George Lucas, 2002.
Reparto: Ewan McGregor (Obi-Wan Kenobi), Natalie Portman (Senadora Padmé Amidala), Hayden Christensen (Anakin Skywalker), Ian McDiarmid (Canciller Supremo Palpatine / Darth Sidious), Samuel L. Jackson (Mace Windu), Pernilla August (Shmi Skywalker), Jack Thomson (Cliegg Lars), Christopher Lee (Conde Dooku / Darth Tyranus), Anthony Daniels (C-3PO / Teniente Dannl Faytonni), Frank Oz (Yoda; voz versión original), Andrew Secombe (Watto; voz v.o.), Oliver Ford Davies (Sio Bibble), Silas Carson (Nute Gunray / Ki-Adi-Mundi), Kenny Baker (R2-D2), Ahmed Best (Jar Jar Binks; voz v.o.), Jimmy Smits (Senador Bail Organa), Ayesha Dharker (Reina Jamillia), oel Edgerton (Owen Lars), Bonnie Piese (Beru Whitesun), Temuera Morrison (Jango Fett), Daniel Logan (Boba Fett).
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El circo de LucasReparto: Ewan McGregor (Obi-Wan Kenobi), Natalie Portman (Senadora Padmé Amidala), Hayden Christensen (Anakin Skywalker), Ian McDiarmid (Canciller Supremo Palpatine / Darth Sidious), Samuel L. Jackson (Mace Windu), Pernilla August (Shmi Skywalker), Jack Thomson (Cliegg Lars), Christopher Lee (Conde Dooku / Darth Tyranus), Anthony Daniels (C-3PO / Teniente Dannl Faytonni), Frank Oz (Yoda; voz versión original), Andrew Secombe (Watto; voz v.o.), Oliver Ford Davies (Sio Bibble), Silas Carson (Nute Gunray / Ki-Adi-Mundi), Kenny Baker (R2-D2), Ahmed Best (Jar Jar Binks; voz v.o.), Jimmy Smits (Senador Bail Organa), Ayesha Dharker (Reina Jamillia), oel Edgerton (Owen Lars), Bonnie Piese (Beru Whitesun), Temuera Morrison (Jango Fett), Daniel Logan (Boba Fett).
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El Ataque de los clones no es una película particularmente mala. Es una película mala como cualquier otra película mala hecha sin imaginación. Lo que hace que algunos nos exasperemos con ella es el descalabro que monta George Lucas con androides, fx, monstruos extraños y razas alienígenas, cuando lo que él quiere es contarnos la historia de siempre y nada más.
Los geeks de la saga salen del cine transidos de emoción, hablando del portento que es la creación de la ciudad sobre el mar o las bestias salvajes del circo con expresiones que superan la realidad. Todo eso es innegable, los hallazgos técnicos son palpables, el tema es: ¿alguna de esas finuras hace que yo me emocione con la película? ¿Algo de todo esa desasosegante irrealidad contribuye a desarrollar tema? ¿Esa historia no podía ocurrir en un pais menos sofisticado concitando la misma emoción? La respuesta está clara. Lucas no hace otra cosa que tirar dinero a espuertas y despilfarrar medios técnicos sin otro criterio que el más difícil todavía. Su espectáculo no es cinematográfico, es cirquense.
Lo artificial, lo rebuscado de cada elemento visual destroza desde la primera imagen cualquier intento de conectar con este engendro. La princesa Padme y el joven Anakin se van de merendilla al campo, pero la niña lleva un atuendo tan poco natural que lo último que puedo entender es que el chaval se enamore de semejante artificio de mujer. Para colmo discuten de democracia, pero ¿quién se puede enamorar así? Obi Wan Kenobi y su pupilo Skywalker hablan sin parar de la República y de la instrucción del joven. La seriedad de esos diálogos, lo engolados, aburridos y presumidamente elevados que quieren ser me saca de quicio. ¿Pero es que Lucas se está tomando en serio toda esa morralla de su república galáctica? ¿Por qué no se ríe un poco? ¿Es que quiere que yo me entere bien? ¿Quiere que yo tome nota? ¿Y qué decir de la religión esa Jedi? Lo mismo. El mayor pecado de las Galaxias es el más imperdonable que puede haber. Lucas no tiene ni remota idea de lo que es tener gracia.
A New Hope? - Attack of the Clones is better than you've heard. By David Edelstein
Having been bored into a near-coma by The Phantom Menace (1999), I was surprised by the first wave of scornful notices for the far less narcotic Star Wars Episode II: Attack of the Clones (20th Century Fox). Cut it some slack—it's almost a real movie! It opens with a scary act of sabotage and an aerial-hot-rod chase amid futuristic skyscrapers—a happy reminder of the Saturday-matinee serials out of which this saga was born. It has three or four impressive action set-pieces; it has a more Yoda and less Jar Jar; and it features the last of the great horror idols, 79-year-old Christopher Lee, as the lordly separatist Count Dooku. It seems to me a tolerable night out once you accept that: a) the storytelling is hopeless; b) the Flash Gordon giddiness of the first Star Wars trilogy is long gone, replaced by turgid pageantry tricked to life with gargantuan amounts of computer-generated busyness; and c) George Lucas is trying to be Japanese.
Star Wars: Attack of the Clones (John Williams) Filmtracks (5/5)
More than any other series of films in the history of Hollywood, the Star Wars saga contains a complex tapestry of strong themes, motifs in orchestration, and a magnificent consistency of quality. The Star Wars scores are a case study in thematic development and use, now containing more themes and motifs than any other sequels.
Metromix | A Chicago entertainment and restaurant guide - Movie review, 'Star Wars: Episode II - Attack of the Clones' by the Mark Caro
But for those of us who respond more strongly to storytelling than computer-generated effects, the new "Star Wars" installment hasn't escaped the rut dug by the last one. If you've ever wondered about the difference between plot and story, here's Exhibit A.
"Star Wars: Episode II - Attack of the Clones" is big on plot, small on story. A whole lot is going on, yet the central narrative - what there is of it - never grabs our hearts.
[...]
For such a visually oriented filmmaker, Lucas commits an unpardonable sin: He tells instead of shows. We don't see Anakin falling for Padme; we just hear him proclaiming his love over and over. We know Padme has succumbed not because we've been seduced along with her but because she finally tells him so.
[...]
What he seems most engaged in is introducing us to a universe of crazy digital creatures and showing off an incredible array of nifty spaceships; his love of sleek vehicles hasn't abated since his breakthrough film, "American Graffiti" (1973). Much attention also is lavished on the spectacular sound design.
Matinee Magazine: Star Wars: Episode II -- Attack of the Clones Attack of the Clones is crowded and extravagant, dumb and stiff, noisy and distracting, yet disappointingly pointless and irrelevant all the same. There is that perverse attraction that pulls you to the spectacle, followed by that feeling of emptiness when you eventually grasp that it signifies nothing.
Mr. Cranky Rates the Movies : Star Wars Episode II: Attack of the Clones
Since Episode III will be the last chance to avoid classifying the entire trilogy as a colossal waste of time, it's time for somebody with more talent than Lucas to take the helm. Lucas can continue working on the special effects. Considering this, Mr. Cranky has taken it upon himself to solicit the input of today's top directors. Here's how they replied to the question of how they'd wrap up the series:
Kevin Smith: "At the beginning of the film, Obi-Wan is kidnapped by the Sith lords. Anakin, dejected because he thinks his mentor is dead, takes to hanging out in front of a local galactic Quick Stop, where he meets two other banished Jedi masters, Jay and Silent Bob. Jay convinces Anakin that he should threaten to join the dark side unless Amidala allows him to have intercourse with her in 'an uncomfortable place.' She doesn't and he becomes Darth Vader, ass pirate."
Canal # Cine - Episodio II: El Ataque de los Clones Poe
La falta de originalidad más allá de su facturación formal y la escasa emoción que consiguen transmitir sus imágenes son la tónica dominante de la última producción de George Lucas, que viene a añadirse a la saga galáctica por exceléncia de las últimas décadas. Espectacular despliegue de medios técnicos, con especial uso y abuso de los efectos digitales, en una película en la que se ha cuidado mucho más la forma que el fondo, cosa que ya viene siendo habitual en los episodios de la nueva generación de Star Wars.
[...]
Sin que sirva como justificación, sino más bien como explicación acerca de los que podamos sentirnos defraudados con esta nueva entrega, pero aún así valorarla dentro del contexto al que pertenece, cabe decir que los miembros de aquella generación que descubrimos por primera vez la magia del cine gracias al Episodio IV, solemos conformarmos con la complicidad que nos otorgan los siempre presentes reductos de aquel fascinante universo en las actuales precuelas. El sonido vibrante de las espadas láser, el susurro de las naves al cruzar el espacio aéreo, las criaturas de peculiar aspecto físico, el vocabulario jedi y toda esa particularísima iconografía, harán nuestras delicias de forma incondicional, porque Star Wars, a pesar de todo lo demás, siempre será Star Wars.
LA BUTACA - Star wars: Episodio II. El ataque de los clones (Star wars. Episode II. Attack of the clones) Por otro lado, ni siquiera en el cam-po de la acción donde hasta ahora Lucas era inefable, "El ataque de los clones" acaba de funcionar. Las secuencias pretenden tanta es-pectacularidad en el montaje que acaban por resultar un barullo de lu-ces de colores, a la vez que pierden todo su significado si sabemos que todas van a tener a los Jedis como vencedores, y se convierten en una exposición reiterativa de combates carentes de emoción.
The Case for the Empire Jonathan V. Last analiza las implicaciones políticas de la saga galáctica. Discute la idea de que el imperio signifique el mal y la república sea el bien.
"Palpatine believes that the political order must be manipulated to produce peace and stability. When he mutters, "There is no civility, there is only politics," we see that at heart, he's an esoteric Straussian.
Make no mistake, as emperor, Palpatine is a dictator--but a relatively benign one, like Pinochet. It's a dictatorship people can do business with. They collect taxes and patrol the skies. They try to stop organized crime (in the form of the smuggling rings run by the Hutts). The Empire has virtually no effect on the daily life of the average, law-abiding citizen."
Having been bored into a near-coma by The Phantom Menace (1999), I was surprised by the first wave of scornful notices for the far less narcotic Star Wars Episode II: Attack of the Clones (20th Century Fox). Cut it some slack—it's almost a real movie! It opens with a scary act of sabotage and an aerial-hot-rod chase amid futuristic skyscrapers—a happy reminder of the Saturday-matinee serials out of which this saga was born. It has three or four impressive action set-pieces; it has a more Yoda and less Jar Jar; and it features the last of the great horror idols, 79-year-old Christopher Lee, as the lordly separatist Count Dooku. It seems to me a tolerable night out once you accept that: a) the storytelling is hopeless; b) the Flash Gordon giddiness of the first Star Wars trilogy is long gone, replaced by turgid pageantry tricked to life with gargantuan amounts of computer-generated busyness; and c) George Lucas is trying to be Japanese.
Star Wars: Attack of the Clones (John Williams) Filmtracks (5/5)
More than any other series of films in the history of Hollywood, the Star Wars saga contains a complex tapestry of strong themes, motifs in orchestration, and a magnificent consistency of quality. The Star Wars scores are a case study in thematic development and use, now containing more themes and motifs than any other sequels.
Metromix | A Chicago entertainment and restaurant guide - Movie review, 'Star Wars: Episode II - Attack of the Clones' by the Mark Caro
But for those of us who respond more strongly to storytelling than computer-generated effects, the new "Star Wars" installment hasn't escaped the rut dug by the last one. If you've ever wondered about the difference between plot and story, here's Exhibit A.
"Star Wars: Episode II - Attack of the Clones" is big on plot, small on story. A whole lot is going on, yet the central narrative - what there is of it - never grabs our hearts.
[...]
For such a visually oriented filmmaker, Lucas commits an unpardonable sin: He tells instead of shows. We don't see Anakin falling for Padme; we just hear him proclaiming his love over and over. We know Padme has succumbed not because we've been seduced along with her but because she finally tells him so.
[...]
What he seems most engaged in is introducing us to a universe of crazy digital creatures and showing off an incredible array of nifty spaceships; his love of sleek vehicles hasn't abated since his breakthrough film, "American Graffiti" (1973). Much attention also is lavished on the spectacular sound design.
Matinee Magazine: Star Wars: Episode II -- Attack of the Clones Attack of the Clones is crowded and extravagant, dumb and stiff, noisy and distracting, yet disappointingly pointless and irrelevant all the same. There is that perverse attraction that pulls you to the spectacle, followed by that feeling of emptiness when you eventually grasp that it signifies nothing.
Mr. Cranky Rates the Movies : Star Wars Episode II: Attack of the Clones
Since Episode III will be the last chance to avoid classifying the entire trilogy as a colossal waste of time, it's time for somebody with more talent than Lucas to take the helm. Lucas can continue working on the special effects. Considering this, Mr. Cranky has taken it upon himself to solicit the input of today's top directors. Here's how they replied to the question of how they'd wrap up the series:
Kevin Smith: "At the beginning of the film, Obi-Wan is kidnapped by the Sith lords. Anakin, dejected because he thinks his mentor is dead, takes to hanging out in front of a local galactic Quick Stop, where he meets two other banished Jedi masters, Jay and Silent Bob. Jay convinces Anakin that he should threaten to join the dark side unless Amidala allows him to have intercourse with her in 'an uncomfortable place.' She doesn't and he becomes Darth Vader, ass pirate."
Canal # Cine - Episodio II: El Ataque de los Clones Poe
La falta de originalidad más allá de su facturación formal y la escasa emoción que consiguen transmitir sus imágenes son la tónica dominante de la última producción de George Lucas, que viene a añadirse a la saga galáctica por exceléncia de las últimas décadas. Espectacular despliegue de medios técnicos, con especial uso y abuso de los efectos digitales, en una película en la que se ha cuidado mucho más la forma que el fondo, cosa que ya viene siendo habitual en los episodios de la nueva generación de Star Wars.
[...]
Sin que sirva como justificación, sino más bien como explicación acerca de los que podamos sentirnos defraudados con esta nueva entrega, pero aún así valorarla dentro del contexto al que pertenece, cabe decir que los miembros de aquella generación que descubrimos por primera vez la magia del cine gracias al Episodio IV, solemos conformarmos con la complicidad que nos otorgan los siempre presentes reductos de aquel fascinante universo en las actuales precuelas. El sonido vibrante de las espadas láser, el susurro de las naves al cruzar el espacio aéreo, las criaturas de peculiar aspecto físico, el vocabulario jedi y toda esa particularísima iconografía, harán nuestras delicias de forma incondicional, porque Star Wars, a pesar de todo lo demás, siempre será Star Wars.
LA BUTACA - Star wars: Episodio II. El ataque de los clones (Star wars. Episode II. Attack of the clones) Por otro lado, ni siquiera en el cam-po de la acción donde hasta ahora Lucas era inefable, "El ataque de los clones" acaba de funcionar. Las secuencias pretenden tanta es-pectacularidad en el montaje que acaban por resultar un barullo de lu-ces de colores, a la vez que pierden todo su significado si sabemos que todas van a tener a los Jedis como vencedores, y se convierten en una exposición reiterativa de combates carentes de emoción.
The Case for the Empire Jonathan V. Last analiza las implicaciones políticas de la saga galáctica. Discute la idea de que el imperio signifique el mal y la república sea el bien.
"Palpatine believes that the political order must be manipulated to produce peace and stability. When he mutters, "There is no civility, there is only politics," we see that at heart, he's an esoteric Straussian.
Make no mistake, as emperor, Palpatine is a dictator--but a relatively benign one, like Pinochet. It's a dictatorship people can do business with. They collect taxes and patrol the skies. They try to stop organized crime (in the form of the smuggling rings run by the Hutts). The Empire has virtually no effect on the daily life of the average, law-abiding citizen."