2 of 6

Rice and Snyder also caution readers that they should beware of false messages: "Star Wars II seems to have abandoned the positive, theistic orientation that the first episode seemed to be moving toward at times. Apparently, George Lucas has decided to slightly reinforce the Buddhist leanings of the saga, where the heroes (and villains) engage an impersonal, illogical, spiritual, and transcendent 'Force' in a mystical, partially occult way."

Bob Smithouser (Focus on the Family) offers a few cautionary words about the "theological hodgepodge … reflected in The Force." He also calls Clones "a wild, satisfying adventure" that lacks "the carefree, organic quality of the earlier films. You wish the young actors would just relax, have fun and stop treating the material as sacred."

The mainstream press avoids discussion of the film's "theological hodgepodge," focusing instead on issues of craftsmanship. Those who enjoy Lucas's imaginative environments and who value Lucas's effective, efficient visual storytelling give the film rave reviews, even as they note its familiarly mundane script and wooden performances. But others are unmoved by the sights and sounds, condemning the film for Lucas's failings as a writer and for his work with the cast.

Many scorn the film's romance plot as derivative and dumb. Kirk Honeycutt (Hollywood Reporter) declares, "These two fall in love not because romance sparks but to suit the needs of subsequent movies." Roger Ebert (Chicago Sun-Times) adds: "Padme and Anakin [are] incapable of uttering anything other than the most basic and weary romantic clichés, while regarding each other as if love was something to be endured rather than cherished."

Ed Gonzalez (Slant) faults the flat conversations: "Lucas' toys always look better when keeping mum and waving their sticks around." Roger Friedman (Fox News) says that Yoda "literally saves Episode II from quicksand," but then complains, "What's completely missing … is any jauntiness or sense of fun, camaraderie or purpose. This second generation of Star Wars characters all sound like Keanu Reeves delivering a soliloquy from Hamlet."

"Mr. Lucas seems to have lost his boyish glee," agrees A.O. Scott (New York Times). "[Lucas] … has lost either the will or the ability to connect with actors, and his crowded, noisy cosmos is psychologically and emotionally barren." And Lisa Schwarzbaum (Entertainment Weekly) says, "Here we are again: not entertained, not nearly enough, by an installment … that exhibits a chill, conservative grimness of purpose, rather than an excited thrill at the possibilities of cinematic storytelling."

But when Schwarzbaum says we, she's not speaking for a large portion of her peers. Some of Episode One's strongest naysayers come away impressed this time. Chris Gore, editor of Film Threat magazine, writes, "I have been one of Episode I's most outspoken critics for the last three years. [It's] … one of the greatest disappointments in movie history." He agrees that Clones' dialogue is "cringe-inducing." But in spite of this, he's full of praise. "Clones is epic, entertaining, romantic and funny—it is a true Star Wars film. When I walked out of the screening, all I could think of is that I want to get right back in line to see Clones again."

Todd McCarthy (Variety) turns in an rave: "Virtually everything that went wrong in Menace has been fixed, or at least improved upon … The exposition and sense of storytelling are clearer and more economical, all the main characters have significant roles to play, the detailing of the diverse settings is far richer, the multitudinous action set-pieces are genuinely exciting, there is now the dramatic through-line provided by a love story, some of the acting is actually decent, and even the score is better."

next page... |  2 of 6

share this page

May (Web-only) 2002, Vol. 46