4.6 out of 5 stars
Every LEGO Star Wars fan has waited for this AT-AT (75313) big LEGO Star Wars UCS set for adults. This epic Ultimate Collector Series Star Wars buildable model features posable legs and head, cannons with a realistic recoil action, rotating cannons, bomb-drop hatch and a hook to attach to Luke Skywalker’s line - just like in the Battle of Hoth. An information plaque and Star Wars LEGO figures complete this magnificent LEGO Star Wars display piece. The LEGO AT AT walker measures over 24.5"/62 cm high and is easily opened to view the detailed interior. The main body has space for 40 LEGO minifigures (General Veers and Luke Skywalker are among 9 in this set), 4 speeder bikes (2 included), and the E-Web heavy repeating blaster. The head/cockpit seats 2 LEGO minifigures and has space for 1 more. This collectible LEGO Star Wars set for adults makes a special gift for yourself, Star Wars fans and any advanced LEGO builder. It comes with clear instructions so you can enjoy every step of the immersive and challenging build. Measures over 24.5 in. (62 cm) high, 27 in. (69 cm) long and 9.5 in. (24 cm) wide. Contains 6785 pieces.
Safety information, top brand: lego, from the manufacturer.
Build a huge and highly detailed Ultimate Collector Series version of the AT-AT from Star Wars: The Empire Strikes Back.
The main body of the AT-AT has space for up to 40 LEGO minifigures (9 included) and 4 speeder bikes (2 included).
The blasters under the head have a realistic recoil action. | Use the handle to move the head from side to side. | A tool is included to adjust the legs of the AT-AT. |
This faithful replica of an AT-AT is packed with authentic details to inspire memories of the thrilling Battle of Hoth.
This 6,785-piece set includes immersive instructions and makes the best gift for advanced LEGO builders and Star Wars fans.
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Customers appreciate the detail in the toy building blocks. They say it has an amazing size and engineering.
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The acolyte failed because star wars forgot george lucas' most important lesson.
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After 25 years, i finally understand the real reason darth maul lost in the phantom menace, the acolyte showrunner speaks out on the star wars show's review bombing.
The Acolyte has officially been canceled by Lucasfilm, and one major reason lies in the fact Star Wars has forgotten George Lucas' most important lesson. Star Wars ' Disney+ TV shows have hardly been an unabashed success; there have been some classics, but there have also been massive stumbles. The Acolyte is Disney+'s first official Star Wars cancelation ; although the studio hasn't made any public statements on the cancelation, it's believed to be due to low viewership.
In truth, The Acolyte 's cancelation is symptomatic of something even bigger; a problem that leads to so many cancelations by streaming services, ranging from Disney+ to Netflix. Nowadays, almost all streaming services are marketed as prestige television, with budgets that would have seemed unimaginable just a few years ago. That's certainly the case with Leslye Headland's The Acolyte , which commanded a $180 million budget . This points to the fact Lucasfilm has forgotten one of George Lucas' most important lessons.
What's the best way to watch Star Wars? Here's everything you need to know to watch in release or timeline order, and how to include the TV shows.
Lucas prioritized efficiency, maximizing return on investment.
George Lucas wasn’t just a visionary storyteller; he was also a master of financial efficiency . By keeping production costs in check, Lucas ensured that his films succeeded both creatively and financially. For instance, 1977's Star Wars was produced on a budget of just $11 million yet grossed over $775 million worldwide. This ability to maximize return on investment was a hallmark of Lucas’ approach, one that modern streaming models often overlook.
Lucas understood that high costs could be a double-edged sword.
Lucas understood that high costs could be a double-edged sword. By keeping expenses low, he reduced the financial pressure on his films, allowing them to succeed without requiring astronomical box office returns. This efficiency is evident in the production of The Empire Strikes Back and Return of the Jedi , which, like their predecessor, were made on modest budgets relative to their massive box office returns.
Movie Title | Year of Release | Budget (adjusted for inflation) | Box office (adjusted for inflation) |
---|---|---|---|
| 1977 | $74 million | Almost $2 billion |
| 1980 | $85 million | $944 million |
| 1983 | $104 million | $886 million |
| 1999 | $209 million | $842 million |
| 2002 | $193 million | $521 million |
| 2005 | $175 million | $589 million |
Lucas understood that efficiency was the key to maximizing return of investment, ensuring Star Wars ' box office performance involved as much profit as possible. Although costs did increase over time, they were kept under control as much as possible, allowing Lucas to take creative risks - such as groundbreaking VFX - without jeopardizing the financial stability of his projects. This approach stands in stark contrast to the current trend of bloated budgets in the streaming era , where the pressure to deliver blockbuster hits with every release has led to a cycle of unsustainable spending and inevitable cancelations.
Lucas’ ability to innovate within a budget is perhaps best exemplified by his use of practical effects in the Star Wars original trilogy . These techniques, while not as flashy as the CGI-heavy productions of today, allowed Lucas to create a visually stunning universe without breaking the bank. The success of these films proved that you don’t need a massive budget to create a blockbuster — a lesson that seems increasingly lost in today’s streaming landscape.
High costs and unrealistic expectations lead to frequent cancelations.
The modern streaming model has deviated significantly from Lucas’ playbook. Today, streaming giants like Netflix, Amazon, and even Lucasfilm under Disney invest enormous sums into their productions. While this has resulted in some visually stunning content, it has also led to an unsustainable business model. When a project doesn’t meet sky-high expectations, it often faces the chopping block, regardless of its creative potential. This is evident in the frequent cancelations that have plagued the streaming industry in recent years , where even critically acclaimed shows struggle to justify their high production costs.
When viewership numbers didn’t justify the expenses, the show struggled to find its footing.
Take The Acolyte , for example. Despite its promising premise and high-profile association with the Star Wars franchise, the show faced challenges stemming from its massive budget. When viewership numbers didn’t justify the expenses, the show struggled to find its footing. This scenario has become all too common in the streaming world, where the pressure to deliver blockbuster hits every time is unrealistic. The reliance on immediate success, rather than long-term audience growth, has led to a volatile environment where few projects are given the time or space to develop fully.
Sample show canceled in 2024 | Streaming service |
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| Max |
| Netflix |
| Hulu |
| CBS |
| CBS |
| Max |
| Apple TV+ |
| Max |
| Paramount+ |
| Prime Video |
The streaming industry’s focus on quantity over quality , with an emphasis on churning out content to retain subscribers, is another factor contributing to this broken model. Unlike Lucas, who carefully curated his projects to ensure both creative and financial success, streaming services often prioritize content volume, leading to inflated budgets and unsustainable production costs. This strategy has resulted in numerous high-profile cancelations, with studios unable to recoup their investments due to the sheer scale of their spending.
Balancing budget and creativity is key to long-term success.
Ultimately, George Lucas’ legacy is not just about the stories he told but also about how he told them — wisely, efficiently, and with an eye on the bottom line . His ability to balance creativity with financial responsibility allowed him to create some of the most beloved films in cinematic history. As the streaming industry continues to grapple with the challenges of rising costs and changing viewer habits, it would do well to look to Lucas as a model for sustainable success.
While innovation and ambition are vital, they must be balanced with financial prudence. The relentless drive to outdo the competition with bigger budgets and grander spectacles has led to a precarious situation where even minor missteps can result in cancelations and financial losses. To ensure the longevity and success of the Star Wars franchise, Lucasfilm needs to relearn the lessons of its founder. By focusing on efficient production and realistic expectations, the studio can create Star Wars movies and TV shows that resonate with audiences without the constant threat of cancelation.
What's the threshold for success with star wars.
The Acolyte 's cancelation raises a disturbing question; what is the threshold for success with Star Wars ? It doesn't help that, in the streaming age, companies are essentially spending money to stand still; they are producing incredibly expensive TV shows, but their main goal in doing so is retaining existing subscribers. Viewership is the name of the game, and those numbers need to be sky-high to perform. DIsney can't afford such a high-budget show to gradually gain a fanbase , as George Lucas did with Star Wars: The Clone Wars - which had a rocky start, but became dearly loved by the end.
Showrunners can't just be left to do their own thing when they've been handed $180 million.
Looking forward, it seems as though Lucasfilm's focus is moving away from the small screen now. Lucasfilm has " ramped up " their movie production, and three movies are in the works for 2026 and 2027. It's reasonable to assume Lucasfilm lacks the bandwidth to produce these films at the same time as an ongoing slate of TV shows; that same challenge seems to have caused Lucasfilm's sister studio Marvel no end of problems. But, again, part of the problem lies in the fact showrunners can't just be left to do their own thing when they've been handed $180 million.
After The Acolyte 's cancelation, the future of Star Wars TV looks very questionable indeed. The only way forward for live-action TV shows seems to be to learn George Lucas' most important lesson; to control the budgets, to sign off on shows that aren't trying to be prestige TV but that are instead simply trying to be enjoyable. It can only be hoped Lucasfilm will learn this lesson.
Not available
The Acolyte is a television series set in the Star Wars universe at the end of the High Republic Era, where both the Jedi and the Galactic Empire were at the height of their influence. This sci-fi thriller sees a former Padawan reunite with her former Jedi Master as they investigate several crimes - all leading to darkness erupting from beneath the surface and preparing to bring about the end of the High Republic.
Den of Geek
Alien: Romulus continues a trend that has been growing in various Hollywood franchises, from Ghostbusters to, most egregiously, Star Wars. And it's still unnerving.
This article contains Alien: Romulus and The Flash spoilers .
The reviews are in, and some fans are already holding Fede Alvarez’s Alien: Romulus up as the best xenomorph feature since Ridley Scott’s 1979 original and James Cameron’s Aliens from 1986. It feels like a new era of the Alienverse is ready to burst forward from Hollywood’s chest. But while there’s plenty of praise for Alvarez’s back-to-basics approach, which tries to capture the pulse-pounding horror of Scott’s Alien , it’s not quite a perfect outing.
As well as some criticizing the suitably batshit ending that echoes Alien Resurrection ’s bewildering finale, it’s the return of Ian Holm’s likeness that’s causing a stir for Romulus —namely because the actor tragically passed away in 2020. Despite a CGI approximation of “Holm” appearing in the role of a new android called Rook instead of Alien ‘s Ash, it isn’t immediately clear this is a new character. Maybe it’s because I was too distracted by the return of a dead actor or maybe it’s the jarring uncanny valley effects, but unlike Michael Fassbender playing David and Walter in Alien: Covenant , it’s all a bit distracting. Worse than this, Alien: Romulus is the latest big movie (but undoubtedly not the last) to resurrect a beloved actor for what feels like cheap fan service. From Star Wars to Ghostbusters , what is the deal with these major franchises bringing dearly departed actors back from the dead?
You might remember when another Ridley Scott-adjacent project grabbed headlines after Blade Runner 2049 controversially created holograms of Elvis Presley, Marilyn Monroe, and Frank Sinatra. But that was a little easier to process since the uncanny valley aspect of their appearance was the intentional point in the Denis Villeneuve sequel. They were also intended to be almost throwaway easter eggs.
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Conversely, when it came to Rogue One: A Star Wars Story , the extended screen time of an uncanny valley version of Peter Cushing crossed into concerning territory. After all, the actor had passed away in 1994, and while the casting department sought out Guy Henry, who already looked a lot like Cushing, an unnerving digital likeness of Grand Moff Tarkin was superimposed on Henry’s face. Similarly to Romulus , Rogue One is a fan-pleasing movie that feels tarnished by these deep fakes taking us out of the action.
Star Wars is arguably the worst offender in this phenomenon. The series struggled to decide what to do with Princess Leia following Carrie Fisher’s death in 2016, although it’s easy to be more sympathetic to Leia’s return in Star Wars: The Rise of Skywalker , especially with Fisher’s own daughter (Billie Lourd) playing the digitally de-aged Leia. The same can be said for Paul Walker’s brother, who stood in for him in Furious 7 in order to bring back Brian O’Conner for one last ride. Even as far back as 1999, Ridley Scott was himself resurrecting actors back from the dead with stand-ins and computer composites finishing up Oliver Reed’s performance as Prixmo after the actor died during the filming of Gladiator . Struggling to replace an actor and honoring their legacy is one thing, but there’s a much murkier side to this movement.
It’s often a struggle to see why you’d include a dead actor when there’s little need to bring that character back. 2006’s Superman Returns used CGI to recreate Marlon Brando’s Jor-El two years after the actor’s death and 26 years, and after his scenes were cut from Superman II . Theoretically it informed the plot of that movie, which was intended to be a sequel to Superman II , yet it seemed to knowingly be desecrating hallowed ground. The film’s villain even smirks “he’s dead” when looking at Brando’s image.
More recently, The Flash was rightly lambasted for bringing Christopher Reeve back from the dead . In fact, Andy Muschietti’s movie is one of the most egregious examples of using CGI to resurrect dead actors. The likes of Reeve, George Reeves, and Adam West were all featured, and more than just fans hated the “Chronobowl” scene for its lackluster visuals. And it was frankly disquieting to hear Reeve’s own children tell Variety they hadn’t watched it and had no involvement.
There’s also Ghostbusters: Afterlife (which was already called out as a movie that didn’t really need to exist), memorably featuring cameos from the OG gang . Following Harold Ramis’ death in 2014, bringing him back as a literal ghost didn’t sit well with some audiences, but I’d argue if there’s any franchise you’re going to do it, Ghostbusters is just about acceptable. Thankfully, Ghostbusters: Frozen Empire learned from these mistakes and decided not to bring back Egon’s ghost for another sequel. It at least seemed more thematically poignant for the story Afterlife was trying to tell, with its focus on Egon’s grandchildren, than Holm’s return in Romulus . Other critics have already pointed out it would’ve been easy to use someone like Michael Fassbender’s David or to even de-age the beloved Lance Henriksen and bring in a variant of the fan-favorite Bishop model 341-B synthetic.
But then, that aforementioned de-aging has also become a popular trend with its fair share of problems. It might’ve been novel seeing a de-aged Robert Downey Jr. pop up as young Tony Stark for a scene in Captain America: Civil War , but when it came to Martin Scorsese’s The Irishman , the much younger depictions of Robert De Niro, Joe Pesci, and Al Pacino took plenty of viewers out when it was used for more than half of a four-hour movie. It’s all the more frustrating when you realize the legendary Star Wars visual effects house, ILM, led The Irishman ’s effects development.
I doubt The Godfather, Part II would be regarded as the best in the trilogy if we’d de-aged Brando instead of casting De Niro as a young Vito. As with Romulus ’ depiction of Holm being an obvious dupe, these movies are in danger of aging like the schlocky CGI of the Scorpion King in The Mummy Returns .
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We’re getting a taste of that future throughout ILM’s Star Wars work though, especially since that franchise began opting to use a de-aged Luke Skywalker. Even though Mark Hamill might be hard to replace, imagine if Solo: A Star Wars had de-aged Harrison Ford instead of casting Alden Ehrenreich. The worst part is the actor who played the flesh version of young Luke in The Book of Boba Fett is a dead ringer for a young Hamill. As well as not looking great, de-aging actors and bringing back the dead feels like it’s robbing others of a chance to join these major franchises. If George Lucas made his Star Wars prequels today, would he have resurrected Alec Guinness instead of casting Ewan McGregor playing a young Obi-Wan? It would have denied us one of the saga’s greatest performances.
Still, unlike Reeve in The Flash , at least Holm’s widow was consulted on Romulus . Speaking to The LA Times , Alvarez defended the use of his likeness and explained, “We were not trying to do what can’t be done, which is to reproduce that person’s talent as an actor, because this is another character…The only thing they have in common is the likeness.” Yet with British actor Daniel Betts doing the facial capture and AI helping with the voice, it feels like a disservice to bring Holm back in this way. Unfortunately, we can’t ask the man himself what he thinks of Romulus .
It feels like we’re on the cusp of seeing these kind of unsettling visual effects a lot more. The BBC reports that WRX and its sister company have the licensing to hundreds of deceased celebrities, including James Dean, Rosa Parks, Malcolm X, and more. Video game voice actors, including Mass Effect ‘s Jennifer Hale and Metal Gear ’s David Hayter, have been vocal about the potential of AI putting them out of work, and saying things they wouldn’t in real life. Meanwhile Susan Sarandon told The Hollywood Reporter it’s a “now or never situation” in terms of AI taking over.
The Thelma & Louise actor mused, “It scares me if it means taking someone’s image, using it in perpetuity in any film you want without the actor having control anymore. Going in this direction, I don’t know if we should copyright our voices or ourselves.” Sarandon might be against the idea, but if her estate signs off on it after her death, there isn’t a lot she can do about it. I’m reminded of the fact that Guinness’ reportedly hated playing Obi-Wan Kenobi and can only imagine him turning in his grave if his estate signed up for a CGI recreation of him so many decades after his death.
Perhaps the only thing stopping this Blade Runner -inspired AI takeover is the expense. Alvarez admits that it would’ve been much cheaper to hire an actor than go to the trouble of trying to recreate Holm, but that doesn’t seem to be a reason to stop Hollywood from capitalizing on the trend. The BBC reported in 2023 that generative AI is due to expand James Dean’s tragically short film catalogue with a sci-fi road trip called East of Eden , while some have started referring to this movement in a derogatory way as a ‘Tarkin.’
Rogue One might be remembered as the one that kickstarted the trend, but as Romulus and more get embroiled in the drama, it takes the shine off what are otherwise stellar love letters to a franchise’s past. If you think seeing Audrey Hepburn brought back from the dead to sell Galaxy and Dove chocolate bars is bad, chances are it’s going to get a lot worse.
Tom Chapman | @tomtomchap
Tom Chapman is a Manchester-based writer with a hunger for the Iron Throne. When not trying to protect the Sacred Timeline or defending superhumans at GLK&H,…
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``The Empire Strikes Back'' is the best of three Star Wars films, and the most thought-provoking. After the space opera cheerfulness of the original film, this one plunges into darkness and even despair, and surrenders more completely to the underlying mystery of the story. It is because of the emotions stirred in ``Empire'' that the entire series takes on a mythic quality that resonates back ...
Parents need to know that The Empire Strikes Back is an atmospheric sci-fi classic that features some intense moments of dark emotional content, along with a few very jarring scenes that are not so much violent as they are psychologically jarring. Sequences such as an encounter with the villain in a cave, a character being placed into a deep-freeze chamber, and the final sword battle are all ...
Dec 16, 2019 Full Review Bob Thomas Associated Press The Empire Strikes Back Displays the same soaring imagination that made Star Wars a filmmaking classic; most other space movies seem clunky and ...
The Empire Strikes Back is the best Star Wars film because it took a cultural moment and redefined what it could mean. Full Review | Feb 11, 2022 Eddie Harrison film-authority.com
While Empire doesn't quite measure up to Star Wars in the freshness and originality of its script, and the plethora of space operas that has been jamming the screens ever since Star Wars has somewhat lessened the novelty of city-sized ships sailing the stratosphere, nevertheless this 20th Century-Fox release remains a rattling good entertainment, a worthy successor to the original — and far ...
Simply put, this movie CARES. The people involved put forth their best work to bring what the world needed in a constant rotation of mundane and bad sci-fi action flicks coming out around the same time. The Empire Strikes Back is a perfect Star Wars movie in an otherwise very flawed saga.
124 minutes. Certificate: U. Original Title: Star Wars Episode V: The Empire Strikes Back. It's generally agreed that The Empire Strikes Back is the best film of George Lucas' initial trilogy ...
Star Wars: Episode V - The Empire Strikes Back: Directed by Irvin Kershner. With Mark Hamill, Harrison Ford, Carrie Fisher, Billy Dee Williams. After the Empire overpowers the Rebel Alliance, Luke Skywalker begins his Jedi training with Yoda. At the same time, Darth Vader and bounty hunter Boba Fett pursue his friends across the galaxy.
Original review text from 1980. Running time: 124 MIN. With: Luke Skywalker - Mark Hamill Han Solo - Harrison Ford Princess Leia - Carrie Fisher Darth Vader - David Prowse C3P0 - Anthony Daniels ...
Rated. PG. Runtime. 124 min. Release Date. 06/20/1980. Forgive the generalization, but Star Wars: Episode V - The Empire Strikes Back is one of the most beloved films of all time and certainly the most well-crafted of the Star Wars films. Any Star Wars aficionado, as well as most critics and film historians, will no doubt proclaim it to be ...
In the rest of the Star Wars franchise, George Lucas' dialogue can sometimes come off as corny or clunky. But Leigh Brackett and Lawrence Kasdan's dialogue is easily the best in the franchise, to the point where the banter in The Empire Strikes Back "feels" real. The comical lines, such as Leia's "scruffy-looking nerf herder," help buoy the movie from becoming too dark.
The Empire Strikes Back logo by Ralph McQuarrie. Sitting here in 2014, the 34th year since its release, it can be hard to believe that The Empire Strikes Back wasn't always lauded as the movie masterpiece it clearly is. On the contrary, its arrival back on May 20, 1980, was welcomed with an array of mixed, lukewarm, and indifferent reviews on both sides of the Atlantic from newspapers ...
For the first time in three long, merchandise-clogged years, new Star Wars had reached screens. The movie was a guaranteed success before its first public show. Although it lacks the pioneering "newness" of Star Wars, The Empire Strikes Back is in many ways a superior motion picture. The storyline is more interesting and ambitious, the ...
The Empire Strikes Back was shot on 35 mm photochemical film using Arriflex and Panavision cameras with Panavision C-Series anamorphic lenses, while its analog visual effects were produced in VistaVision. It was finished on film as a cut negative at the 2.39:1 aspect ratio, from which a color-timed master interpositive and dupe negatives were ...
The Empire Strikes Back archive review: return of the gimmicks. In our original 1980 review of George Lucas's first Star Wars sequel, Richard Combs found even the "genuinely 'fun' elements of the first film" now "pedantically filled out and institutionalised". from the Monthly Film Bulletin January 1980. The most dazzling trick in ...
The Empire Strikes Back was already a great movie by the time the scene arrived some 110 minutes into the proceedings. The revelation took the film to another level and virtually assured that no other Star Wars film, past or future, will surpass it as the best the saga has to offer.
Lucasfilm. Star Wars: A New Hope introduces what many audiences thought would be a love triangle between Luke, Han, and Leia; but George Lucas takes the story in a new direction in The Empire ...
1980 saw the continuation of the Skywalker Saga with Star Wars: The Empire Strikes Back. Although this was the second film in the Star Wars series itself, it would end up being the fifth film chronologically in the Skywalker Saga itself. Created by George Lucas and directed by Irvin Kershner, this sequel sees Darth Vader attempting to locate the Rebel Alliance after they destroyed the Death Star.
The Empire Strikes Back, regarding by many fans as the best film of the entire six-movie Star Wars series, serves as inspiration for THQ Wireless latest action game. Featuring classic sequences ...
The second chapter in the original Star Wars Saga, and fifth overall, The Empire Strikes Back, isn't just universally accepted as the best of the bunch. It's also regarded as one of the best sci-fi movies ever, let alone movies ever. When George Lucas decided to hand over directing duties to one of his old professors, Irving Kirschner, he ...
The most recent home video release of Star Wars: Episode V - The Empire Strikes Back movie is September 11, 2006. Here are some details… Home Video Notes: Star Wars: Episodes IV - VI . Release Date: 8 October 2013. 20th Century Fox is releasing Star Wars: Episodes IV - VI to home video (Blu-ray and DVD). This 6 Disc Combo Set (3 Blu-ray +3 ...
After Star Wars, we got Empire Strikes Back. Here are 20 facts about the sequel that changed cinema and gave us one of film's most famous twists. ...
"The Empire Strikes Back'' is the best of three Star Wars films, and the most thought-provoking. After the space opera cheerfulness of the original film, this one plunges into darkness and even despair, and surrenders more completely to the underlying mystery of the story. It is because of the emotions stirred in "Empire'' that the entire series takes on a mythic quality that resonates back to ...
Star Wars Outlaws is the first-ever open-world Star Wars game, set between The Empire Strikes Back and Return of the Jedi. Players follow protagonist Kay Vess (and her adorable Merqaal companion ...
Every LEGO Star Wars fan has waited for this AT-AT (75313) big LEGO Star Wars UCS set for adults. This epic Ultimate Collector Series Star Wars buildable model features posable legs and head, cannons with a realistic recoil action, rotating cannons, bomb-drop hatch and a hook to attach to Luke Skywalker's line - just like in the Battle of Hoth.
Movie Title Year of Release Budget (adjusted for inflation) Box office (adjusted for inflation) Star Wars. 1977 $74 million Almost $2 billion The Empire Strikes Back. 1980 $85 million $944 million Return of the Jedi. 1983 $104 million $886 million Star Wars: Episode I - The Phantom Menace. 1999
Conversely, when it came to Rogue One: A Star Wars Story, the extended screen time of an uncanny valley version of Peter Cushing crossed into concerning territory. After all, the actor had passed ...