20 years later, Revenge of the Sith’s spectacle sizzles, but its tediousness is also more apparent than ever

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In 2025, it’s not uncommon to find oneself asking “What could have been different?” as you watch classic blockbusters. Viewing movies from the 90s and early 2000s on the big screen often sparks thoughts about aspects missing in today’s expensive films. Interestingly, revisiting Star Wars: Revenge of the Sith in theaters for its 20th anniversary didn’t evoke this feeling within me.

Contrarily, the closing chapter in the Star Wars Prequel Trilogy seems more like a precursor to today’s blockbuster movie world. Overuse of CGI backdrops characteristic of numerous 2020s superhero films is evident in Sith’s visual style. Sprinkled throughout its runtime are nods to fans (“Did you know Yoda knew Chewbacca?”), a common practice in many modern films. The digital cinematography gives it a sterile feel, which is hard to escape. Watching future movies like Spider-Man or Independence Day in 2025, it feels like these films are learning from Sith! It seems as if Revenge of the Sith could have been released last week. Perhaps that’s just part of the journey that leads to many abilities some might consider unnatural.

You’re likely aware that the tale I’m referring to is “Star Wars: Revenge of the Sith”. In this final installment of the Prequel Trilogy, Anakin Skywalker, portrayed by Hayden Christensen, takes a dark turn after being set up in the two preceding films. His growing anger towards the Jedi Council and a strong desire to protect his pregnant wife Padme (Natalie Portman) contribute significantly to this transformation into darkness.

The story also includes various subplots such as General Grievous, who has a persistent cough, playing a role, Palpatine (Ian McDiarmid) increasing his influence in the Galactic Senate, and Obi-Wan Kenobi (Ewan McGregor) greeting someone with “hello there!”. If you’re over 25, you might recognize some of the typical issues that come with the Prequel Trilogy.

Without forgetting, these films were once universally disliked until their original fans grew up and started using Reddit. Of course, you’re well aware that the dialogue-heavy romantic scenes in Revenge of the Sith lack excitement. It’s a well-known fact. However, watching Sith again on the big screen made me more conscious than ever of the significant difference in quality between the conversation-driven scenes and the epic space battle sequences. Let me emphasize that George Lucas, as a director, has a keen eye for grand, visually stunning imagery reminiscent of old paintings.

Extravagant flourishes, such as General Grievous simultaneously wielding four Lightsaber-bearing arms, heroes flinging aside their capes and cloaks, or Palpatine’s exaggerated displays of villainy (“goooooood”) are the kind of bold, maximalist moments I find hard to resist. On a grand, cinematic scale, smaller details caught my attention, like the sun of Mustafar’s lava planet occasionally appearing behind clouds. Placing that sun in the background during Obi-Wan’s initial conversation with Anakin on Mustafar (“only a Sith deals in absolutes!”) is an excellent touch, hinting at which of these two characters adheres to the light.

As Anakin and Palpatine discuss Darth Plagueis, an extraordinary spectacle unfolds – a bizarre dance of bubbles that seems to come from another world. This alien entertainment, unique even for a galaxy far, far away, showcases the boundless creativity of its inhabitants. Meanwhile, John Williams, the star performer in this film, consistently shines. Even in less impressive Star Wars movies like The Rise of Skywalker and Attack of the Clones, Williams delivered outstanding performances. In Sith, he has a rich tapestry of grand dramatic storytelling to work with, and from the outset, he brings towering drumbeats into focus as the camera zeroes in on a fierce battle over Coruscant. Throughout the film, his music is filled with glorious flourishes, such as the ominous chants that accompany General Grievous as he steps off his ship upon landing in Utapau.

I must confess, experiencing the awe-inspiring new orchestral pieces in this epic saga wasn’t enough for me; John Williams surpassed my expectations yet again by skilfully weaving familiar Star Wars melodies throughout “Sith.” The chilling echoes of “The Imperial March” as Anakin succumbs to darkness had me on the edge of my seat, and it was a pleasure beyond words to hear it. Even the dramatic return of “Duel of the Fates” during the climactic Yoda versus Palpatine battle sent shivers down my spine. The enchanting John Williams score was as captivating as the first half of “Revenge of the Sith,” making every moment in the theater a truly immersive experience.

Watching the second season premiere of Andor prior to my screening of Sith made the lengthy, dialogue-heavy scenes in that movie even more frustrating. In contrast, important meetings within the Empire in Sith are captivatingly portrayed through exceptional acting and chilling, dehumanizing dialogue. The socializing with wedding guests is presented brilliantly using a single extended take that never stops moving. However, Anakin and Padme’s conversations feel lifeless, and the dialogue they exchange is truly atrocious. No memes from the late 2000s/early 2010s can fully convey how cringeworthy “no, it’s because I’m so in love with you” sounds.

The initial scenes in Palpatine’s chambers and the Jedi Temple felt dull and repetitive to me. Also, I missed the strong and assertive female characters like Leia from the original trilogy. Characters such as Holdo and Rey who will later appear are more than a decade away. In Star Wars movies from 2005, Padme spends most of her time in Coruscant waiting to die, which is disappointing. Even though there are many cool-looking female Jedi in the background during Revenge of the Sith (like Aayla Secura, Stass Allie, and Luminara Unduli), they don’t have any personalities or lines.

In simpler terms, “Revenge of the Sith,” despite its impressive qualities, is considered a mediocre Star Wars film due to Padme’s shallow character development and lack of compelling human drama. Compared to all other Star Wars movies, it ranks lower, including those from the Original Trilogy and almost all Disney era installments except for The Rise of Skywalker.

My preferred Star Wars stories (The Last Jedi, The Empire Strikes Back, and the original 1977 Star Wars) excel because they feature relatable characters set against an extravagantly fantastical sci-fi backdrop. For instance, Yoda’s wise guidance, which resonates with us from significant mentors in our lives, comes from a small green creature. Rose Tico’s struggles against economic and societal inequality are vividly portrayed as she navigates a casino filled with bizarre, over-the-top aliens. Lastly, Han Solo, a distant yet lovable rogue, expresses his feelings in his own unique way, such as saying “I know” before being frozen in Carbonite.

It’s enjoyable to identify with characters like Luke Skywalker, Rey, Rose Tico, Cassian Andor, and others, while at the same time finding amusement in quirky creatures such as Porgs or Max Rebo. However, the dull camera work and lackluster characters in Revenge of the Sith fall short compared to the rich legacy and potential of the Star Wars franchise. Even if superior space operas like The Last Jedi and The Empire Strikes Back didn’t exist, Revenge of the Sith would still be less captivating.

As a cinephile, I must admit that Ewan McGregor’s portrayal of Obi-Wan Kenobi’s emotional breakdown to Anakin Skywalker in “Revenge of the Sith” was nothing short of remarkable. It showcased McGregor’s exceptional acting abilities and resonated deeply because it was a raw, human moment amidst the film’s otherwise chilly vibe. The movie’s distant feel, enhanced by an overabundance of CGI and run-of-the-mill cinematography, gives “Revenge of the Sith” a familiar feeling, much like modern blockbusters such as “The Flash” or “Indiana Jones and the Dial of Destiny.”

Back in 2005, audiences were expected to cheer and applaud at the sight of Chewbacca, just as today’s superhero movie fans would at the appearance of a 20th Century Fox X-Men character in an MCU film. In essence, time truly is a circle.

Despite the notable flaws in “Revenge of the Sith,” it still surpasses many of the weaker blockbusters released in recent years, thanks to its strong points. For instance, the final wordless montage showcasing Padme’s funeral and the relocation of Luke and Leia Skywalker is a standout feature. Accompanied by the opening minutes of “A New Hope” and end credits, these less appealing aspects of “Sith” fade away, replaced by striking visuals that fill the screen. After depicting so much sorrow and hardship, the camera zeroes in on potential signs of hope. This poignant conclusion gains such emotional impact from John Williams’ clever touches, such as the subtle introduction of “The Force Theme” as Owen and Beru Lars care for Luke at precisely the right moment.

As I watched this sequence unfold, a knot tightened in my throat and tears welled up in my eyes. Just like the emotional “bows” from the ending of Breaking Dawn – Part Two, the conclusion of Revenge of the Sith skillfully used powerful music and heartfelt sincerity to move me deeply, despite it being a typical blockbuster movie. The touching finale is one of several memorable moments in Revenge of the Sith, such as the amusing details like how General Grievous scuttles across the floor, Yoda casually taking down two of Palpatine’s guards, or any scene involving R2-D2. I had forgotten just how much I adore that little astromech droid! Whenever he cowers in fear, I can’t help but say “awwwww”.

In its most extravagant or melodramatic moments, “Revenge of the Sith” truly shines. The movie’s bold decision to portray Anakin’s most reprehensible acts in such unyielding darkness, as seen in the ominous scene where he enters the Jedi Temple accompanied by countless Clone Troopers, underscores the film’s affinity for grandeur. This is a space epic that thrives on lavish emotional outbursts. Regrettably, much of “Revenge of the Sith,” particularly its lengthy first half, is filled with dialogue that lacks nuance and conversations with underwhelming characters. While it’s acknowledged that there are heroes on both sides in the Clone Wars, the film’s grandiose side far outweighs its more monotonous aspects when it comes to heroism.

As a nine-year-old kid, I was too timid to watch Star Wars: Episode III – Revenge of the Sith when it first hit theaters in 2005. However, I had seen it in theaters before, as part of a six-movie marathon preceding a Thursday night screening of The Force Awakens on December 17, 2015. Due to its early start time, I even took a nap during parts of Revenge of the Sith, so my first real, full-screen experience with it was then.

Final sidenote: wow, Nute Gunray has way more dialogue in this than I remember.

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2025-04-29 17:15