BFI Flare: Shorts

The Tumbler

“Charming” isn’t a word that gets a lot of use in the film journalism space. This may be because the medium is filled to the brim with talk of blockbusters and darker, artsier pieces, but when it does finally make an appearance, it’s well deserved. Such is the case with director Savannah Knoop’s newest short film The Tumbler.

It’s a simple premise with a couple of Gen Z hackers preying on their next millenial victims in an unassuming parking lot. There’s tension and assumption on both sides, with the millennials expecting slightly older hackers and the Gen Zers expecting easy targets but this proves not to be the case for either group.

The four main leads do an excellent job of capturing the attitudes of their characters whether it be apathy, excitement, or nervousness which allows for a connection with the audience in a short amount of time. The camera is handheld which allows for further ease of access to the story as if the audience is the third wheel along for the ride whilst the lack of score allows the natural ambiance to shine through.


Familial relationships can be difficult for queer people. Relatives may find it difficult to understand why someone has “chosen” to live a gay lifestyle and may even cut people off. It can be extraordinarily difficult but Palestinian director Saleh Saadi’s directorial debut Borekas explores the father-son dynamic in particular.

The short film features a son and his father reconnecting after their car breaks down on the way to the airport. The majority of the plot sees the son determined to call a taxi whilst his father is determined that he can fix the car in time but, as with many family disputes, it’s not actually the car that’s the issue. The real issue lies deeper, in the father feeling like his son doesn’t want to speak to him, despite still talking to his mother.

There’s such a culture of men not discussing their feelings and this film makes it clear that it’s a global issue. Yes, the film is short and seemingly simple, but it’s the kind of story that needs telling.

Birthday Boy

Some parents live in deep denial when it comes to their children. For queer people especially, their lifestyles can go totally ignored. This is particularly difficult for trans people who may have to go through celebrations having their identity completely glossed over. Birthdays can be difficult enough on their own but when it includes being constantly deadnamed and misgendered, it’s an exhausting and upsetting experience.

This short Panamanian film from director Judith Corro perfectly encapsulates that experience by showing a Trans man dealing with his 18th birthday. The only member of his family to support him is his brother, with his mother buying him a dress to wear to mark the occasion. The film opens with almost a full minute of a tone ringing out, which really captures the numbing feeling of trying to make it through this kind of life.

Quinton Reviews is Great and Here’s Why

If you’re a frequent user of YouTube, there are several names that you might be familiar with. There are the gaming channels like Markiplier, the film critics like Lindsay Ellis, and even best selling authors like Hank Green. It depends on the kind of content that you consume, but if you, like me, enjoy the quirkier side of life then, you may enjoy the work of a channel called Quinton Reviews.

Quinton has been active on YouTube for 7 years, but only began to release a consistent stream of videos around 4 years ago. His earliest public videos are a variety of reviews from Voltron to The Love Bug to Doctor Who, and it is through the last of these that his channel first came to my attention several years ago. However, what appears to be his claim to fame is much more mundane than any of his reviews, or sketches. Currently sitting at just over a million views is his 24 second magnum opus How to Open a Tough Jar which is exactly what it says it is. It is, perhaps, the most YouTube-y video in his history, combining a tutorial video with Quinton’s sarcastic wit. At 24 seconds long it is the perfect length to send to your friends, who are almost guaranteed to click on it, because surely nobody would make a video about this. Creating a clickbait video that actually delivers on its simple premise in an age where clickbait is rampant is almost admirable.

His next big hit would be How Spongebob Predicted Meme Culture which currently sits at around 2.5 million views. Here, Quinton looks at how one of the show’s earliest episodes – Ripped Pants – demonstrates the kind of comedy that would eventually be used by the meme-makers of today. This is an analysis as opposed to a review, but I think that videos like this are when Quinton is at his best. There are lessons to be learned from past shows, and other media, which is presented clearly in this video in an insightful manner. It is this style of analysis that would soon become the primary form of content for Quinton Reviews in the channel’s flagship series Fallen Titans. This series discusses the internet phenomena of yesteryear, and how they have fallen into relative obscurity. If you are new to the channel then this may be the best place to start, as it demonstrates his style of content as well as his growth in creating said content. Over the course of the current 16 episodes, we witness Quinton gain a higher quality of camera and set, as well as using more footage relating to the content he is discussing. The length of his videos also increase from around 15/20 minutes to nearly an hour. All of this is true of the channel as a whole, but it is really amplified when watching this series. In essence it gains a more professional feeling, but it never loses that quintessential Quinton charm. For more on the review side of things, it is worth taking a look at his series Knockoff November which delves into the odd world of bootleg media. There is plenty of it out there, from Sinister Squad to Little Bee, which are ripping off Suicide Squad and Bee Movie respectively. It is a stark reminder of how saturated the movie market is, as well as the sheer audacity of some of the people within the industry. Quinton approaches these subjects with the cynicism and mockery that they deserve, without being malicious or attacking the production teams involved. As somebody who has seen their fair share of malicious reviews, I find these videos almost refreshing. You may think from the review thus far, that reviews and analysis are the two main themes of Quinton Reviews. There are in fact two more themes that feature just as prominently.

It’s time to talk about Bee Movie and Garfield.

You may not know much about, or even remember the 2007 animated film Bee Movie, but it is something that Quinton has covered more than anybody else. I’m glad he has, because I remember Bee Movie, and it is fascinatingly bizarre. The advertising was bizarre, and the merchandise was bizarre, and Jerry Seinfeld’s dedication to making this movie was bizarre. It is a movie that seems to be begging for an analytical dissection, but only Quinton seemed to be up to the task, which led to his 3 and a half hour long video Quinton Reviews Bee Movie Characters for 3 Hours (formerly “All Star” but every the/Star is Quinton Review but every film is a Bee from Bee Movie). If you are willing to dedicate that much time to watching a YouTube video, then I highly recommend you do. However if that seems too long, then I highly recommend that you watch his other major project My Garfield Vacation: A Historical Voyage instead. There are EIGHT other Garfield-centric videos to choose from, but it is this documentary that best demonstrates his love for the big orange cat, and for his creator Jim Davis. This isn’t just clickbait, because Quinton comes across some previously unseen content and as a minor Garfield fan myself, it genuinely warms the heart. I’ve often said that long form content is some of the best on Youtube and this love letter to the cat is a marvelous example of that.

As I publish this, the Quinton Reviews channel has just hit 400,000 subscribers, and maybe by the time this year is over it will have hit 420,000. There has been a surge in the amount of videos and views lately to the extent that I cut an entire section discussing both those things. It’s been a heck of a wild ride, and I can’t wait to see where it takes me next. Hopefully you will decide to accompany me.

Until Next Time…

Signed: Your friendly neighbourhood queer

The Rocky Horror Picture Show

*Dedicated to my best friend to whom I owe everything. I love you.*

The year is 1973. It has been 4 years since the Stonewall Riots and 3 years since the first official Gay Pride Parade in New York. 31 year old Richard O’Brien, who has spent the past several years participating in theatre productions, has just finished working on a script of his own. The Rocky Horror Show, a musical tribute to the science fiction and horror B-movies of the previous decades, as well as the growing glam rock trend, opening in June of that year. Despite premiering upstairs at the relatively small Royal Court, which held 63 people, it soon grew in popularity and moved to the King Roads Theatre which holds 500 seats. By the end of the year, it had gone on to win the Evening Standard award for Best Musical. It wouldn’t be until March 1974 that the show was attended by Gordon Stulberg who was the executive at 20th Century Fox and made a deal to produce a motion picture of the production. It would be given the pretty minuscule budget of $1million which, if adjusted for inflation, is roughly $7million today.

Released in 1975, The Rocky Horror Picture Show follows newly engaged couple Brad and Janet as they find themselves stranded at the home of Dr Frank N Furter after their car suffers from a flat tyre. As the night progresses, Frank’s creation- a blonde hunk named Rocky- is brought to life, and bizarre events only become more bizarre. Perhaps the best way to describe The Rocky Horror Picture Show is by saying that it unapologetically queer. Dr Frank N Furter is portrayed by the always-enthusiastic Tim Curry, wearing nothing but a corset, fishnet stockings and high heels, while Rocky is confined to Golden Y-fronts. On top of this are the very stylish and make-up laden party guests, who are extremely eager for some debauchery. With all this in mind, allow me to tell you the tale of my first viewing.

I was a 15 year old christian who had been, arguably, over-protected by his family from anything considered abnormal. I was also coming to terms with my sexuality, having recently realised that I was bisexual, which was a less than enjoyable time. I tried to be myself as much as I could, but I really didn’t know what that meant anymore because I didn’t feel like it was safe to experiment. Luckily, my best friend and his family are astoundingly accepting and were eager to do what they could to help. These were the circumstances that led to my best friend, his sister, and me sat on their couch watching The Rocky Horror Picture Show, and I was transfixed. I was, of course, familiar with theatre productions and musicals, having studied Shakespeare, Wilde and Webber, but I found myself realising that this was what it meant to be theatrical. Once the initial shock wore off, I was in love.

There have been many adaptations of theatre productions and musicals brought to the big screen over the years, and they have adapted in different ways. For instance, The Sound of Music (another one from 20th Century Fox) made good use of being able to shoot on location in the dazzling hills of Switzerland, which gave us one of the most iconic moments in cinema. The Rocky Horror Picture Show takes a different approach, by effectively doubling down on its stage roots. The entire piece takes place within one household, and so we are kept to only several rooms, all decorated lavishly with the budget they were provided. However, there is a distinct difference in the way these two individual films were treated by their studio. A distinct monetary difference. The Sound of Music was provided $8.2 million when it began production in 1964, which is around $68 million when adjusted for inflation. However The Rocky Horror Show had to make do with a relatively measly $1 million in 1974 which only inflates to $6 million today. Now, I’m not one for speculation, however one does have to wonder why this might be the case. It may be possible that it’s because the former was targeted to a family demographic and was therefore more highly marketable (ie profitable) while the latter was not. It may even be that the studio feared The Rocky Horror Picture Show would not garner a large enough audience and, unfortunately, it would appear that they were correct. The film was not a critical darling, only drawing a big audience for the Los Angels premiere, and so a new strategy was devised. Having had success by pairing 1936’s Reefer Madness with 1972’s Pink Flamingos as a Double Feature several years prior, it was decided that the plan would be replicated with The Rocky Horror Picture Show, and Brian De Palmer’s Phantom Of Paradise. These midnight showings proved to be a success, with audiences dressing as the characters and interacting with the film. From newspapers and screaming insults to fishnet stockings and glitzy suits, there is no experience quite like a screening of The Rocky Horror Picture Show. It is perhaps this element of interaction that has allowed it to be so popular for 45 years, as evidenced by the fact that it was never officially pulled from cinemas. There is a certain etiquette to film watching and it is all but abolished during these film screenings, which is remarkably freeing. That is on top of how freeing it is for members of the LGBT+ community who, for a few hours, can be exactly who they are without judgement, especially if they aren’t open in their own lives.

I was one of those people. It would be some time before I purchased a copy of the DVD for myself, but being able to blast Sweet Transvestite through my earphones was exactly the kind of encouragement I needed. It would take 4 years for me to be completely open, and a further year before I found a boyfriend, but I felt a little more true to myself every single time I listened to the soundtrack or watched the film. I most likely would have encountered The Rocky Horror Picture Show on my own eventually (indeed many of my friends were already fans) but it is thanks to my best friend that I saw it so soon. I’ve read headlines claiming that the film is mainstream now and I think, to a certain extent, that is true, however not to the same degree as something like Star Wars. It is a classic to those who love it, but there are those to whom it remains a mystery, and I wonder if that might be a good thing. We live in an age where more adult oriented media have become major brands with mass merchandising, and are also prone to mass scrutiny. Shows like Game of Thrones and Rick and Morty have been known to not live up to the standards of fans, but this has never happened to The Rocky Horror Picture Show as it is only viewed by people who genuinely love it. There are no sequels or spin-offs to judge, though not for lack of trying. Richard O’Brien has attempted writing a direct sequel several times, but for one reason or another, those films never happened. The closest he would come was with 1981’s Shock Treatment, which centred on Brad and Janet (now portrayed by different actors) but functioned as more of a spiritual successor. The film is worth a watch for fans, but only The Rocky Horror Picture Show has become a cult classic because of the fans. The love and adoration is abundant anytd well deserved. I look forward to when we are all allowed to gather and do the Time Warp again.

It’s just a jump to the left…

Signed: Your friendly neighbourhood queer

Toy Story

As the first fully computer animated feature film and the first cinematic release for PIXAR studios, Toy Story is an important piece of film history. Without its success, we might never have seen PIXAR make it into the 2000s and it could have been some time before computer animation came to fruition as an art form. Luckily Toy Story was a massive success both financially and with critics, proving the viability of computer animation and leading to some of the best films of the last several decades.

Toy Story follows Woody- a sheriff doll- as he struggles to remain the favourite toy of “his child” Andy after the arrival of a Buzz Lightyear action figure. Toy Story is one of the first films I remember watching, and as a result finds itself the foundation of my love for cinema. Though to many Tom Hanks may be remembered as Forrest Gump, to me, he will always be Sheriff Woody… even though, Woody as a character is rather mean and petty in retrospect. You sympathise with him because he is an excellent leader to the rest of Andy’s toys, recalling them by name and informing them of updates in Andy’s life; h appears to be a wonderful sheriff. but upon Buzz’s arrival he is overcome with jealousy and spite, which only grows as the film progresses. You continue to sympathise, because it clearly isn’t easy for him having to face losing the title of “Andys favourite toy” to a toy who doesn’t even believe he’s a toy. Furthermore, he is stranded alone with Buzz through a majority of the movie and eventually befriends him. In short, Sheriff Woody is a victim of the plot, being tossed around at will but in a bizarre way, he almost deserves it.

What interests me the most about this concept is not only how Woody remains likable, but how dark the studio originally wanted to take him. Each feature film seems to have a “moment during production”, be it large or small, and for Toy Story, this moment is known as The Black Friday Incident. On November 19th 1993, with half of the film ready to show, it was screened to executives at Walt Disney Studios. Throughout production they had told PIXAR to make the film edgier, but after watching the film reel they decried that the film was too dark for children and would have to be re-done. In a move that should really be common practice by now, the corporation returned full control of the project to PIXAR who, in turn, produced the form of Toy Story that is now held in such high regard. I would be fascinated to see this Black Friday reel, but sadly only snippets of it exist online. Some of that cynical edge survives in the form of Andy’s neighbour Sid Phillips. This isn’t simply some troubled child, he’s straight up sadistic. He still creeps me out.

After 25 years, the animation now seems a little simplistic. The textures are noticeably flat on occasion and the children all look similar. The outsides of houses are fairly standard and there is a vast lack of them in several scenes. I don’t care though and, given Toy Story‘s continued popularity, neither does anybody else. It isn’t bad animation, it’s simply the very first of its kind. Any lack in visual quality is more than made up for with great writing, memorable characters and me-defining humour. I still call people “uncultured swines” on a weekly basis. Toy Story kickstarted an art form and a studio. I’m very glad to see how fondly it has been remembered. I feel that it will remain a classic for generations to come.

Until Next Time…

Signed: Your friendly neighbourhood queer

The Hobbit: An Unexpected Journey

The existence of The Hobbit film trilogy is a bizarre thing. Its story predates The Lord of the Rings by 76 years, but Lord of The Rings (LOTR) was the first to be turned into a film series, leading to several alterations and additions when An Unexpected Journey was finally released in 2012. A huge amount of footage was shot across the six films in the Middle Earth Saga, and wary that audiences may not sit through it all, there are 2 versions of each film- theatrical and extended. As someone who wants to get as much out of each film as possible, I only own the extended versions and as a result it is these versions of the saga that I shall be using for my reviews. Let us start at the beginning.

The first half of An Unexpected Journey centres around Bilbo Baggins, as he is hired to be a burglar for 12 dwarves led by Thorin Oakenshield in a quest to reclaim their home Erebor (or The Lonely Mountain) from the dragon Smaug. They are joined on this adventure by the wizard Gandalf, as they battle a trio of trolls and a group of orcs before arriving in the Elven town of Rivendell. This first half acts as a set-up for the story to come, with The Company of Thorin Okenshield only embarking on their quest at the 40 minute mark- which isn’t a bad thing. This lack of action and adventure allows for us to focus on worldbuilding, getting to know the characters; which is essential in storytelling. Fíli, Kíli, Bifur, Bofur, Bombur, Óin, Glóin, Balin, Dwalin, Dori, Nori and Ori all have distinct personalities, and whilst some get more focus than others, none of them are unlikable.

Bilbo is played with magnificent awkwardness by Martin Freeman, while Gandalf’s wisdom is, once again, excellently delivered by Sir Ian Mackellan. Thorin, portrayed with regal air by Richard Armitage, is skeptical of both, but trusts every dwarf in his company, as his backstory eloquently explains. Each of the dwarves get their own little moment, but the standout is Bifur, whose comedic timing is impeccable, but can be stern when the moment requires it. Another standout is the CGI… which is used in several shots, and that isn’t necessarily a good thing. The majority of the CGI is wonderful, but there are times when a greenscreen is clearly being used. For a movie that was shot primarily on location in New Zealand, it can be jarring and for me and that is a bit of a let down.

I would be remiss to talk about the extended version of An Unexpected Journey without mentioning the extra footage and how well it fits the story. The first change comes during a flashback to the fall of Erebor, focusing more on the Elven king Thranduil instead of Bard’s father. This makes sense from a narrative standpoint as it provides the basis for the Dwarf/Elf rivalry and Bard won’t be introduced until the following film. We also get a flashback to young Bilbo playing with a wooden sword instead of gentler games. This is a nice demonstration of how adventurous Bilbo used to be compared to the respectable hobbit that he becomes. Next is a scene of Bilbo trying to avoid Gandalf at the market which, while amusing, isn’t particularly necessary. Our final lot of extra footage shows the Dwarves dining in Rivendell and Kíli’s fondness for Elves. It features a musical number, giving us a glimpse into Dwarven culture, and sets up Kíli’s arc with a little foreshadowing, which are both things that I appreciate.

This first half of The Hobbit: An Unexpected Journey does a wonderful job with its worldbuilding. From here we can focus on interactions and character growth, but the groundwork is laid here. There’s plenty of humour to keep us entertained and makes for an excellent starting point for what is to come

The second half of An Unexpected Journey is definitely more action packed than the first. Our band of heroes traverse through Stone Giants only to find themselves prisoners of the Goblin King and upon escaping are finally cornered by orcs. It is during the encounter with the Goblin, King that Bilbo finds himself seperated from the group and discovers the creature Gollum, during which he steals the One Ring.

Peter Jackson’s decision to split the 300 page book into 3 films was bold, as there isn’t really enough material to do so. The solution was to intertwine it with material from other works of Middle Earth such as the appearance of The Necromancer. He is briefly mentioned in this film, but goes on to play a larger role in the sequels which is, I think, rather a good idea. Not only does it explain why Gandalf is absent from The Company for the majority of this adventure, but it also paves the way for the return of the dark lord Sauron, making the six films feel more connected.

This half of An Unexpected Journey has  more seamless CGI with the goblins, their king and Gollum seeming like they belong, and not like they were added in a hurry. The level of detail put into these characters is impressive, with the Goblin King being a gross sight to behold. Meanwhile Gollums CG seems to get better with every passing film, as does Andy Serkis’ performance, which is no small feat for what is a rather small role. If there is one let down, it’s Azog the Defiler- leader of the orcs who has the blandest design of all the characetrs. Azog, for the moment, is the main antagonist, and as such needs to have a certain amount of character. The original design for his appearance, which was to be done with prosthesis, can be found rather easily online and includes that sense of menace which the CG version so sorely lacks. I am overwhelmingly impressed with The Great Eagles, who rescue our heroes from the orcs. They are one of the best examples of just how good CGI can be.

Almost all of the extra material for the extended cut of the film takes place in Rivendell and features Bilbo in some aspect. He first comes across the shattered remains of the sword Narsil and a mural of it being used in the final battle against Sauron, which is a set any LOTR watcher will recognise, and is a nice little nod to the future. A following scene sees him and Thorin listening to Lord Elrond express his concerns about the quest, more specifically the Gold Madness that could consume Thorin, to Gandalf. Lord Elrond also has a small scene where he offers Bilbo a chance to stay in Rivendell, where he’d be safe. These scenes do a good job in humanising the Elven Lord as well as foreshadowing Thorin’s fate and Bilbo’s dedication to the dwarves. We also get a scene of Gandalf meeting with The White Council, consiting of hime, Lord Elrond, the Lady Galadriel and Sauraman the White. They discuss both the quest and The Necromancer, whom Sauraman doesn’t believe to be anything more than a mortal man.

On the whole The Hobbit: An Unexected Journey proves to be an excellent set-up for not just the adventure to come but also the larger story to follow. As a result, it isn’t overly exciting, but it does provide ample time for us to connect with these characters. Instead of seeing this as part of the adventure itself, I see it more as a prologue. As prologues go, An Unexpected Journey is wonderful if not entirely essential.

The Emperor’s New Groove

At the time of this publication, Walt Disney Studios has released 57 animated feature films. Many people recall classics such as “Bambi” or the more recent hits like “Moana” but there is a period in time that seems to have been forgotten- The early 2000s. Between the release of Tarzan in 1999 and The Princess & The Frog in 2009, there were 12 animated films and of those 12 there are a few hidden gems. The Emperors New Groove is one of those gems and may just be on of the greatest films Disney has ever released.

We follow Emperor Kuzco as he is transformed into a llama and cast out by his elderly advisor Yzma and her henchman Kronk. Kuzco places his faith in Pacha, whose village he plans to destroy, to get him back home. With Yzma and Kronk hot their tails, it become a race to the finish line to seal Kuzco’s fate. The highlight of this movie, by far, is the comedy which consists of both visual gags and witty one liners. This movie is ridiculously quotable and every single character gets their moment to shine but the best humour comes in the disrespect for the fourth wall.

When a character breaks the fourth wall they talk directly to the audience and I don’t believe any film has done it better. Here, it isn’t just used for comedic effect but it is occasionally used to further the plot. The main fourth wall breaks are given to Kuzco however several moments are left for Yzma and Kronk, including a moment in the finale where nobody seems to know how they could have gotten back to the palace so quickly. The characters are all wonderfully voiced with David Spade being delightfully punchable and Eartha Kitt being joyfully evil. Especially wonderful is Patrick Warburton as Kronk who isn’t evil, just misguided yet pure at heart. The demonstration of his struggle with the shoulder angel and devil are a nice touch.

As upbeat an jazzy as our cast can be, the music is even more so. Disney takes superb advantage of the Incan setting, giving us a unique soundtrack, with performances by Sting and even Sir Tom Jones. Even more refreshing than the soundtrack is the lack of a romantic interest. Pacha is married, Kuzco is a llama, Yzma is “scary beyond all reason” and Kronk is Kronk. Keeping our main cast at 4 really allows the story to flow. In fact Kuzco is the first member of Disney royalty not to be burdened with a love interest, allowing for a more meaningful bond with Pacha.

This film in my opinion really is one of the all time greatest Disney films, if not one of the best films period. It would lead to one of Disney’s most beloved television shows “The Emperor’s New School” and direct-to-video sequel with “Kronk’s New Groove.” Honestly, I think it is all worth watching just to spend more time in this beautiful setting with these wonderful characters and that gorgeous soundtrack.

Until Next Time…

Star Wars: A New Hope

Dedicated to Peter Mayhew who passed away just days before this publication. The galaxy seems a little bit smaller without you.

*Originally published November 2015*

This film has to work in 3 separate ways. Firstly it must work as a solo film, as was the original intention, which it does. There’s no messing around with backstories, it just jumps straight into the meat of the action. Secondly it must work as the start of a trilogy, which it does. It leaves enough loose ends and incomplete story arcs to continue. Finally it must work as a continuation of the saga, which it does. It misses out the rise of The Empire and what Obi-Wan has been doing in exile but that’s all probably rather boring, I’d imagine. As for practical effects, I love the sense of realism it adds and the soundtrack, as well as the scenery, are beautiful- now iconic. The casting is also perfect. However I regret I may never see this film as it was when it was released, with George Lucas adding so much CGI it’s almost a different film. Thu lies one of the greatest tragedies in cinematic history. Thankfully this doesn’t stop it from being a fantastic, story driven film and one that I will continue to watch and talk about.


I have never been so happy to be so wrong. Not about the review but about never seeing the Original Trilogy in it’s original form. In 2004, Lucasfilm released yet another altered version of the films but this time with an extra disc featuring the unaltered cuts. To nobody’s surprise, I find them to be much better versions with no CGI to distract from the story or sets. I was also wrong in my belief that the rise of The Empire or Obi-Wans exile would be boring, in fact they are far from it. The television series’ “Rebels” and “Resistance”, so I’ve read, do a fantastic job of filling in the gap between Episodes 3 and 4. Star Wars: A New Hope remains one of the all time greatest films with one of the greatest soundtracks and one of the greatest villains. In lieu of my usual closing statement, I shall leave you with the age old blessing:

May the Force be with you…