The evil Darth Sidious enacts his final plan for unlimited power — and the heroic Jedi Anakin Skywalker must choose a side.
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Credits: TheMovieDb.

Film Cast:

• Anakin Skywalker / Darth Vader: Hayden Christensen
• Obi-Wan Kenobi: Ewan McGregor
• Padmé Amidala: Natalie Portman
• Chancellor Palpatine / Darth Sidious: Ian McDiarmid
• Mace Windu: Samuel L. Jackson
• Senator Bail Organa: Jimmy Smits
• Yoda (voice): Frank Oz
• C-3PO: Anthony Daniels
• Count Dooku: Christopher Lee
• Queen of Naboo: Keisha Castle-Hughes
• Nute Gunray / Ki-Adi Mundi: Silas Carson
• Captain Typho: Jay Laga’aia
• Tion Medon: Bruce Spence
• Governor Tarkin: Wayne Pygram
• Commander Cody: Temuera Morrison
• Mas Amedda: David Bowers
• Sio Bibble: Oliver Ford Davies
• Jar Jar Binks: Ahmed Best
• Captain Antilles: Rohan Nichol
• Captain Colton: Jeremy Bulloch
• Terr Taneel: Amanda Lucas
• R2-D2: Kenny Baker
• Chewbacca: Peter Mayhew
• Queen of Alderaan: Rebecca Jackson Mendoza
• Owen Lars: Joel Edgerton
• Beru Lars: Bonnie Piesse
• Zett Jukassa: Jett Lucas
• Agen Kolar: Tux Akindoyeni
• Senator Orn Free Taa: Matt Rowan
• Saesee Tiin: Kenji Oates
• Aayla Secura: Amy Allen
• Clone Trooper: Bodie Taylor
• Ruwee Naberrie: Graeme Blundell
• Jobal Naberrie: Trisha Noble
• Sola Naberrie: Claudia Karvan
• Ryoo Naberrie: Keira Wingate
• Pooja Naberrie: Hayley Mooy
• Sly Moore: Sandi Finlay
• Chi Eekway: Katie Lucas
• Mon Mothma: Genevieve O’Reilly
• Fang Zar: Warren Owens
• Malé-Dee: Kee Chan
• Nee Alavar: Rena Owen
• Giddean Danu: Christopher Kirby
• General Grievous (voice): Matthew Wood
• Moteé: Kristy Wright
• Whie: Coinneach Alexander
• Bene: Mousy McCallum
• Wookiee: Michael Kingma
• Wookiee: Axel Dench
• Wookiee: Steven Foy
• Wookiee: Julian Khazzouh
• Wookiee: James Rowland
• Wookiee: David Stiff
• Wookiee: Robert Cope
• Baron Papanoida (uncredited): George Lucas
• Cin Drallig (uncredited): Nick Gillard
• Luke Skywalker / Leia Organa (uncredited): Aidan Barton
• Darth Vader (voice – uncredited): James Earl Jones
• Kit Fisto (uncredited): Ben Cooke
• GH-7 Medical Droid (voice) (uncredited): David Acord
• Meena TIlls (uncredited): Paul Bateman
• Sors Bandeam (uncredited): Ross Beadman
• Mas Amedda (uncredited): Jerome St. John Blake
• Clone Trooper (uncredited): Robert M. Bouffard
• Opera House Patron (uncredited): Jill Brooks
• Darth Vader (uncredited): Gene Bryant
• Jedi Knight (uncredited): Josh Canning
• Jedi Knight (uncredited): Dominique Chionchio
• Opera House Patron (uncredited): Rob Coleman
• Luminara Unduli (uncredited): Fay David
• Bail Organa’s Aide #1 (uncredited): Caroline de Souza Correa
• Hand Maiden (uncredited): Eliana Dona
• Naboo Officer (uncredited): Malcolm Eager
• Stass Allie (uncredited): Nina Fallon
• Blue Senate Guard (uncredited): Lawrence Foster
• Aqualish Senator (uncredited): Tim Gibbons
• Opera House Patron (uncredited): Roger Guyett
• Elle (uncredited): Chantal Harrison
• Female Nikto (uncredited): Philip Harvey
• Janu Godalhi (uncredited): Pablo Hidalgo
• Fire Speeder Pilot (uncredited): Ali Keshavji
• Naboo Guard (uncredited): Shaun R.L. King
• Lampay Fay (uncredited): Goran D. Kleut
• Fire Ship Pilot (uncredited): John Knoll
• Jedi Knight (uncredited): Gervais Koffi
• Jedi Knight (uncredited): John M. Levin
• Opera House Patron (uncredited): Janet Lewin
• Senator Bana Breemu (uncredited): Bai Ling
• Cellheim Anujo (uncredited): Dean Mitchell
• Senator Po Nudo (uncredited): Paul James Nicholson
• Senator Calek Kelbin (uncredited): Blake Nickle
• Opera House Patron (uncredited): Denise Ream
• Opera Guest (uncredited): Anthony Reyna
• Gilgamour (uncredited): Christopher Rodriguez
• Naboo Guard (uncredited): Hamish Roxburgh
• Clone Jedi Knight (uncredited): Mike Savva
• Senator (uncredited): Jacqui Louez Schoorl
• Senator (uncredited): Lisa Shaunessy
• Shaak Ti (uncredited): Orli Shoshan
• Runway Worker (uncredited): John Sigurdson
• BD-3000 Luxury Droid (movements) (uncredited): Christian Simpson
• Senator Ask Aak (uncredited): Paul Spence
• Hand Maiden 3 (uncredited): Suzie Steen
• Poggle the Lesser (uncredited): Richard Stride
• Magistrate Passel Argente (uncredited): Marty Wetherill
• Jedi Knight (uncredited): Aaliyah Williams
• Senator (uncredited): Masa Yamaguchi
• Plo Koon: Matt Sloan
• Meena Tills, Mon Calamari Senator (uncredited): Paul Davies

Film Crew:

• Executive Producer: George Lucas
• Producer: Rick McCallum
• Original Music Composer: John Williams
• Second Unit Director: Steven Spielberg
• Supervising Sound Editor: Ben Burtt
• Director of Photography: David Tattersall
• Stunt Coordinator: Nick Gillard
• Supervising Art Director: Peter Russell
• Foley Artist: Dennie Thorpe
• Foley Artist: Jana Vance
• Set Decoration: Richard Roberts
• Production Manager: Brian Donovan
• Foley Artist: Ellen Heuer
• Stunt Double: Ben Cooke
• Editor: Roger Barton
• ADR Mixer: Robert Farr
• Casting: Christine King
• Sound Effects Editor: Teresa Eckton
• Sound Re-Recording Mixer: Tom Myers
• Production Design: Gavin Bocquet
• Costume Design: Trisha Biggar
• Art Direction: Phil Harvey
• Art Direction: Ian Gracie
• Music Editor: Ramiro Belgardt
• Assistant Editor: Jason Ballantine
• Supervising Music Editor: Kenneth Wannberg
• Supervising Sound Editor: Matthew Wood
• Stunt Double: Nash Edgerton
• Storyboard Artist: Derek Thompson
• Extras Casting: Maura Fay
• Assistant Art Director: Damien Drew
• Location Manager: Jean-Marie Gindraux
• Assistant Art Director: Karen Murphy
• Unit Production Manager: Stephen Jones
• Production Supervisor: Guido Cerasuolo
• First Assistant Director: Colin Fletcher
• Assistant Sound Editor: David Acord
• Assistant Costume Designer: Michael Mooney
• Costume Supervisor: Gillian Libbert
• Costume Supervisor: Nicole Young
• Wardrobe Supervisor: Kerry Thompson
• Property Master: Ty Teiger
• Visual Effects Supervisor: Roger Guyett
• Script Supervisor: Jayne-Ann Tenggren
• Assistant Editor: Cheryl Nardi
• Third Assistant Director: Adam Jenkins
• Gaffer: Eddie Knight
• Assistant Art Director: Jacinta Leong
• Sound Re-Recording Mixer: Christopher Scarabosio
• Art Department Coordinator: Colette Birrell
• Visual Effects Supervisor: John Knoll
• Camera Operator: Calum McFarlane
• Sound Recordist: Paul ‘Salty’ Brincat
• Construction Coordinator: Shanthi Nadaraja
• Additional Editing: Joseph Jett Sally
• Creature Technical Director: Dave Elsey
• Animation Director: Rob Coleman
• Makeup Supervisor: Nikki Gooley
• Assistant Makeup Artist: Nadine Wilkie
• Steadicam Operator: Simon Harding
• ADR Recordist: Mark Appleby
• Assistant Property Master: Lon Lucini
• Post Production Supervisor: Dawn Higginbotham
• ADR Editor: Steve Slanec
• Foley Mixer: Frank Rinella
• Makeup Artist: Shane Thomas
• Key Grip: David Nichols
• Best Boy Grip: James Hopwood
• Boom Operator: Rod Conder
• Visual Effects Technical Director: Steve Braggs
• Assistant Director: Ali Keshavji
• Construction Manager: Greg Hajdu
• Assistant Art Director: Clive Memmott
• ADR Editor: Jeremy Molod
• Hairdresser: Tracy Reeby
• Third Assistant Director: Rob Burgess
• Post Production Supervisor: Jamie Forester
• Dolly Grip: Michael Vivian
• Set Decoration Buyer: Chris Tomkins
• Rigging Gaffer: Iain Mathieson
• Best Boy Electric: Stewart Monteith
• Makeup Artist: Vivienne MacGillicuddy
• Dolly Grip: Brett McDowell
• Third Assistant Director: Samantha Smith McGrady
• Second Second Assistant Director: Paul Sullivan
• Foley Recordist: George Peterson Jr.
• VFX Artist: John Walker
• First Assistant Director: Moez Kamoun
• Best Boy Grip: Jason McPhee
• Third Assistant Director: Fraser Fennell-Ball
• Third Assistant Director: Iain Lawrence
• Assistant Set Decoration: Beverley Dunn
• Additional Director of Photography: Sue Wood
• Second Assistant Director: Deborah Antoniou
• Key Hairdresser: Annette Miles
• Payroll Accountant: Belinda Cahill
• Post Production Supervisor: Reece Ewing
• Post Production Assistant: Debra K. Chinn
• Sculptor: Richard Mueck
• Best Boy Electric: Moses Fotofili
• Third Assistant Director: Eddie Thorne
• Production Manager: Man-Yiu Lee
• Third Assistant Director: Nick Simmonds
• Casting Assistant: Trish McAskill
• Location Manager: Maurizio Licciardello
• Art Department Assistant: Christopher Tangney
• Stunt Double: Bob Bowles
• Musician: London Symphony Orchestra

Movie Reviews:

• NeoBrowser: George Lucas comes full circle in more ways than one in “Star Wars: Episode III — Revenge of the Sith,” which is the sixth — and allegedly but not necessarily the last — of the “Star Wars” movies. After “Episode II” got so bogged down in politics that it played like the Republic covered by C-Span, “Episode III” is a return to the classic space opera style that launched the series. Because the story leads up to where the original “Star Wars” began, we get to use the immemorial movie phrase, “This is where we came in.”

  That Anakin Skywalker abandoned the Jedi and went over to the dark side is known to all students of “Star Wars.” That his twins Luke Skywalker and Princess Leia would redeem the family name is also known. What we discover in “Episode III” is how and why Anakin lost his way — how a pleasant and brave young man was transformed into a dark, cloaked figure with a fearsome black metal face. As Yoda sadly puts it in his inimitable word order: “The boy you trained, gone he is, consumed by Darth Vader.”

  As “Episode III” opens, Anakin Skywalker (Hayden Christensen) and his friend Obi-Wan Kenobi (Ewan McGregor) are piloting fighter craft, staging a daring two-man raid to rescue Chancellor Palpatine (Ian McDiarmid). He has been captured by the rebel Gen. Grievous (whose voice, by Matthew Woods, sounds curiously wheezy considering the general seems to use replacement parts). In the spirit of all the “Star Wars” movies, this rescue sequence flies in the face of logic, since the two pilots are able to board Grievous’ command ship and proceed without much trouble to the ship’s observation tower, where the chancellor is being held. There is a close call in an elevator shaft, but where are the guards and the security systems? And why, for that matter, does a deep space cruiser need an observation tower, when every porthole opens on to the universe? But never mind.

  Back within the sphere of the Jedi Council, Anakin finds that despite his heroism, he will not yet be named a Jedi Master. The council distrusts Palpatine and wants Anakin to spy on him; Palpatine wants Anakin to spy on the council. Who to choose? McDiarmid has the most complex role in the movie as he plays on Anakin’s wounded ego. Anakin is tempted to go over to what is not yet clearly the dark side; in a movie not distinguished for its dialogue, Palpatine is insidiously snaky in his persuasiveness.

  The way Anakin approaches his choice, however, has a certain poignancy. Anakin has a rendezvous with Padme (Natalie Portman); they were secretly married in the previous film, and now she reveals she is pregnant. His reaction is that of a nice kid in a teenage comedy, trying to seem pleased while wondering how this will affect the other neat stuff he gets to do. To say that George Lucas cannot write a love scene is an understatement; greeting cards have expressed more passion.

  The dialogue throughout the movie is once again its weakest point: The characters talk in what sounds like Basic English, without color, wit or verbal delight, as if they were channeling Berlitz. The exceptions are Palpatine and of course Yoda, whose speech (voiced by Frank Oz) reminds me of Wolcott Gibbs’ famous line about the early style of Time magazine: “Backward ran sentences until reeled the mind.”

  In many cases the actors are being filmed in front of blue screens, with effects to be added later, and sometimes their readings are so flat, they don’t seem to believe they’re really in the middle of amazing events. How can you stand in front of exploding star fleets and sound as if you’re talking on a cell phone at Starbucks?

  “He’s worried about you,” Anakin is told at one point. “You’ve been under a lot of stress.” Sometimes the emphasis in sentences is misplaced. During the elevator adventure in the opening rescue, we hear “Did I miss something?” when it should be “Did I miss something?”

  The dialogue is not the point, however; Lucas’ characters engage in sturdy oratorical pronunciamentos and then leap into adventure. “Episode III” has more action per square minute, I’d guess, than any of the previous five movies, and it is spectacular. The special effects are more sophisticated than in the earlier movies, of course, but not necessarily more effective.

  The dogfight between fighters in the original “Star Wars” and the dogfight that opens this one differ in their complexity (many more ships this time, more planes of action, more detailed backgrounds) but not in their excitement. And although Lucas has his characters attend a futuristic opera that looks like a cross between Cirque de Soleil and an ultrasound scan of an unborn baby, if you regard the opera hall simply as a place, it’s not as engaging as the saloon on Tatooine in the first movie.

  The lesson, I think, is that special effects should be judged not by their complexity but by the degree that they stimulate the imagination, and “Episode III” is distinguished not by how well the effects are done, but by how amazingly they are imagined. A climactic duel on a blazing volcanic planet is as impressive, in its line, as anything in “Lord of the Rings.” And Yoda, who began life as a Muppet but is now completely animated (like about 70 percent of what we see onscreen), was to begin with and still is the most lifelike of the non-humanoid “Star Wars” characters.

  A word, however, about the duels fought with lightsabers. When they flashed into life with a mighty whizzing thunk in the first “Star Wars” and whooshed through their deadly parabolas, that was exciting. But the thrill is gone.

  The duelists are so well-matched that saber fights go on forever before anyone is wounded, and I am still not sure how the sabers seem able to shield their bearers from attack. When it comes to great movie sword fights, Liam Neeson and Tim Roth took home the gold medal in “Rob Roy” (1995), and the lightsaber battles in “Episode III” are more like isometrics.

  These are all, however, more observations than criticisms. George Lucas has achieved what few artists do; he has created and populated a world of his own. His “Star Wars” movies are among the most influential, both technically and commercially, ever made. And they are fun. If he got bogged down in solemnity and theory in “Episode II: Attack of the Clones,” the Force is in a jollier mood this time, and “Revenge of the Sith” is a great entertainment.

  Note: I said this is not necessarily the last of the “Star Wars” movies. Although Lucas has absolutely said he is finished with the series, it is inconceivable to me that 20th Century-Fox will willingly abandon the franchise, especially as Lucas has hinted that parts VII, VIII and IX exist at least in his mind. There will be enormous pressure for them to be made, if not by him, then by his deputies.

  4.5/5

  – Rodger Ebert

• Vlad Ulbricht: Having seen the first movie when it reached France as I was about 10, it left a vivid mark on my imagination, and I kind of treasured the little bit of fantasy it brought to me among probably millions of other people.

  I think the reason why episodes IV to VI became timeless classics is that they were simply fairy tales in sci-fi clothing. You had heroes and princesses actually doing their heroes and princesses things on the screen, but most of the coolest bits happened somewhere in the recesses of your own imagination.

  Struggle of good against evil. Quest for the father. Passage from childhood to adulthood through a series of trials and challenges. All the stuff chivalry stories are made off, presented in a minimalist way that stuck to the essential elements of the plot. All the rest, including top notch SFXs and the excellent Solo-R2D2-C3PO trio was just cleverly fleshing out this very strong backbone.

  Just a few lines from a dreamy-eyed Sir Alec Guinness about the clone wars while young and clumsy Luke had his pants burn by a floating tennis ball were enough to flare your imagination in depicting an epic struggle between dark empire forces and a few heroic Jedi knights overwhelmed by sheer force and treachery. A few words about Leia and Luke’s past were enough to evoke the moving fate of orphans afraid to uncover the hidden truth about a father shrouded in menacing mystery. Stuff dreams are made of, really.

  Sadly oh so sadly, it looks like nowadays a blockbuster will never get the green light until some kind of quality insurance comity makes sure even the slowest 10% of your average audience will never be left wondering about anything that goes on for more than 2.5 seconds. I guess some marketing genius managed to convince the producers that leaving anything to the imagination of the customer seriously threatened the return on investment or something.

  The last 3 episodes were unfortunately born in this disastrous context and proceeded methodically with the extermination of the slightest bit of magic that populated the 3 previous movies. Everything is laid bare in front of our eyes like some specimens on a dissection table. No, not even that. More like pieces of hardware broken down into component parts on a sterilized workbench.

  So the Force is just something you catch like a flu. The mythical clone war is just 15 minutes of a ridiculous “plan 66”. The mighty Vader is just a poor boy with an over-sized ego and an IQ reduced to 2 digits figures by an excess of testosterone (or midichlorians or whatnot for that matter). The mighty conflict that flares through the galaxy is just the outcome of desperately trivial political plots. The Jedi council a bunch of pathetically weak over-aged muppets. Yoda a preposterous 10 inches tall kung-fu master.

  The epic spirit of the first trilogy has been judged guilty of sales-threatening capital crime, quietly dragged behind the marketing barracks at dawn and shot in the back of the head.

  As if to make good for this assassination, the last 3 movies drown us into a squirming pool of special effect and fan service that go light years over the top. Hysterical scenes flashing past before you really could decide where to focus your gaze just make the cheesy plot-advancing ones look miserable. Here again I feel the invisible hand of the marketing staff, managing to cram about every single second or third rate characters from the previous trilogy into an already bloated plot, stretching even further the already badly mauled consistency of the scenario in the process.

  Frankly, what could this stupid “average viewer wants facts” assumption bring but bitter disappointment? The result is not only boring, but really, really sad.

• Gimly: Truly the best of the bad _Star Wars_ movies, _Revenge of the Sith_ doesn’t make a whole lot of sense, both when viewed as self-contained, and when seen as a part of the _Star Wars_ whole, but at least Lucas bothered to put a whole movie in here.

  _Final rating:★★½ – Had a lot that appealed to me, didn’t quite work as a whole._

• r96sk: Still not perfect, but ‘Star Wars: Episode III – Revenge of the Sith’ is such a more enjoyable entry in the prequel trilogy – which ends strongly.

  I had a fun time with this. I do have a couple of (relatively minor) complaints, but first the positives. I’d say this is the best that this cast produced during this run of films. Hayden Christensen is excellent in his role, it’s the most I’ve liked him in ‘Star Wars’ for sure. Ewan McGregor and Natalie Portman give more than solid performances as well.

  The special effects look nice throughout, while the score is pleasant. I also found the pacing to be practically ideal, which is a marked improvement on its predecessors. The humour and dialogue still isn’t great, yet is also bettered. Crucially, the plot is very good.

  With all that noted, I do have two things I didn’t love. The first being the event that includes Samuel L. Jackson’s character. I completely get the intention and reasoning of what occurs, but how it is shown did feel kinda forced and poorly written.

  Another is the end, which overruns ever so slightly. I know it’s setting up the original trilogy, but there are a few too many scenes; could’ve/should’ve ended on you know who’s first breath.

  However, all in all, I got a positive amount of entertainment and would class this as a step above the preceding two films. I’m glad about that, as it makes the prequel productions way more meaningful and memorable than they were looking to be based on the 1999 & 2002 releases.

• sykobanana: I had lost hope in the Prequels when they first came out – disappointing isnt a strong enough word to explain it, but its the best I can do. So I came into this film with low expectations… I knew it wouldnt be great and I knew what it had to do to link up with the original Star Wars.

  And then, this one surprised me (and still does).

  The plot is taut, because it has to be (it has a lot of ground to cover). The universe that was made in Ep 1 has to change dramatically to become Ep 4. And the dialogue is mildly better (but still has its moments).

  The opening action scene wowed at the time (and still does). And some of the duels are excellent – ObiWan vs Grievous was fun and (of course) ObiWan vs Anakin was superb – they had weight and impact and the swings actually “landed” (which is more than can be said for the other ones which just seemed to be dances).

  And the acting is actually improved a bit – for a moment Christensen actually showed some talent (and he has shown this in other movies, just not in these). He lets himself have an instant of regret after one of his killing sprees before refocusing back to his “angry state.” It makes me wonder about how much emotion could have been put into this movie with a different director.

  McGregor is the best actor here. Portman shines, but is underused. Jackson is wooden in this. And McDiarmid over acts and loses his sinisterness – he is better in the shadows in this role, either sitting or standing still. When he does something more (even walking starts to get too much), he loses all believability (which is a shame as he is a fine actor in other roles).

  The score still remains typically ‘Star Wars’ – great. The costumes have evolved again (it has been great watching the costumes change through these movies). And the CGI is great in this – every background has something moving in it.

  There are flaws with this film – many of them that I have not already touched on, but others have so I wont.

  But, overall this movie is fun, and a good way to spend over 2 hours. And by the time the helmet comes on at the end, you are there in the moment, holding your breath, waiting for that epic scuba sound to start.