Review of Star Wars: Episode I - The Phantom Menace (1999) by Reelviews94 — 23 Mar 2016

As the most widely anticipated and heavily hyped film of modern times, “Star Wars: Episode I — The Phantom Menace” can scarcely help being a letdown on some levels, but it’s too bad that it disappoints on so many. At heart a fanciful and fun movie for young boys, the first installment of George Lucas’ three-part prequel to the original “Star Wars” trilogy is always visually diverting thanks to the technical wizardry with which it creates so many imaginative creatures, spaceships and alien worlds. But it is neither captivating nor transporting, for it lacks any emotional pull, as well as the sense of wonder and awe that marks the best works of sci-fi/fantasy.

Nonetheless, even if the film lacks the magic to endear it to audiences in the manner of the first series entries a generation ago, the Force will still be with the picture at the box office; pic will probably gross in the neighborhood of its $120 million budget in its first week of release beginning May 19, and double that by early June. Thereafter, much will depend upon repeat viewing, which will no doubt be frequent among kids but much less so with adults. In other words, though it’s an automatic blockbuster, it will become neither a classic nor the biggest moneymaker of all time — only one of the biggest.

Those most looking forward to the first new “Star Wars” installment in 16 years are mostly people — now in their 30s — who were kids when episodes four through six were released. If anything, Lucas has tilted “Phantom” away from this audience and aimed it directly at a new crop of children, who are familiar with the originals via video or the recent “Special Edition” hardtop reissues. So while the new picture may not deliver everything the original fans have been fantasizing about for most of their lives, Lucas may again assert his status as the shrewdest marketeer among filmmakers, if he can capture the new generation for his fresh trilogy while still taking the old-time fans along for the ride.

The extended layover on Tatooine includes, at roughly the film’s halfway point, what is arguably its action/effects highlight, the pod race, which is the sci-fi equivalent of “Ben-Hur’s” chariot race. Launched from an arena carved out of rock, this consists of a bunch of daredevil pilots, who are suspended in virtual buckets connected to giant jet engines, careening their rickety crafts at low altitudes through craggy landscapes, canyons and narrow spaces, anything to create a powerful visual dynamic. Effect is as comparable to a video game as to a movie sequence, but provides the best ride of the picture, even if the outcome is never in doubt.

As the story, in its maze-like way, zigzags through its second hour, even more characters and creatures are introduced, notably a villain, the red-eyed, red-and-black-faced Darth Maul (Ray Park), who doesn’t say much but proves to be a particularly dexterous opponent of the Jedis with his lightsaber dueling technique. After a series of confrontations and battles, a sense of tentative peace prevails at the end, and the young Anakin, despite some misgivings on the part of Jedi Master Yoda, is accepted as a Jedi apprentice. As the Republic’s Senator Palpatine with a wry sense of portentiouness says to the boy, “We will watch your career with great interest.”.

There is certainly enough incident to keep the picture and the viewer going, but the bombardment of elements, names, worlds, creatures and dilemmas may prove somewhat daunting to casual observers unsteeped in “Star Wars” lore. Beyond that, the new CGI characters are notably lacking in charm or interest other than on the design level; they bring nothing new or special to Lucas’ universe, and in a sense overpopulate it.

This is a truly a world of extraterrestrial diversity gone berserk: There are hundreds of droid warriors, all manner of animal-like creatures, and enough spaceships, fighting machines and vehicles to supply an entire toy store. Except for the desert scenes and a few other landscapes, the world of the movie is virtually entirely artificial, and some of the more obviously fake backdrops remind one that this is just a computer-generated version of the sort of ambiance habitually created some 50 to 60 years ago by most Hollywood pictures.

Lucas places no less importance on the sound elements, and his experts in this field, in particular sound designer Ben Burtt and Skywalker Sound director and mixer Gary Rydstrom, have delivered again. John Williams’ score reprises the very familiar themes of the first trilogy while adding some new and complimentary strains.

But while the film hardly lacks for visual creativity, it lacks resonance, freshness and a sense of wonder. In a way, it suffers from there having been so many knock-offs and sci-fi imitators in the intervening years.

“Phantom” is easily consumable eye candy, but it contains no nutrients for the heart or mind.