We should all start a private thread and leave Darth Id out of it like he was left out of all the games in elementary school. Then we can point and laugh at how much of a loser he is and maybe he’ll cry and leave us all for good.
Chirrut’s use of the Force was one of my favorite aspects. More characters like this and Maz please (and Leia I guess), who can feel the Force but aren’t Jedi.
Reminder that the human brain is essentially dumb as fuck and cesspools like reddit are doing their best to make sure logic and reason never changes that: http://www.newstatesman.com/science-tech/internet/2016/12/movie-doesn-t-exist-and-redditors-who-think-it-does
It’s kind of a shame about the costume in ASM2 because I think the big eyes would fit perfectly with Holland’s characterization. But it makes sense that they’d want to do something completely different with the outfit,
In many ways Cassian works better. You basically get the gist of what he’s all about in his first few scenes. He’s a spy for the Rebel alliance, going on missions and finding info for the cause. He doesn’t care what he has to do in the name of fighting the Empire, even if that means killing people in cold blood.
Jyn on the other hand, it’s a bit more confusing. We know that she loses her parents to the Empire at an early age and that Forest Whitaker takes her in (though it’s unclear at the time who this person is). Then we see her 15 years later and she’s in Imperial prison. Why? It’s kind of explained a bit later in the Yavin briefing scene, but it’s still unclear what kind of life this person is living. We don’t really get the full picture until about 30 minutes into the film or so when she finally meets up with Saw, and we get it, she used to be a rebel for him, she was abandoned, and now she’s going it alone, avoiding the fight. But then she changes her mind in the next scene. There’s a compelling character there but it’s mishandled.
It all comes down to the structure of the film being off in the first act especially. Everything jumps around so much it’s nearly impossible to figure the status quo, so that once the plot kicks in and we get moving, it’s hard for us to be invested as we can’t completely connect to the protagonist. Cassian almost works as another protagonist but not totally, because the conflict isn’t there - it’s almost just another mission for him. If more was made of the fact that Jyn was going along being a bad idea than maybe, but otherwise he’s supporting a character we can’t yet relate to.
And if it’s not a film about the characters and it’s more generally about the Rebellion, they drop that ball a bit too. Again the status quo isn’t totally there. We could see the thumb the galaxy is under and the small victories the Rebellion is gaining… and then bam now there’s a Death Star to quell that and how will the Alliance face it? There’s a way to make the Alliance itself the protagonist but the first act’s so jumbled that doesn’t work either.
Thankfully things come into focus on Jedha and the second act is very solid I think. However, the third act, even with it’s near perfect action sequences, fumbles again. Cassian’s character is never challenged beyond trusting Jyn, which as mentioned before, is not a thread that is fully developed. They could have delved further into his morality but it basically boils down to “I’ve done some fucked up shit so yeah I’m still in all the way.” It’s frustrating because it’s all staggeringly close to the main theme they want the film to have: “hope.” Problem is, just because they say it all the time doesn’t make it so, it has to come about through the text of the film. They could have done this organically through Jyn - the pieces are there, she used to be in but she lost all hope. But again they bungle it by having her do a 180 within a single scene. And they could have done it with the Rebellion as the de facto protagonist, but again without the solid foundation of the status quo, and without the feeling of a looming Death Star threatening the existence of the Alliance throughout the film (and not just in one scene where they air their thoughts), the resolution of the third act just isn’t there.
That’s a great analysis. Just to make somethings clear, how would you rate the movie from 0 to 10?
Hmm, I don’t do the 0-10 thing much anymore but maybe an 8? I don’t want to give the impression I dislike the film. I actually really loved it and probably haven’t had this much fun at the movies since, well, The Force Awakens (and I go to the movies practically every week).
Part of what makes things about the film so frustrating is how close it came to greatness. All the pieces are there. Really, everything I wanted from the film is in there, it just isn’t handled in the right way. These are compelling characters and conflicts but far too often they’re lost in the shuffle and left with rushed resolutions, if any.
I still really enjoy the film and will watch more when it comes out on Blu-ray. But just because it’s fun. I don’t think it’ll reward repeat viewings as much as it could, and I think that’s because it’s just not quite as satisfying in many basic storytelling senses as it should be.
Why
JEDIT: Realized what thread I’m in. Some mild Rogue One spoilers.
In many ways Cassian works better. You basically get the gist of what he’s all about in his first few scenes. He’s a spy for the Rebel alliance, going on missions and finding info for the cause. He doesn’t care what he has to do in the name of fighting the Empire, even if that means killing people in cold blood.
Jyn on the other hand, it’s a bit more confusing. We know that she loses her parents to the Empire at an early age and that Forest Whitaker takes her in (though it’s unclear at the time who this person is). Then we see her 15 years later and she’s in Imperial prison. Why? It’s kind of explained a bit later in the Yavin briefing scene, but it’s still unclear what kind of life this person is living. We don’t really get the full picture until about 30 minutes into the film or so when she finally meets up with Saw, and we get it, she used to be a rebel for him, she was abandoned, and now she’s going it alone, avoiding the fight. But then she changes her mind in the next scene. There’s a compelling character there but it’s mishandled.
It all comes down to the structure of the film being off in the first act especially. Everything jumps around so much it’s nearly impossible to figure the status quo, so that once the plot kicks in and we get moving, it’s hard for us to be invested as we can’t completely connect to the protagonist. Cassian almost works as another protagonist but not totally, because the conflict isn’t there - it’s almost just another mission for him. If more was made of the fact that Jyn was going along being a bad idea than maybe, but otherwise he’s supporting a character we can’t yet relate to.
And if it’s not a film about the characters and it’s more generally about the Rebellion, they drop that ball a bit too. Again the status quo isn’t totally there. We could see the thumb the galaxy is under and the small victories the Rebellion is gaining… and then bam now there’s a Death Star to quell that and how will the Alliance face it? There’s a way to make the Alliance itself the protagonist but the first act’s so jumbled that doesn’t work either.
Thankfully things come into focus on Jedha and the rest of the second act is very solid I think. However, the third act, even with it’s near perfect action sequences, fumbles again. Cassian’s character is never challenged beyond trusting Jyn, which as mentioned before, is not a thread that is fully developed. They could have delved further into his morality but it basically boils down to “I’ve done some fucked up shit so yeah I’m still in all the way.” It’s frustrating because it’s all staggeringly close to the main theme they want the film to have: “hope.” Problem is, just because they say it all the time doesn’t make it so, it has to come about through the text of the film. They could have done this organically through Jyn - the pieces are there, she used to be in but she lost all hope. But again they bungle it by having her do a 180 within a single scene. And they could have done it with the Rebellion as the de facto protagonist, but again without the solid foundation of the status quo, and without the feeling of a looming Death Star threatening the existence of the Alliance throughout the film (and not just in one scene where they air their thoughts), the resolution of the third act just isn’t there.
The ROTJ “storytelling scene” stays a very charming moment in the saga.
If by charming you really mean childish and stupid, then yes. It’s beyond cringeworthy.
Ok, you don’t like the scene, childish I can understand (SW is childish, even TESB and ROTS are), but expand on why this is stupid.
it doesn’t push the plot forward in any way.
The ewoks deciding after the story to join the rebellion ?
That was definitely the intention but it’s not entirely clear in the finished film.
Well sure, but the characters in TFA are still better.
God Youtube is the fucking worst.
Having Cornelius Evazan’s (who looked fucking awful) and Ponda Baba’s cameo in there hurt my soul, I don’t know who thought that was a good idea but I was very unpleased by their appearance and so was everyone in the theater both times.
Care to elaborate? I thought they both looked fine, and was super jazzed to see them, as were all my friends.
Evazan looks about 20 years younger than he should. And they linger on the two of them for so long, I guess just in case you didn’t get it? Which is annoying because it’s an easter egg and nothing more. I knew who it was as soon as I heard the line. That’d have been enough. I’d have even lived with a bot more. But that one last extraneous shot that lingers - no good at all.
https://www.youtube.com/watch?v=wyu8v10PIK8
There’s some interesting stuff in the TV spots.
Seems like a couple exchanges from the hangar convo at the beginning of the 3rd act are placed elsewhere. K2 says he’ll help because the captain told him to while they’re on the U-Wing (though this could be misleading as K2 lines are easy to rearrange). Caspian says he couldn’t face himself if he gave up now on a ship (probably the Imperial cargo ship) while all wet, presumably after the Eadu sequence. What’s tough with trailers/teasers is they so often mislead by putting shots/scenes together to seem like one. But even still there’s other stuff like Cassian saying “this is a first for me” on the streets of Jedha in the teaser where in the film he says it in Saw’s jail cell.
The other interesting bit is Jyn saying “welcome to Rogue One” in the same shot as “may the Force be with us.” Which might imply that the callsign isn’t a last minute thing (and maybe their mission was sanctioned) though not necessarily.
So if Jyn was Broken out of Captivity on Jedha there are 2 questions do the rebellion break her out or was she broken out by the Partisans?
I don’t think she was broken out from Jedha. It was probably just Wobani. Though there’s reason to believe she has been a Saw/Partisan style rebel, she’s been on her own since 15 according to the first teaser. So while we’re missing scenes of her and Saw on Jedha they’re probably flashbacks.
Saw’s Line “What will you become?” is in reference to people being modified by experimental surgery after war wounds… This may have been to do with the 2 criminals who had death warrants in 12 systems.
I think that line has more to do with the what kind of person one becomes when they go through some serious shit. Not a physical transformation.
I doubt Dr. Evazan and Ponda Baba were ever anything more than cameos.
Basically this sub-plot was probably to feature fairly prominently with triangle face it would seem. Bounty Hunter & sort of a detective.
I have no idea who is talking to but I think it has to do with the experimental and highly illegal surgery. Cybernetic surgery. Ironically he has the process done to him post Geonosis.
The whole on Life Support part is missing as even though he had no legs and robot legs he still could not have run away from Jedha as he could not leave the machine in his base that was keeping him alive.
There are so many of these make up effects created that it’s totally unplausable that so much time would be spent on something that never got mentioned so it was part of the plot originally.
The Death Troopers are of the same ilk and are also cyborgs. They are Dead but alive by Cybernetics.
I doubt any of this is the case.
The preview of that Guardians of the Galaxy movie that I saw during the opening trailers at Rogue One made me feel the same way. Literally one of the dumbest things I’ve ever seen in my life.
Well shit man stay far away from Speed Racer then.
I actually tried to watch Speed Racer a few weeks ago and had to shut it off within the first ten minutes. I just wanted to gouge my eyes out. It looked exactly like a cartoon, and not in a good way at all.
It’s a shame this one’s unlikely to get the Rinzler treatment. A full in-depth play by play would be fantastic.
Whitta wrote the first draft and Jyn wasn’t even in it (or Knoll suggested her during writing). What did they start with?
I thought the pitch from Knoll was essentially the story of the rebels stealing the plans, lead by the daughter of the man who constructed it.
How much I dearly hope we get proper deleted/alternate scenes on the Blu-ray. I’ll be disappointed if all this is just swept under the rug. TFA’s bonus material already felt too sterile compared to the Prequel’s DVD bonus material.
Swept under the rug is a possibility. TFA went through some big reshoots as well (though not even close to this) which led to the excision of scenes such as Maz at the Resistance base. So it’s possible LFL is taking a “pretend it doesn’t exist” course when it comes to deleted scenes negated by the final film.
On the other hand, there’s good reason to believe TFA is a specific case, where certain things that were cut they don’t want you to see, depending on how things play out in VIII and IX. It’s even less clear with TFA than RO, but I do believe the original intention was that both Rey and Finn were called to the saber, which then lead to a flashback explaining its journey (probably in place of the Force vision). Then Maz gives Leia the saber at the base and tells her it should be with Finn. I don’t know when Finn’s Force awakening was cut (either during shooting or in post), and I’m not sure if it was simply done as part of emphasizing Rey’s journey (with Finn’s to come later), or because it was decided Finn wouldn’t be Force sensitive at all. Either way, they don’t want us to know about it, so they cut whatever of that storyline was shot. As well, it is unclear how much in the way of Force abilities they want Maz to have, so they cut out her bringing the rocks down on the troopers, which is why the Han “Smoke?” deleted scene ends abruptly. Again, who knows if this is because they want to reveal her powers later, or because they don’t want her to have powers.
Where does the missing rebel starfighter strike on Jedha fit? (Its excision, btw, may be related to inserting the Eadu sequence, if we think that’s totally reshoots)
Do we know there was a missing strike on Jedha? Where does that come from? As for Eadu, it’s possible there could have been a sequence there beforehand but it would have been completely different. My biggest question mark is where Galen fits into all of this pre-reshoots.
See my links here, but I guess we don’t know. Agree about Galen pre-reshoots being a mystery.
Hmm, well that could have easily been an off-screen event.
Rebel Command know there’s a weapon being built, and it’s going to be tested soon. Is that test still Jedha? I assume so, but then we have the Death Star starting at Scerif (its construction site), then heading to Jedha, then returning to Scerif.
Since Jyn doesn’t learn about the Death Star until she’s at Yavin post-Jedha, what does she think is going on on Jedha with Saw, Bohdi, Cassian, etc?
I think the sequencing of things aren’t too different from the theatrical. Jyn is on Jedha with Saw beforehand via flashbacks, but the sequence with Cassian, Bodhi, K2, etc. doesn’t happen until after Yavin. It was still their first stop, and probably for similar reasons.
I may be coming around to your view on this order of events.
The first full trailer seems to imply as much and I don’t see why not.
Also, rewatching that trailer, Eadu and the X-Wing strike is definitely there. So I don’t know what that means for Galen. I guess they still go there to find him and he still dies there probably. And there are definitely X-Wings on Scarif too. So not all my assumptions may be entirely correct.
Yavin changes are the very next thing I want to add to the top-posts - but it feels like a huge muddle. I have a lot of questions.
Do we even know that Jyn was going to start the movie imprisoned?
Start not necessarily but certainly she ends up on Yavin in cuffs.
Where does the missing rebel starfighter strike on Jedha fit? (Its excision, btw, may be related to inserting the Eadu sequence, if we think that’s totally reshoots)
Do we know there was a missing strike on Jedha? Where does that come from? As for Eadu, it’s possible there could have been a sequence there beforehand but it would have been completely different. My biggest question mark is where Galen fits into all of this pre-reshoots.
Rebel Command know there’s a weapon being built, and it’s going to be tested soon. Is that test still Jedha? I assume so, but then we have the Death Star starting at Scerif (its construction site), then heading to Jedha, then returning to Scerif.
Since Jyn doesn’t learn about the Death Star until she’s at Yavin post-Jedha, what does she think is going on on Jedha with Saw, Bohdi, Cassian, etc?
I think the sequencing of things aren’t too different from the theatrical. Jyn is on Jedha with Saw beforehand via flashbacks, but the sequence with Cassian, Bodhi, K2, etc. doesn’t happen until after Yavin. It was still their first stop, and probably for similar reasons.
As for the Death Star, who knows.
I just found this
https://www.youtube.com/watch?v=u5sdztM-p98
Interesting. Edwards talks about how the film is about “the formation of the Rebel alliance,” which isn’t really true, is it? I wonder if the original conception was closer to that. Would make sense having Cassian being a recruiter in that version, bringing together all these different people and sects of the Rebellion.
The other thing that just occurred to me, adding X-Wing stuff could easily refer to the assault on Eadu, too, which was probably added with the Galen assassination storyline.
One other thing that I’m not sure on is whether Rogue One’s mission to Scarif was originally sanctioned or not.
Anyway it looks like anywhere from 30-50% of the film was reshot.
Surprised no one has mentioned the Yavin changes. They’re small, but seem to imply the biggest changes to the plot/characters.
First of all, it seems like Jyn has never stopped being a rebel for Saw, and in fact that’s how she got in prison. This means that much of her interaction with Saw is different. I think the hologram might’ve been added as well, or changed.
The whole mission is completely different. It isn’t find Galen Erso, it’s figure out how to destroy the Death Star (which presumably would lead them to Galen). Everything involving Cassian’s mission to assassinate Galen was added during reshoots (I think he was supposed to be a Rebel recruiter or something).
The other thing that’s noticeable in the film (though not based on trailer footage or anything), is that anytime you see Donnie Yen with a wig, it’s a reshoot. This occurred to me in his first scene (when he meets Jyn). This also makes clear the assumption that anything involving the Galen Erso assassination plot is from reshoots.
Do you guys remember people saying that the reshoots were done to add additional shots of X-Wing pilots? Is it possible that the original battle was all on the ground, and that all the space stuff was added after the fact?
This is a fun discussion
frevious please stop basing your opinions on other people’s.
God I can’t watch that. “Epidemic”? That would imply it’s a bad thing that so many movies are passable. It’d be worse if they weren’t.
I wasn’t exactly wild about Rouge One. No internet reviewer gave me that opinion.
The Studios have more creative control than in any point in Hollywood’s history.
Totally untrue. See 30s, 40s.
The 1930s-1940s gave us Orson Welles, Howard Hawks, John Ford, and John Huston, to name a few. Where are today’s auteurs that aren’t either puppets of corporate America or holdovers from 20 years ago?
Johnson, Nolan, DuVernay, Chazelle, Villeneuve, Jenkins, Lonergan, Nichols, Coogler, Garland, McKay, Fukunaga, Refn, Vallee, Miller, McQueen, Chandor, Aronofsky, Glazer, etc.
I don’t like the films made by committees as opposed to auteurs. Say what you want about George Lucas and the prequels; at least they had some kind of ambition, some sort of risk-taking of CGI boundaries, willing to bring in political themes unseen in previous films. They’re not good by any means, of course, but an ambitious failure is always more interesting than a solid yet forgettable blockbuster.
Now I know you’re basing your opinion off others because this is the same tired bullshit I hear ad nauseam from internet d-bags. TFA was written by three people: JJ Abrams, Lawrence Kasdan, and Michael Ardnt. If by committee you mean the story group, well sure they were involved, but that’s mainly from a broader universe building/continuity perspective. If you’re talking about some sort of nameless committee of Disney execs looking at made up focus group opinions - that’s just utter nonsense.
And then to bring George fucking Lucas into it… no ambition there. Just a dude “writing” scenes last minute and telling his concept artists, modelers, costumers, etc. to create hundreds of different potential elements (based on half-baked, underdeveloped notes) that he’d just literally stamp for approval. They were mostly CGI because he was too fucking lazy to leave the studio and because he wanted to be able to basically continue to write and shoot the movies while he was editing them and realizing what important scenes they were missing. The political themes, I mean I don’t even know what to say. I mean good for him I guess to try it? But is it ballsy to put the most boring and poorly handled political subplots in your big budget movies? In a way maybe, but again, mostly just lazy in that he just threw shit against a wall and didn’t try to concoct any sort of interesting story out of them. It’s insane to me that people are saying TFA failed by not having enough politics. The OT didn’t have any politics. A film is not made good by politics. A film is made good by telling a good story. Since the PT didn’t do that, what I say when you said at least it had political themes is who gives a shit.
All I said was that the prequels were failed experiments. Lucas thought he could make a movie entirely with computers because he didn’t want to go through another nightmare like the production of ANH. It’s still lazy, I agree, but he was under the delusion that he could cut corners and make a great film (he could not), and with a 22 year gap since being in the director’s chair. Obviously he lost whatever talent he might of had in the seventies.
Experimenting doesn’t mean being ambitious and isn’t even all that much to commend, in this case. He might have fancied himself a trailblazer but he was really just pretending to himself that CGI was ready to be around 40-100% of every frame in a live action movie when it was obvious the technology wasn’t there yet.
And I’d say, given the choice between making random computer generated bullshit that no one has seen before yet sucks completely and a story that actually works really well, regardless of a somewhat reused plot, I’d pick the story that works well overtime and I think having a movie that’s good and works is much more laudable than a movie that features the most effects shots in history at that time or has ham-fisted GW Bush references yet fails in almost every way as a compelling story.
Which film would you watch again, The Room or Captain America: Civil War?
Captain America. Next question.
Which film is going to remembered ten years down the road? People will still be making fun of The Room and quoting the worst lines while Civil War fades into obscurity.
Well certain movies will always have their cult followings but personally I’m not much of a bad film watcher. I’d prefer something that’s good, even if it’s not necessarily something that’s great. Still better than bad in my eyes.
Rogue One is a tragedy, because you know the unavoidable fate of the characters, yet you know they can do nothing about it.
I don’t know if tragedy is quite right. This isn’t just an unfortunate fate that has struck these characters, these are sacrifices they’re making proactively.
Seen it three times by now, and I just keep liking it more and more. The Rebel Alliance feels like an actual military organisation. And we get to see that both Rebels and Empire have their internal political struggles, be it Tarkin/Krennic or Saw/Mon Mothma. It doesn’t feel monolithic anymore.
Well, the Empire had its own internal struggles dating back to the Death Star briefing room scene, which in some ways accomplishes as much in the one scene as all the Empire scenes in RO do. The internal Rebellion conflict is a nice addition, but just like with Krennic it doesn’t go anywhere.
It’s a film that has the maturity the OT had, where characters understand each others with just eye contact and they don’t need to say everything, tho in the end yes, what ends up being key is the story and not the characters. I can’t see how that’s not the case in most of movies anyway.
People keep saying this stuff about story being more important than characters, which is sort of missing the point. Story is, of course, ultimately the most important thing. But story and plot are two different things. An extremely simplified equation would be story = plot + characters. A story is the sum of these things and if the characters don’t resolve in a satisfying way than neither does the story, even if the plot does. This is what people are getting at. Now obviously if it’s not necessarily a character film that’s not the end of the world but then the story has to be resolved in other meaningful ways (thematically, for example). A story is a sum of its parts and whether it works for people depends on how well those parts come together. For some people the movie didn’t totally work so they’re blaming it on the characters when that’s actually only a piece of it.
And I don’t like the fact that this movie is getting so much trashing on the web,
Welcome to the web.
mainly because I really liked it and hope all the spinoffs take this approach and level, and not to have “character driven” spinoffs such as “origins of han solo”, “origin of boba fett”, “Vader”.
Personally as long as they steer clear of overly contrived origins (this is when Han installed chess on the Falcon! and this is how he got the red lines on his pants!) I don’t think it’s a bad idea to see how someone like Han Solo became who he is, provided it’s handled well. Boba Fett meanwhile seems like kind of the perfect spin-off character, considering his popularity, coolness (well, in ESB at least) and the fact that we’ve barely seen him do a damn thing on the big screen. A Vader film would be unwise, if for no other reason than we’ve already seen so much of him.
Honestly cinema today, and actors are generally so crappy I’d rather have a CGI Alec Guinness or Peter Cushing all day.
Jokes aside, the actual work of those performances would actually fall on actors today so you’d just be getting the same “crap” but just with a different face.
frevious please stop basing your opinions on other people’s.
God I can’t watch that. “Epidemic”? That would imply it’s a bad thing that so many movies are passable. It’d be worse if they weren’t.
I wasn’t exactly wild about Rouge One. No internet reviewer gave me that opinion.
The Studios have more creative control than in any point in Hollywood’s history.
Totally untrue. See 30s, 40s.
Abrams was chosen because he was the ideal studio director: one that could be molded by the producers to churn out middle-of-the-road products designed to rake in enough money opening weekend.
This is a ridiculous notion. TFA would have made millions opening weekend regardless of director. LFL hired him specifically because he would bring something to the table, hence his impact on the story/script. This isn’t Marvel, LFL wants strong creative voices, hence why they aren’t hiring randos off the street like Scott Derrickson and Peyton Reed. If they wanted someone who they could control, they wouldn’t hire someone who has their own production company. They’d hire someone new and cheap who can’t say no to anything (which we have seen done on a SW film before, and not in this century).
I don’t like the films made by committees as opposed to auteurs. Say what you want about George Lucas and the prequels; at least they had some kind of ambition, some sort of risk-taking of CGI boundaries, willing to bring in political themes unseen in previous films. They’re not good by any means, of course, but an ambitious failure is always more interesting than a solid yet forgettable blockbuster.
Now I know you’re basing your opinion off others because this is the same tired bullshit I hear ad nauseam from internet d-bags. TFA was written by three people: JJ Abrams, Lawrence Kasdan, and Michael Ardnt. If by committee you mean the story group, well sure they were involved, but that’s mainly from a broader universe building/continuity perspective. If you’re talking about some sort of nameless committee of Disney execs looking at made up focus group opinions - that’s just utter nonsense.
And then to bring George fucking Lucas into it… no ambition there. Just a dude “writing” scenes last minute and telling his concept artists, modelers, costumers, etc. to create hundreds of different potential elements (based on half-baked, underdeveloped notes) that he’d just literally stamp for approval. They were mostly CGI because he was too fucking lazy to leave the studio and because he wanted to be able to basically continue to write and shoot the movies while he was editing them and realizing what important scenes they were missing. The political themes, I mean I don’t even know what to say. I mean good for him I guess to try it? But is it ballsy to put the most boring and poorly handled political subplots in your big budget movies? In a way maybe, but again, mostly just lazy in that he just threw shit against a wall and didn’t try to concoct any sort of interesting story out of them. It’s insane to me that people are saying TFA failed by not having enough politics. The OT didn’t have any politics. A film is not made good by politics. A film is made good by telling a good story. Since the PT didn’t do that, what I say when you said at least it had political themes is who gives a shit.
Which film would you watch again, The Room or Captain America: Civil War?
Captain America. Next question.
I find it surprising that people on this thread are suddenly defending TFA when they have been bashing it only a few hours ago as “crap is crap.”
I don’t think anyone here defending it ever called it crap. Most people are pretty constant in their opinions. Except you, I guess, who literally hours ago said you “really liked TFA.”