by Sebastian Shaw, are so tragic and yet so powerful.
Theres also all of Phil Tippetts wonderful practical effects coupled with ILMs camera work and matte paintings from Jabba and the Max Rebo band to the AT-ST Chicken Walkers on Endor, everything is of just as much quality as the first two films and it all looks spectacular.
And who can forget Admiral Ackbar?
Its a TRAP!
With all of the elements in place, the only thing left to bring the traditional Star Wars bravado is a dynamite John Williams composed score and Return of the Jedi is yet another superb musical contribution to the galaxy far far away.
First theres the triumphantly quirky Parade of the Ewoks that establishes the surprise heroes of the film. Williams manages a fleeting theme thats more than worthy of the simple nature of the Ewoks their curiosity, their sense of mischief and, in the end, their whimsical sense of determination and heroism that allows their will to dominate against the Empire. The theme is led by an assortment of odd tribal instruments meant to hearken on their way of life while the powerful brass showcases the will that resides beneath the fur.
Then youve got the kinetic momentum of such cues as The Pit of Carkoon/Sail Barge Assault and The Battle of Endor III two of my personal favorites.
The former is well known for having a clever horn motif that plays out the beginnings of Lukes assault on Jabba which each horn signaling a tense cut to each of our characters and with a single gesture towards R2, the Star Wars theme kicks in as R2 launches Lukes lightsaber for his master to begin the attack. Tremendous!
And then you have the ladder, which very much extends on the cue from A New Hope where Luke and Han destroy the pursuing Tie Fighters while escaping the Death Star only this time its built up a thousand fold, all to an incredible cresendo of power and emotion as Lando speeds out of the 2nd Death Star while a fireball hot on the Falcons trail.
Landos YEE-HAH! is just icing on the cake!!!
But one of my favorite cues from the film, probably my most favorite, is none other than the poignant and sweeping Luke and Leia. With the Prequels in place, its clear that this is to the Skywalker children what Anakins Theme from Episode I is to their father. It symbolizes their bond as a family and that, through all their hardship, theyll always have one another they will always have the hope that their own births brought to the Galaxy at the end of Episode III. I love that cue so much, its such a beautiful piece of music.
In the end, Return of the Jedi is meant to be a celebration of the Rebels victory of Luke making peace with his father through the symbolic fire pyre and, above all, of George Lucas completion (at the time) of his galactic opus.
Its a touching story that perfectly renders the essence of Star Wars in a more character-driven way amidst all the dazzle (something the Prequels never quite managed ever) and, in the end, Jedi remains both a favorite Star Wars film and, for its small number of faults, a favorite film period.
The Saga is, truly, Complete.
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