Three decades after the Empire's defeat, a new threat arises in the militant First Order. Stormtrooper defector Finn and the scavenger Rey are caught up in the Resistance's search for the missing Luke Skywalker.
Three years into the Clone Wars, the Jedi rescue Palpatine from Count Dooku. As Obi-wan pursues a new threat, Anakin acts as a double agent between the Jedi Council and Palpatine and is lured into a sinister plan to rule the galaxy.
After a daring mission to rescue Han Solo from Jabba the Hutt, the rebels dispatch to Endor to destroy a more powerful Death Star. Meanwhile, Luke struggles to help Vader back from the dark side without falling into the Emperor's trap.
Ten years after initially meeting, Anakin Skywalker shares a forbidden romance with Padmé Amidala, while Obi-wan Kenobi investigates an assassination attempt on the Senator and discovers a secret clone army crafted for the Jedi.
Luke Skywalker joins forces with a Jedi Knight, a cocky pilot, a Wookiee and two droids to save the galaxy from the Empire's world-destroying battle station, while also attempting to rescue Princess Leia from the evil Darth Vader.
All looks lost for the Rebellion against the Empire as they learn of the existence of a new super weapon, the Death Star. Once a possible weakness in its construction is uncovered, the Rebel Alliance must set out on a desperate mission to steal the plans for the Death Star. The future of the entire galaxy now rests upon its success.Written by
Andy de la Tour plays General Hurst Romodi, the bald headed Imperial officer who reports to Governor Tarkin. The same character appeared during the conference room in Star Wars: Episode IV - A New Hope (1977) where he was played by uncredited extra Ian Selby. His name first appeared in the Star Wars novelization ghostwritten by Alan Dean Foster. See more »
As the camera pans into the control centre of the data bank station for the first time, we see officers huddling around a couple of consoles. These consoles appear to be rugged and firmly planted to the deck. However one of the furthermost console was visibility nudged out of position as the camera away (towards Krennic). See more »
[an Imperial space shuttle flies towards a farm in Lah'mu and over a young Jyn running scared upon seeing it]
[entering her house]
Jyn, gather your things. It's time.
See more »
After the credits are done, there is a snippet of Luke Skywalker's theme. See more »
Long ago, when I had a poor understanding of the cinematographic universe, when the plot of films was deeply indifferent to me, I saw a wonderful film in which the hero escaped in the belly of a dead unknown beast, and giant metal elephant-turtles walked along the snow-covered planet. And, I did not think that these feelings can be repeated in adulthood.
Unexpected discovery: Rogue One, one woke a child in me, although the plot was clear, and there was no infantile desire to jump into tact with gunfights and fights. It was just great. It was just a classic trilogy, elevated to the absolute. It's just the same as many years ago. And, what is very important, without any hidden pathos, without an obsessive director's "wink" in the style of "well, you realized that this character returned and everyone giggles and applauds."
So, Rogue One, of course, is a fresh look. This is another camera work. These are other perspectives and, as was rightly noted in trailer analyzes, this is an amazing work with scales. The director and the cameraman made things that you believe in. You believe in the size of the Death Star. Believe in the size of the Star Destroyer. And, okay, it would be one thing: launched a comparative infographics, and finished on that one. No, here all objects of space are constantly involved in some kind of action. The Death Star moves, the Destroyers engage in battle, the transport workers, fighter jets and bombers are fighting alongside. This is a "wow", this is "super", this is the star thriller we wanted. The fighter in which the fighters actually shoot down the enemy, and the bombers cause point torpedo strikes, where the technique creates a real cover, and not just "hanging around for the crowd", as in the Awakening of the Force. And, yes, this is the very setting of the fights that was in the original trilogy. I am delighted. This is a new operator's view of the old scale of star battles.
The next moment is the preservation of the style of Lucas. Here everything pleases not less. This is a city similar both to Naboo I episode and Tatooine IV episode. This is nature, similar to what we saw in the second part (during the rapprochement of Anakin with Amidala), or on Kashyyyk with its battles in the woods. Everything looks natural and beautiful. There are no eared adherents of the dark side, wading through unnatural winter forests, built on an old 3D engine. The whole environment looks beautiful, relevant, familiar in the atmosphere. It seems that this is called landscape design.
The plot of the film is not snotty, does not shine with pathos. Everything happens naturally. Heroes look vital, at first glance, there is no logic. The actors also played very well. Emotions want to believe, the motivation is clear.
VII episode of the Star Wars exported at the expense of the name. If you remove the name, you will receive a parody of the IV part with comical physics and a trash story. But Rogue One is a terrific epic saga. One of the best films in the universe of Star Wars.
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