Star Wars Movies – Ranked Worst to Best

Most Star Wars fans have an easy time ranking the movies, since there almost appears to be a universally approved unspoken rule the the order of quality in terms of the trilogies so far, and that is that the Sequel Trilogy beats the Prequel Trilogy and the Original Trilogy beats them all, with almost no exceptions. For the record, I am including Rogue One as part of the sequel ‘trilogy’ since Episode IX hasn’t come out yet and it just makes things easier. I would like to think outside of the box for a moment and rate the films based on to what degree I personally enjoy them. So here goes:

9 – Episode I – The Phantom Menace

Alright, so as far as thinking outside the box is concerned I haven’t got very far yet. But allow me to explain – there is a reason why Phantom Menace always comes up bottom in polls for best Star Wars movie, and that is that it is not only bad, it is also boring. As far as boring movies go, Phantom Menace falls into the worst possible category of films that could have been so much more interesting, and therefore much better, if just a bit more care and attention had been put into them. As it stands, Phantom Menace is riddled with plot holes, has little or no tension, is swamped in racist stereotyping and terrible dialogue, and ends in a convoluted mess of a conclusion that has four separate battles going on at once. Overall, the film has two bits that are less terrible than everything else around them, and they are the Podrace and the final duel with Darth Maul. Everyone says that these scenes alone redeem the film somehow, but I disagree. They are visually exciting, but that is all that can be said for them. There is no tension at all in the Podrace save for the bloated length and although the illusion of high speed that Lucas creates during this sequence is impressive, visuals alone do not make a scene. The same is true of the final duel between Obi-Wan, Qui-Gon and Darth Maul – we know next to nothing about Darth Maul and we have barely had time to know Obi-Wan either, so when Qui-Gon dies its a foregone conclusion what is going to happen because we know that Obi-Wan must survive. Added to all this is the numerous other fatal flaws that the film has, there’s the midi-chlorians, the boring political element that would surely baffle children, the decision to sideline Obi-Wan for the less interesting Qui-Gon, and the terrible child acting. Overall, the decision to make a prequel is almost always a misguided one, and Phantom Menace stands as a testament to a worse-case scenario.

8 – Episode VIII – The Last Jedi

A lot has been said about this film recently, and it’s obvious from where I’ve positioned this film on my list where my views on this movie stand. However, I don’t hate this film, far from it. I actually really enjoyed watching Episode VIII, but there are some things about the film that just really bugged me, such as the seemingly forced humour, the pointlessly inserted characters like Maz Kanata and DJ, and the implausibly misguided decision to kill off Luke Skywalker and not Princess Leia. There were good things about the film, such as Rey, Kylo Ren and scenes like the throne room duel and the destruction of the Supremacy, but then there were some outright strange decisions, such as the characterisation of Luke Skywalker, the decision to kill Snoke, the Porgs, and the scene in which Leia flies through space like Superman. Overall, the film wasn’t terrible, but it wasn’t too good either.

7 – Episode II – Attack of the Clones

Attack of the Clones is a strange one for me because it was my favourite Star Wars movie for years as a child. I loved the battles, the lightsabers, the fact that Jango Fett was in it, and because it was a sequence of bright images played in a sequence. On reflection, the film is totally bland, with a story that meanders and relies too heavily on plot elements that are not properly explained to us. Who is Count Dooku? Who is Sifo Dyas? Why are the Separatists rebelling? These are never explained and so we are almost forced to not care about the political plotline. This is somewhat refreshing since Phantom Menace relied so heavily on political exposition to deliver plot elements, but that isn’t much to be proud of. The best thing by far about this movie is that you get a feel for what the Galaxy was like before the Empire, with the Jedi at the height of their power. The special effects of aged horribly, and considering they make up over half of the movie, it shows.

6 – Episode VI – Return of the Jedi

The final chapter of the Original Trilogy is a fantastic film in its own right, but it just doesn’t hold a candle to either Episode IV or Episode V. The biggest problem with Episode VI is that the ending is basically a rehash of the ending of Episode IV but with a more ridiculous villain. Despite filling the evil manipulator role really well, Palpatine seems somewhat of a ridiculous ‘big baddie’ for the Star Wars universe, considering the fact that Darth Vader is a menacing robot man with an evil mask and Palpatine is an old man in a black cloak. His motives seem really strange too, he asks Luke to join the dark side whilst offering no real temptation or reason as to why he should, other than the vague assertion that the dark side is powerful. Even when he finally decides to kill Luke, he dawdles and relishes his victory to such an extend he ignores both the fact that the Death Star is about to explode (again) and also that Vader is about to betray him. One aspect of this film that used to be one of its most redeeming features was the wholesome ending, but the new films have spoiled that now and so Episode VI is lesser today than it was.

5 – Episode III – Revenge of the Sith

This may seem somewhat of a controversial opinion, but I firmly believe that Episode III is better than Episode VI. As they both take the role of the ‘final act’ in their respective trilogies, it is easy to compare the two and George Lucas deliberately inserted references to all of the Original Trilogy films into Episode III. The best thing about this finale is that it ends the despised prequel trilogy on a dark and sombre tone – the formerly sickeningly child-friendly and happy prequel films end on the darkest Star Wars film to date, with scenes including the massacre of a temple full of unarmed children, the massacre of a room full of unarmed politicians, and the massacre of at least 600 defenseless Battle Droids. The film does have some really emotional scenes, such as the Order 66 scene, the scene in which Anakin realises Padme is pregnant and the best scene in the film – the final conversation between Anakin and Obi-Wan before the two former friends part ways. The lightsaber duels in this movie vary, from the bland and dull Dooku fight and the overlong Anakin and Obi-Wan fight to the two fantastic duels involving Palpatine.

4 – Episode VII – The Force Awakens

While I didn’t like Episode VIII very much, I am not a sequel-trilogy hater. I really enjoyed Rey’s story in both Episode VIII and its predecessor, Episode VII. Whilst I accept that the film has its issues – most notably the fact that the film essentially rehashes the basic plot structure of Episode IV – the film itself is an enjoyable and refreshing return to the original formula of Star Wars, and it feels that little bit more authentic than the Prequel Trilogy did. The new characters are all likeable and relevant (except for Maz Kanata, who makes no sense) and the pool of acting talent is rich, from the charismatic John Boyega to the energetic Daisy Ridley. Overall, it rebooted Star Wars strong, ignorant of what was yet to come.

3 – Rogue One, A Star Wars Story

The original prequels may have failed, but the sequel prequel did what the prequel trilogy tried to do, the inverse of which the sequel trilogy did right, in that it was an effective stylistic sequel but chronological prequel to the original trilogy. Rogue One gives audiences a Star Wars experience, and although the main plot is far from relevant in comparison to the Skywalker lineage, the film does solve several major plot holes of Episode IV whilst also standing on its own two feet as a movie. I would even consider showing this film to people who had never seen Star Wars before, apart from the fact that it is so action-packed that the original films may seem boring by comparison.

2 – Episode IV, A New Hope

The original Star Wars, originally called Star Wars, is a fantastic experience. Unfortunately, it is exceedingly difficult to watch the film in its original form, since the only versions that are released nowadays are the heavily edited special edition versions. Episode IV had several re-releases, each one adding or altering more and more of the film until it has reached the point where entire scenes have been added, dialogue has been altered, and the focus or point of entire scenes turned on their head. Nowadays, it is difficult to watch Episode IV without these changes becoming more and more obvious, to the extent that they almost impact on the enjoyment factor of the film. For a lesser movie, they might, but this is the original Star Wars experience, and it still holds up. Essentially a traditional swashbuckling fantasy adventure in space, Episode IV kicks off the franchise with a beautifully immersive experience.

1 – Episode V, The Empire Strikes Back

And then came the big one. Not much needs to be said here, since Episode V is often considered to be one the best movies of all time, and it is not hard to see why. It improves on Episode IV in almost every single way, bringing new planets, new characters, new adventures, new threats and shocking new revelations to the main characters and the audience. Imagine the shock that would engulf the internet if Episode V was released today, it would be truly Earth-shattering.

Top Ten Tunes from the Halo Soundtrack

The Halo soundtrack is truly wonderful, not only does it do its job of creating an ancient, powerful and mysterious feeling when exploring the varied environments of the various Halo games, the soundtrack makes traversing open landscapes, tight corridors and winding, labyrinthine battlefields both on and off of Halo rings all the more atmospheric and enjoyable thanks to the fact that the soundtrack is so rich and masterfully crafted by the fantastic Martin O’Donnell.

However, although the soundtracks for all the Halo games can be considered masterpieces, there are certainly some standout tracks that are iconic and perfectly suited to their moment in gameplay, but, also stand out as excellent pieces of music in their own right. These are in no particular order until the top three, and some may surprise you.

Charity’s Irony – Halo 2 Anniversary Soundtrack

This is a remastered version of the final section of the High Charity Suite from the original Halo 2 Soundtrack, that plays in-game during the opening segment of the mission, High Charity. The focus is clear here – this is the theme for the Covenant Holy City, which ironically plays in-game just as the city begins to fall to the Flood, and another reason why I like it so much. The tune itself is a fantastic electronic track that makes encounters tense but is actually very intricately constructed, like all of the best Halo tunes, including electronic tones and choral singing for an iconic Halo feel.

Bravery, Brotherhood – Halo: Combat Evolved Anniversary Soundtrack

This is a remastered version of Brothers in Arms from the original Halo: Combat Evolved soundtrack, and continues the legacy that its ancestor set down of having a Brothers in Arms variant in almost every Halo game, getting more bombastic each time. This represents the culmination of the evolution of the Brothers in Arms melody that was built upon in Follow our Brothers, the version that appeared in Halo 3. This version crescendos with the most energetic vigor yet, and hopefully the next time this track gets remastered they will continue this pattern.

Heretic, Hero – Halo 2 Soundtrack

Heretic, Hero is essentially the Arbiter’s theme in Halo 2, which is contestable with several other tracks on the soundtrack – Respite, from the High Charity Suite, or Reclaimer (ironically). The difference with Heretic, Hero is that it always plays during tense encounters with longevity, such as the section with the Wraith tank in the last level of Halo 2, or the Gondola section that the Arbiter traverses to recover the Sacred Icon. Either way, Heretic, Hero is an excellent ambient soundtrack that combines heavy, industrial tones with choir and light guitar riffs, and the name of the song reflects the Arbiter’s status as a branded Heretic on a mission to save his race.

Spirit of Fire – Halo Wars Soundtrack

For a main theme, Halo Wars could have done much worse. Spirit of Fire sums up Halo Wars in one piece of music – it harks back to the pre-classic era of Halo whilst also creating an atmosphere of isolation and desperation as the crew of the actual Spirit of Fire are left drifting in space. The piano segments are chilling and the piece is generally considered to be one of the most moving pieces to come from the Halo Wars subgenre of Halo Soundtracks. Undoubtedly, it is one of my favourite re-imaginings of the Halo theme and holds a rightful place as a unique theme for a wholly unique game.

Requiem – Halo 4 Soundtrack

Whilst Halo 4’s soundtrack is not one of my favourites, by any stretch of the imagination, it cannot be said that it was completely devoid of music that sounded truly Halo-esque. Of the best tracks on the Halo 4 soundtrack like Arrival, 117, Green and Blue, Solace, Wreckage and Mantis, none really compares to Requiem for me. Not only does it perfectly capture the feeling of wonder when emerging from the cave near the start of Halo 4 and seeing, for the first time, the unique floating metal structures of the Dyson Sphere known as Requiem, but the song itself is so mellow, so interesting. It sounds almost like the opening theme to a David Attenborough documentary series, if not for the periodic haunting-sounding electronic pangs. Overall, highly atmospheric, and certainly very Halo.

In Amber Clad – Halo 2 Soundtrack

A remake/re-imagining of Under Cover of Night from the Halo: Combat Evolved Original Soundtrack, which is itself a fantastic track, In Amber Clad provides for me what I call ‘the Halo 2 effect’, in that the unique style of Halo 2’s art and sound design makes each piece of the soundtrack truly unique from other soundtracks within Halo in that the atmosphere that Marty O’ Donnell seems so adept at creating and infusing into his soundtracks is very much alive and well here. The tune is nostalgic and hopeful but puts its own twist on the Under Cover of Night melody, combining several electric guitars with the preexisting ever-present bass line. A great little detail is the guitar lingering at the end after all the other instruments have stopped, a detail that was tragically removed from this song’s remake, Trapped in Amber.

Epilogue – Halo 2 Soundtrack

As far as Epilogue’s go, Halo 2’s is both extensive and simultaneously nonexistent. As far as the cliffhanger ending goes, most people agree now that the game earned one, and in hindsight this made Halo 3 all the better. But players at the time did complain that Halo 2 does seem to just cut off right when stuff starts to get good. You kill Tartarus as the Arbiter, thereby preventing him from activating the Halo ring, and yet Master Chief is left plummeting towards Earth on a Forerunner ship controlled by the Covenant, and then the game just ends. But it does have an Epilogue, and according to this tune that includes the first song of the credits, a fantastic continuation of the motif heard at the start of Impend from earlier in the Halo 2 soundtrack that features poignant guitar melodies performed by none other than John Mayer, who remained deliberately uncredited for 10 years so that he could keep the secret between his friends.

Perilous Journey – Halo: Combat Evolved Soundtrack

Perilous Journey is a truly iconic piece, not least because it plays during three of the best levels of Halo: Combat Evolved, as well as being remastered twice and featuring in one of Halo 3’s best levels. But despite appearing more than most tunes on the Halo soundtrack and across multiple games, this track never gets old. It fosters a feeling of adventure and inspires hope during difficult encounters such as the battle with the Zealot on the snowy bridge during Assault on the Control Room, or during the vehicle section of Halo 3’s The Ark. This track has been remade into First Step for Halo: Combat Evolved Anniversary and was remade and included as Make Them Pay in the Farthest Outpost suite of the Halo 3 Soundtrack, truly a testament to its memorability and standout quality as a tune.

Covenant Dance – Halo: Combat Evolved Soundtrack

This tune is brilliant, and it is a shock to me that it was never re-released in any other Halo game. This does mean that the bond between this tune and its origin game is very strong, since hearing it brings back memories exclusive to Halo: Combat Evolved. Thanks to Halo: Combat Evolved Anniversary, a remaster of this tune does exist in the form of Choreographite, and although that tune is great in its own right nothing quite beats the original for nostalgia factor alone. The best thing about this piece is the sudden and unexpected shift halfway through from a generic-sounding Halo drum-and-choral track to a groovy electronic dance track. What makes this piece particularly memorable is that it plays when you finally reach the control room in Halo: Combat Evolved’s Assault on the Control Room, and the electronic part kicks in just as the door opens to reveal a Zealot and his advance guard, heightening the tension and enjoyment factor of the encounter.

Honourable Mentions

Asphalt and Ablution – Halo 3: ODST Soundtrack

Despite the fact that this is the only track from the Halo 3: ODST Soundtrack that features on this list, it cannot be understated how fantastic the soundtrack for this game is. Despite the fact that, like all Bungie Halo games, this soundtrack was composed by the one and only Martin O’Donnell, the whole album sounds nothing like anything that has ever been in Halo before or since. For one, the welcome introduction of the saxophone as a regular recurring instrument in this soundtrack gives every track a dark, moody noir feeling, which fits perfectly with this game’s setting in an abandoned futuristic metropolis drenched in rain at night time, and the slower pace signifies the increased difficulty and setup of encounters in the game, since in this game you are no longer a super-soldier. If you’re a fan of night-time ambience, this track is for you.

Under Cover of Night – Halo Combat Evolved Soundtrack

Remade as In Amber Clad that was included on this list, as well as Cloaked in Blackness for Halo: Combat Evolved Anniversary, Under Cover of Night is different enough from its progeny that it stands out for more reasons than it just being the original. Playing at iconic parts of levels like Truth and Reconciliation and Two Betrayals, this track has the legitimate Halo identity that makes it so well-loved by fans.

One Final Effort – Halo 3 Soundtrack

Of all the bombastic versions of the Halo drums that exist, this is one of the best. Whilst the Halo Theme has been re imagined in dozens of different ways across almost all of the Halo soundtracks, from outside-the-box wind-chime atmosphere of Halo: Combat Evolved’s Ambient Wonder to the more traditional style yet non-traditional fusion with 117 in Halo 5’s The Trials, none can beat the simplistic yet effective application here in Halo 3’s One Final Effort. Played during one of the most memorable moments in the game, the climactic battle with a pair of Scarabs, this track has certainly made an impact.

This Glittering Band – Halo 2 Anniversary Soundtrack

A fantastic remastering of Leonidas that was included in the Delta Halo Suite of the original Halo 2 Soundtrack, This Glittering Band is played during the gondola ride over a gleaming lake in the sunshine as Covenant Banshees and Drones assault your vehicle from all angles. The tune is possibly more commonly recognised as being part of the Three Gates section of the Halo 3 soundtrack, as that too was a remake of Halo 2’s Leonidas. Being an Anniversary version, This Glittering Band incorporates elements from both the original and the Halo 3 version of its predecessor to find a perfect balance.

Peril – Halo 2 Soundtrack

One of the standout tracks of the Volume One CD of the Halo 2: Original Soundtrack, Peril plays during two distinct parts of Halo 2 – first during the opening section of the level Delta Halo following the iconic drop-pod sequence, and second during the level High Charity in one of the outdoor garden sections of the Covenant Holy City of High Charity. Oddly, this track also featured in an episode of ‘Top Gear’, during James May’s review of a Jaguar XF in 2007, a full 3 years after the soundtrack came out. Guess someone was a fan. Overall, this piece uses rapid staccato strings to create a tense atmosphere making encounters more suspenseful.

And finally, the number one is:

Genesong – Halo 2 Anniversary Soundtrack

It should not come as a surprise to anyone that Halo 2 was big enough to get Steve Vai to record songs for the soundtrack during the development for its original release in 2004. Back then, Halo 2 was as big as it gets. The game revolutionised gaming online for consoles with the introduction of a functional matchmaking system that was unparalleled for its time and paved the way for hundreds if not thousands of other console shooters and games of all kind to follow in its wake. The game was being hyped up to the extent that it outperformed most big-budget movies of that year, and was considered by news outlets at the time to be bigger than any movie. Steve Vai, and all the other artists who contributed to Halo 2 such as Breaking Benjamin, John Mayer, Hoobastank and Incubus as well as producer Nile Rodgers, took the project immensely seriously, and Breaking Benjamin didn’t even receive payment for their work on the soundtrack, doing it for free as the publicity from having one of their songs in Halo 2 would pay for itself. This was a point where Halo was huge not only in the gaming world but in the mainstream media as well.

However, times have changed, and Halo is not the franchise that it once was. What is surprising, however, is how dedicated its fans still are to the games, the lore and the production of Halo and its tributaries. 10 years after recording one of the best songs on the Halo soundtrack, Reclaimer, Steve Vai returned to Halo 2’s soundtrack for the Anniversary version and recorded several tracks, including this remastered version of Reclaimer known as Genesong. Steve Vai’s contribution to the soundtracks of both versions of Halo 2 cannot be understated, particularly since he contributed to the excellent Mjolnir Mix and Gungnir Mix formed the main theme for Halo 2 and its remake. Truly, the Halo Theme and tracks like Genesong represent the pinnacle of not just the Halo Soundtrack, but video game soundtracks in general.

Do you agree with this list? What’s your favourite song from the soundtrack? Leave your thoughts in the comments and leave a like if you enjoyed. See more: