Ewoks (1985) - News Poster



Star Wars: The Last Jedi’s Rian Johnson “apologizes” for the Porgs

Much like the Ewoks in Return of the Jedi and Jar Jar Binks in A Phantom Menace, Star Wars: The Last Jedi’s Porgs have been dividing fans ever since we got our first glimpse of the Ahch-To inhabitants in the film’s promotional material.

And now with just hours to go until the hotly-anticipated film begins rolling out into cinemas, director Rian Johnson has offering a tongue-in-cheek “apology” for the furry little creatures during an interview with Rolling Stone, where he explained how his idea for the Porgs came about.

“When we first scouted Skellig Michael, the island where we shot Luke’s stuff, it was covered in puffins,” said Johnson. “It’s a bird sanctuary, actually. So there were all these adorable little puffins all over the island. It was first just like, ‘Ok, let’s come up with the Star Wars version of that.’ Also, I knew
See full article at Flickeringmyth »

Film Review: ‘Star Wars: The Last Jedi’

Film Review: ‘Star Wars: The Last Jedi’
Spoiler Alert: The following review contains mild spoilers for “Star Wars: The Last Jedi.”

Surely, all “Star Wars” fans hope each new installment will be the best ever. But in the case of “Star Wars: The Last Jedi,” that seemed like an actual possibility. Written and directed by Rian Johnson, a Sundance alum who established his serious-filmmaker bona fides with his 2005 indie debut, “Brick,” before graduating to young Christopher Nolan territory via the relatively big-budget sci-fi movie “Looper,” Episode VIII seemed to have everything going for it.

To the extent that “The Force Awakens” was essentially a heightened reboot of “A New Hope,” recycling many of the 1977 original’s thrills in fresh form with a mostly new cast, this latest chapter was positioned as the new trilogy’s “The Empire Strikes Back” — which is to say, a darker, more serious chapter (commonly regarded as the series’ best) that deepens the underlying mythology, shapes its emerging
See full article at Variety - Film News »

The Coolest Star Wars Facts

As the hype train for Star Wars: The Last Jedi heads into its final stretch, fans are either thinking about what is in store, or reminiscing about their favourite moments from the movies already made.

While there is little doubting that the fandom belonging to this franchise is one of the biggest and most knowledgeable ones in existence, even when compared to other smash hit game or TV phenomenon; this cherished series still has a secret or two! So, here we present some of the most scintillating for your reading pleasure.

The Immodesty of Carrie Fisher

Carrie Fisher point-blank refused to wear modesty tape when filming the famous Jabba’s Palace scene.

In the same manner that a good online gambling casino has a lot going on behind the scenes to ensure you get what you want as you want it, the Return of the Jedi Jabba Palace sequence was a very complex one.
See full article at The Hollywood News »

Sounds Like We’re A Bit Closer To Seeing The Original, Unaltered Star Wars Trilogy

The geek world imploded a few weeks back when it was reported that Disney is working on purchasing the bulk of 20th Century Fox. Shortly after this report came out, though, we were told that the whole thing might already be dead in the water, as talks between the two companies had apparently cooled.

Now, however, we’ve learned that we should ignore that second report as the notion has allegedly not yet been thrown out. According to Deadline, the two parties are still very much in discussions and Disney is apparently “progressing speedily toward” the acquisition. As we heard before, the plan is still for Fox to keep their sports and news properties, while the House of Mouse takes everything else in terms of film and TV.

I know you want to talk about the legacies of those exposed in these sexual assault and harassment scandals, but I just
See full article at We Got This Covered »

Will Disney Re-Release The Original, Unaltered Star Wars Trilogy If They Buy Fox?

George Lucas’ constant tinkering with the original Star Wars trilogy has become a real pet peeve for longtime fans of the franchise. Whether it’s blinking Ewoks, additional CGI or Darth Vader screaming “Noooo!” as he takes down the Emperor, the director has left everyone with a lot to debate over the years.

Since he sold Lucasfilm and moved away from Star Wars, it’s become clear that he would no longer have any sort of role in what happens to A New Hope, The Empire Strikes Back and Return of the Jedi, but we’ve still yet to see a re-release of the original, unaltered trilogy. That’s for a few reasons, one of which is that the distribution rights to those films lie with Fox. However, now that we know Disney is looking to buy their rival studio, could things change?

Fans are certainly hopeful, as at the moment,
See full article at We Got This Covered »

Star Wars: in defence of Ewoks and Porgs

Ryan Lambie Oct 12, 2017

For decades, the Ewoks have divided fan opinion, and with Star Wars: The Last Jedi, the Porgs look set to do the same...

They helped bring down the Empire, but for some, they helped ruin an entire franchise. When Return Of The Jedi arrived in 1983, its cuddly, mischievous Ewoks immediately divided opinion among Star Wars fans: for some, George Lucas' space opera ended not with a bang, but with a bunch of spear-waving teddy bears frolicking about in a forest.

See related  Netflix's Stranger Things: Shawn Levy interview Netflix's Stranger Things: spotting the movie references

Almost 35 years later, and it might seem as though history's about to repeat itself. As footage from writer-director Rian Johnson's The Last Jedi emerged, debate over things like Rey's origins and Luke's grim utterances was joined by another conversation: what are those cute, wide-eyed things that look like
See full article at Den of Geek »

C-3Po Actor Doesn't Even Like Jar Jar Binks

  • MovieWeb
C-3Po Actor Doesn't Even Like Jar Jar Binks
There are a handful of truly legendary figures in the Star Wars universe, but Anthony Daniels, the man behind C-3Po, is very near the top of the hill. The man has appeared in every single live-action Star Wars movie to date. A streak that is set to continue with Star Wars: The Last Jedi. Another legend, for a different reason, is Ahmed Best, who portrayed Jar Jar Binks in the Star Wars prequels. As it turns out, Daniels feels similar to many fans out there, as he admits that he isn't a fan of the maligned Gungan.

Anthony Daniels recently appeared at Fan Expo 2017 and, as reported by Space, he discussed Jar Jar Binks a bit. While Daniels wanted to make it clear that he has a lot of respect for Ahmed Best as an actor and that he understands that Jar Jar wasn't a character meant to resonate with adults,
See full article at MovieWeb »

Why Movies Need Directors Like Phil Lord and Chris Miller More Than Ever

Why Movies Need Directors Like Phil Lord and Chris Miller More Than Ever
A few days ago, my colleague Owen Gleiberman wrote a scathing essay questioning whether Colin Trevorrow was the right choice to direct “Star Wars: Episode IX,” suggesting that the “Jurassic World” helmer’s in-between indie, “The Book of Henry,” is such an abomination we have reason to think he could ruin the franchise that has already weathered the likes of Gungans and Ewoks.

It was a tough essay, so much so that I genuinely feared Trevorrow’s job could be in danger. And then a funny thing happened. “Star Wars” producer Kathleen Kennedy fired the directors on a completely different “Star Wars” movie, axing Phil Lord and Christopher Miller from the Han Solo project. What!?!?

The universe needs directors like Lord and Miller more than ever these days — and not just the “Star Wars” universe, mind you, but the multiverse of cinematic storytelling in general. Lord and Miller represent that rarest of breeds: directors with a fresh and unique vision, backed by the nerve to stand up for what they believe in.


Star Wars’ Han Solo Spinoff: Lord & Miller Fired After Clashing With Kathleen Kennedy (Exclusive)

Just look at their track record: After starting their careers as TV writers (they created the MTV cartoon series “Clone High” and wrote for “How I Met Your Mother”), the duo made their feature directorial debut with “Cloudy with a Chance of Meatballs,” a wildly imaginative reinvention of a 32-page children’s book that heralded them as bold, outside-the-box comedy storytellers.

Then they made the jump to live-action, bringing their trademark brand of hip, pop-savvy self-awareness to the feature-length “21 Jump Street” remake. Few animation directors have survived the leap from animation to live-action (just consider the likes of “John Carter” and “Monster Trucks”), but Lord and Miller took to the new medium like naturals (technically, they had experience from their TV writing days — and I remember hearing stories that they’d actually taken a break from “Cloudy” to write an episode of “How I Met Your Mother” just so they wouldn’t lose their Writers Guild insurance benefits, but that’s another story about animators don’t enjoy the same protection in this industry).

“21 Jump Street” took the concept of a tired old ’80s TV show — two baby-faced cops go undercover as high-school students — and rebooted it with a playful twist, turning the ludicrous setup into one giant joke. Then came “The Lego Movie,” in which they cracked one of the weirdest assignments in 21st-century filmmaking — bring the popular line of kids toys to life — in a wholly original way, embracing the fact that Legos had spawned an almost cult-like sub-genre of fan films (to capitalize on the trend, the Lego company had even released a “MovieMaker Set” in 2000, complete with stop-motion camera and Steven Spielberg-styled minifigure) to make the ultimate wisecracking meta-movie.

After that string of successes, Lord and Miller had become two of the hottest names in town, able to pick their projects. But like so many directors of their generation — children of the ’70s whose love of cinema had been inspired by George Lucas’ game-changing space opera, what they wanted was to make a “Star Wars” movie. For a moment, that seemed possible, since the producers were hiring indie directors like Rian Johnson (“Brick”) and Gareth Edwards (“Monsters”) to helm these tentpoles.

On paper, Lord and Miller’s irreverent sensibility seemed like a perfect match for Han Solo, the franchise’s most sardonic character. One has to assume that it was precisely that take Kathy Kennedy and the “Star Wars” producers wanted when they hired the duo. But this is where modern critics, columnists and the fan community at large fail to understand a fundamental change that is happening at the blockbuster level in Hollywood: These directors are not being chosen to put their personal stamp on these movies. They are being hired to do the opposite, to suppress their identity and act grateful while the producers make all the key creative decisions.

Want to know why Trevorrow was picked to direct “Jurassic World” when his only previous credit was a nifty little sci-fi indie called “Safety Not Guaranteed”? It’s because he plays well with others, willing to follow exec producer Steven Spielberg’s lead when necessary. Going in to the assignment, Trevorrow had no experience directing complicated action sequences or overseeing massive-budget special effects. He didn’t need it, because those aspects of the movie were delegated to seasoned heads of department, while Trevorrow focused on what he does best: handling the interpersonal chemistry between the lead characters. (Personally, I hold Trevorrow responsible for the decision to film Bryce Dallas Howard running in high heels, but not the turducken-like gag where a giant CG monosaur rises up to swallow the pterodactyl that’s eating Bryce’s assistant. Surely someone else oversaw that nearly-all-digital sequence.)

Independent schlock producer Roger Corman memorably observed that in the post-“Jaws,” post-“Star Wars” era, the A movies have become the B movies, and the B movies have become the A movies — which is another way of saying that today, instead of taking risks on smart original movies for grown-up sensibilities (say, tony literary adaptations and films based on acclaimed Broadway plays), the studios are investing most of their resources into comic-book movies and the equivalent of cliffhanger serials (from Tarzan to Indiana Jones).

To Corman’s equation I would add the following corollary: On today’s tentpoles, the director’s job is to take orders, while producers and other pros are called in to oversee the complicated practical and CG sequences that ultimately define these movies. It’s an extension of the old second-unit model, wherein experienced stunt and action-scene professionals handled the logistics of car chases and exotic location work — except that now, such spectacular sequences are the most important part of effects-driven movies. Meanwhile, the one ingredient the producers can’t fake or figure out on their own is the human drama, which is the reason that directors of Sundance films keep getting handed huge Hollywood movies: to deliver the chemistry that will make audiences care about all those big set pieces.

How times have changed: In the 1980s, the only one who would make a movie like “Fantastic Four” was Corman, which he did for peanuts, whereas two years ago, Fox dumped more than $125 million into the same property. And the director they picked? Josh Trank, whose only previous feature had been the low-budget “Chronicle.” Let’s not forget that Trank ankled his own “Star Wars” spinoff, which I suspect had everything to do with realizing what happens when forced to relinquish control of a project in which he’s listed as the in-title-only director.

Back in the ’60s, a group of French critics writing for Cahiers du Cinéma coined what has come to be known as “the auteur theory,” a relatively quaint idea that the director (as opposed the screenwriter, star or some other creative contributor) is the “author” of a film. In the half-century since, critics everywhere have fallen for this fantastical notion that directors have creative autonomy over the movies they make — when in fact, as often as not, that simply isn’t the case.

The auteur theory makes for a convenient myth, of course, and one that lazy critics have long perpetuated, because it’s much to difficult to give credit where it’s due when confronted with the already-cooked soufflé of a finished movie. Critics aren’t allowed into the kitchen, after all, and though countless chefs (or heads of department, to clarify the metaphor) contribute to any given film production, it’s virtually impossible to identify who was really responsible for the choices that make the film what it is.

How much of “Citizen Kane’s” creative genius can be attributed to cinematographer Gregg Toland? Would “Jaws” or “Star Wars” have been even half as effective without composer John Williams? Did editor Ralph Rosenblum save “Annie Hall”? And most relevant to the discussion at hand: Is it correct to think of “Rebecca” as an Alfred Hitchcock movie (he directed it, after all), or does the result more thoroughly reflect the hand of producer David O. Selznick?

This is all complicated by the fact that an entire class of filmmakers — the so-called “film-school generation” — seized upon the auteur theory, turning it into something of a self-fulfilling prophecy, as the likes of Coppola, Scorsese, Spielberg, Lucas and so on left their signature on the movies they made. Meanwhile, the Cahiers critics (several of whom went on to become directors, among them Jean-Luc Godard and François Truffaut) were protected by a uniquely French copyright law dating back to the 18th century, known as the “droit d’auteur,” which entitled them to final cut (a privilege precious few Hollywood directors have).

But these remain the exception, not the rule. In the case of the “Jurassic Park” and “Star Wars” franchises, the director is decidedly not the auteur. To the extent that a single vision forms the creative identity of these films, it’s almost always the producer we should hold responsible. To understand that, we need only look back to the original “Star Wars” sequel, “The Empire Strikes Back,” a movie “directed” by Irvin Kershner, but every bit George Lucas’ brainchild (he reportedly hand-picked Kershner for his strength with character development). The same goes for Richard Marquand on “Return of the Jedi.”

This shouldn’t be a scandalous revelation. It just doesn’t fit with the self-aggrandizing narrative that many directors have chosen for themselves. Yes, the 1989 “Batman” is without question “a Tim Burton movie”: Burton has such an incredibly distinctive aesthetic, and the personality to push it through a system that’s virtually designed to thwart such originality. But when it comes to the incredibly successful “X-Men” franchise, there’s no question that producer (and “Superman” director) Richard Donner deserves as much credit as those first two films’ director, Bryan Singer. Simply put, that franchise owes its personality to both of their involvement.

But when it comes to “Jurassic World,” that movie probably wouldn’t look much different in the hands of someone other than Trevorrow. And the same can almost certainly be said for the “Star Wars” movie he’s been hired to direct, because in both cases, it’s the producers who are steering the ship. When the stakes are this high, it would be downright reckless to give complete autonomy to relatively unproven directors.

That’s increasingly the case in Hollywood these days. Director Dave Green (who’d made a tiny Amblin-style movie called “Earth to Echo”) went through it on a franchise project produced by Michael Bay. He was tapped to helm “Teenage Mutant Ninja Turtles: Out of the Shadows,” only to discover that he had no autonomy. Granted, Green was still wet behind the ears and had no experience with a nine-digit budget or big union crew. But that wasn’t the job, because Bay never expected him to handle everything. Instead, the producer pulled in more experienced professionals to oversee much of the action and visual effects, while Green followed orders and worked his magic with the actors.

You can bet Tom Cruise’s paycheck that the same thing happened on “The Mummy,” in which Alex Kurtzman is listed as director, but the producer-star was reportedly calling most of the shots. How appropriate that a Universal monster movie reboot should be the victim of what amounts to a kind of creative Frankenstein effect.

Likewise, Marvel has had more success (both financially and artistically) forcing directors to conform to an inflexible set of aesthetic guidelines than it did when art-house “auteur” Ang Lee experimented with his own ideas on 2003’s “Hulk.” And though Mexican director Alfonso Cuarón is celebrated for the personal touch he brought to the Harry Potter franchise, it was relatively malleable British TV director David Yates whom writer-producer J.K. Rowling approved to direct four more films in the series.

So where does that leave us with “Star Wars”? On one hand, it’s perfectly understandable that the producers would want Trevorrow to direct Episode IX, since he’s already demonstrated his capacity to play along with the producers. Meanwhile, it’s disheartening — but not altogether surprising — that a directorial duo as gifted as Lord and Miller have been fired from the Han Solo film, since they’ve been known to fight for the creative integrity of their vision.

But it’s a loss to the “Star Wars” world, since Lord and Miller’s previous credits demonstrate the kind of unique take they might have brought to the franchise. Warner Bros. trusted the duo enough on “The Lego Movie” to let them poke fun at Batman — arguably the studio’s most precious IP, previously rendered oh-so-serious in the Christopher Nolan trilogy. Lord and Miller’s minifigure Dark Knight was a brooding egomaniac and the funniest thing about that film, so much so that Warners ran with it, producing a spinoff that stretched the joke to feature length.

Sony Pictures Animation (where Lord and Miller made “Cloudy with a Chance of Meatballs”) was similarly enthusiastic about their input on Spider-Man, greenlighting the pair’s high-attitude idea for an animated movie centered around Miles Morales, the Black Hispanic superhero who took over web-slinging duties after Peter Parker’s death. Though they’re not directing, the script is said to bear their fingerprints — which it seems is exactly what Kennedy and company don’t want on the Han Solo project.

With any luck, Lord and Miller will see the “Star Wars” setback as the opportunity that it is: Rather than being forced to color within the lines of a controlling producer’s vision, they can potentially explore the more individual (dare I say, “auteurist”?) instinct they so clearly possess on a less-protected property. Heck, maybe Sony’s Spider-Man project will be the one to benefit. Or perhaps they’ll be in the enviable position of pitching an original movie. Not all directors have such a strong or clear sense of vision that they can be trusted to exert it over a massive studio tentpole, but Lord and Miller are among the few actively reshaping the comedy landscape. Now is their moment, although as Han Solo would say, “Great, kid. Don’t get cocky.”

Related stories'Star Wars' Han Solo Spinoff: Lord & Miller Firing Is Latest in Long Line of Director Exits'Star Wars' Han Solo Spinoff: Lord & Miller Fired After Clashing With Kathleen Kennedy (Exclusive)'Star Wars' Han Solo Film Loses Directors Phil Lord and Christopher Miller
See full article at Variety - Film News »

Bringing Star Wars to the Screen: Episode IV – A New Hope

Star Wars: Episode IV – A New Hope, 1977.

Directed by George Lucas.

Starring Mark Hamill, Harrison Ford, Carrie Fisher, Peter Cushing and Alec Guinness.


A long time ago, in a galaxy far, far away… young farm boy Luke Skywalker becomes embroiled in a civil war between the heroic Rebellion and evil Galactic Empire. Setting off from his home-world, Luke must rescue a captured princess and learn the ways of the Force from Jedi Master Obi-Wan Kenobi if he is to aid the Rebellion in destroying the Empire’s ultimate weapon, the Death Star.

During the production of his debut movie Thx-1138 (1971), young director George Lucas had expressed considerable interested in adapting the adventures of Flash Gordon for the big screen but, after being unable to acquire the rights to the character, Lucas soon set about developing his own space adventure reminiscent of the science-fiction movie serials he had watched as a child.
See full article at Flickeringmyth »

There Are No Plans For More Alterations To Be Made To The Original Star Wars Trilogy

George Lucas’ constant tinkering with the original Star Wars trilogy has become a real pet peeve for longtime fans of the franchise. Whether it’s blinking Ewoks, additional CGI or Darth Vader screaming “Noooo!” as he takes down the Emperor, Lucas has left everyone with a lot to debate over the years.

Since he sold Lucasfilm and moved away from Star Wars, it’s become clear that the writer/director would no longer have any sort of role in what happens to A New Hope, The Empire Strikes Back and Return of the Jedi, but if you were expecting the new regime to make their own alterations, you’d best think again.

Talking at Star Wars Celebration a couple of weeks ago, Lucasfilm President Kathleen Kennedy had this to say about leaving the trilogy alone.

“I wouldn’t touch those, are you kidding me? [laughs] Those will always remain his.”

See full article at We Got This Covered »

George Lucas and Ewoks Frolic In a field in Weird Old Japanese Commercials

I’ve mentioned many times how no one can hold a candle to Japan when it comes to super duper weird commercials. Turns out that goes way way back to the 80s. When the Star Wars trilogy ended I don’t think anyone ever assumed it would grow into what it did today. Granted it was a very successful trilogy but now it’s more like an entire world movement than a movie franchise. So when George Lucas was done with all the movies, he must have realized that any chance he could to take advantage of the success would be a wise

George Lucas and Ewoks Frolic In a field in Weird Old Japanese Commercials
See full article at TVovermind.com »

Rogue One Director Tried to Hide a Secret from George Lucas

With Disney and LucasFilm's highly-successful Star Wars spin-off Rogue One: A Star Wars Story coming home on Digital HD March 24, and on Blu-ray and DVD April 4, fans have been waiting with bated breath to enjoy this sci-fi adventure from the comfort of their home, while enjoying all of the supplemental material. Director Gareth Edwards decided to promote this home video release by hosting a Reddit Ama, where he shared a surprising secret that he kept from Star Wars creator George Lucas, when Lucas visited the set. Here's what Gareth Edwards had to say.

"He came to visit Pinewood before we started filming.... to take the pressure off us, I had posters in my room of the previous 'Star Wars spinoffs,' Caravan of Courage: An Ewok Adventure and the Star Wars Holiday Special... my main goal when he came in was to try and stop him seeing these... my
See full article at MovieWeb »

Reader Submission: "What Star Wars Learned From The McU (That Marvel Forgot)"

  • LRM Online
(Photo Courtesy of The Culture Concept)

Two weeks ago, I published a column titled "Lucasfilm Has Turned The Star Wars Galaxy Into The Marvel Universe." In that piece, I touched on a few key ways in which The House That Lucas Built was borrowing heavily from Marvel's model for the McU (Marvel Cinematic Universe). Today one of our readers, UnBoxing Jon, is back with another Reader Submission where he takes that idea another step farther.

Call To Action: Don't let Jonny boy hog all the glory! Here at Lrm, we're now reserving a slot on Mondays dedicated exclusively to Reader Submissions. If you've got a piece you'd love to share with the world, e-mail it to Mario@LRMOnline.com. I'll work on it with you, and if we can get it into shape, it'll be published right here on Lrm. Like the tagline says: "For Fanboys, By Fanboys!"

Bring'em on!
See full article at LRM Online »

Early ‘Rogue One’ Reviews: What the Critics Are Saying

Early ‘Rogue One’ Reviews: What the Critics Are Saying
For diehard “Star Wars” fans, an important question lingers: Does “Rogue One: A Star Wars Story” bode well as a stand-alone film?

According to film critics, the answer is yes — for the most part.

Early reviews for “Rogue One” have been generally positive. Set as a prequel to the events that happened prior to 1977’s film, critics were quick to note the differences to the originals, noting the absence of Jedi, Ewoks and other familiar characters recognizable to the Star Wars universe.

Critics also praised the film’s third part, which was overwhelmingly lauded as the highlight of the film. Still, others felt the film tried too hard to please fans with overly-nostalgic moments that may not have fit the film’s tone.

Rogue One: A Star Wars Story” hits theaters on Dec. 16. See a roundup of critical reactions below:

Variety’s Peter Debruge:

“Not only does ‘Rogue One’ overlap
See full article at Variety - Film News »

'Rogue One: A Star Wars Story' Review: The Darkest Movie of the Franchise

  • CineMovie
Empire Strikes Back was the darkest and grittiest of the Star Wars film that is until Rogue One:  A Star Wars Story.  Unlike other Star Wars films, there are no cutesy-elements like R2-D2, the Ewoks or Bb-8, and the light-hearted moments are kept to a minimum. While the film fits into the George Lucas universe with familiar elements, this is a far more serious film. Director Gareth Edwards has made this film his own.

Read More ...
See full article at CineMovie »

Film Review: ‘Rogue One: A Star Wars Story’

Film Review: ‘Rogue One: A Star Wars Story’
A short time before “Star Wars,” in a galaxy far, far away, the Rebel heroes featured in “Rogue One: A Star Wars Story” took the first step that led to the Death Star’s destruction. No spoilers there, since earthlings first saw that glorious explosion nearly 40 years ago. Be warned, though: Every detail that follows could dilute the surprise factor of what’s coyly being billed as a Jedi-free spinoff, but might more accurately be described as “Star Wars: Episode 3.9,” so perfectly does it set up George Lucas’ 1977 original.

Not only does “Rogue One” overlap ever so slightly with “A New Hope,” but it takes that blockbuster’s biggest weakness — that a small one-man fighter can blow up a battlestation the size of a class-four moon — and actually turns this egregious design flaw into an asset. Now we know why the Death Star has an Achilles’ heel and how
See full article at Variety - Film News »

Star Wars Novel Answers What Happened to the Ewoks After Jedi

Star Wars Novel Answers What Happened to the Ewoks After Jedi
Last year was quite momentous for Star Wars fans, not only because we finally saw the first new movie in 10 years, Star Wars: The Force Awakens, but also because the franchise expanded even further with a series of new novels and comic books that are part of the Star Wars canon. These books have given fans plenty of insight into this fascinating universe since its launch, including an explanation for why C-3Po had a red arm in Star Wars: The Force Awakens, for example. A new Star Wars novel hit the shelves today, which answers another question fans have had for over 30 years: What happened to the Ewoks?

The Ewoks were first introduced in the 1983 classic Return of the Jedi, with these pint-sized characters playing a big role in the Rebel Alliance' victory over the Empire. Unfortunately, they didn't show up in last year's Star Wars: The Force Awakens,
See full article at MovieWeb »

Star Wars: the changing face of Sy Snootles & the Rebo band




In the Special Editions, the Rebo Band were big victims of George Lucas' digital wand. Here's how CGI changed them - seemingly forever...

In 1997, Star Wars began its ineluctable turn to the digital side. A New Hope, re-released in January that year, marked the first of George Lucas’s Special Edition revamps of his blockbuster saga; then 20 years old, the original 70s print was decaying. Effects shots were damaged. Darth Vader’s once imposing black mask and cloak had faded to a wan shade of pale blue.

To combat the ravages of time, Lucas embarked on an expensive and lavish restoration of the movies, improving the quality of the sound, re-balancing and correcting the colours and placing them back where they belonged: on the big screen. While fans were delighted at the prospect of seeing Star Wars in theatres again, Lucas’ reissues didn’t stop at
See full article at Den of Geek »

The final pieces of the ‘Star Wars’ saga showed John Williams at his strongest and weakest

George Lucas had a lot to answer for in 1983. Would audiences ever see Han Solo again? Was there any chance for Leia and the Rebellion to come back from such a crushing defeat? And was Darth Vader really Luke Skywalker’s father? As the third chapter in the original Star Wars trilogy, Return of the Jedi would answer all of these questions, but not without controversy — even at the time.

Among Lucas’s three original films, Jedi is the turning point for the series’ creator and his subsequent kid-ification of a saga that had, up until that point, been accessible to both children and adults alike. Part of Jedi‘s scattered tone is artificially inflated by the “series of down endings” in The Empire Strikes Back. On the other hand, there’s something about the cuddly nature of the Ewoks and the broad hamminess of Jabba’s Palace that doesn
See full article at SoundOnSight »

10 Great Stories From ‘Star Wars Tales’

Star Wars Tales is a quarterly anthology series published by Dark Horse from 1999 to 2005. Each issue was 64 pages long and contained a variety of stories, in both number, length, content, and tone. Most stories were considered non-canonical “Infinities” stories unless canonized elsewhere (though of course, now all such stories are deemed non-canonical “legends”). In the course of its six year run, Star Wars Tales featured stories from dozens of different creators, covering numerous facets of the Star Wars universe, from serious, thoughtful tales to comedic ones to straight-up fan-demanded “what if?” type stories. Here are ten of the best, entertaining in their own right but also representative of the breadth of content available in this series (all of which are currently available to subscribers of Marvel Unlimited, and were earlier collected into six trade collections that can probably still be found on Amazon and the like).

Issue #4 – “A Death Star
See full article at SoundOnSight »
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