The Skywalker saga has (for the time being) finished with "The Rise of Skywalker" (2019). Despite a somewhat lukewarm reception of the prequel trilogy, time has been kind to George Lucas’ prequel trilogy whereas the Disney produced flicks can be seen as unoriginal rehash of the original entries. Excluding spin offs, ranking all nine films in the Skywalker saga can be challenge depending your perspective.

9. The Rise of Skywalker (2019)

From massive plotholes to poor choreography and action ideas that sound visually interesting but bear no logic, "Episode IX" is trying to do too much and too hard by rectifying "The Last Jedi" (2017) and copying the structure of "Return of the Jedi" (1983). Filled with ridiculous ideas (e.g., riding space horses on the side of a star destroyer), one liners and several sequences where things have to conveniently occur in order to move the non existing plot (e.g., Palpatine wants Rey dead, but then he does not, only later to reveal that he wants her to kill him despite deciding that is not useful, so he chooses instead to kill her!), the pedestrian script does not offer anything compelling besides an overpowered Mary Sue with no personal stakes three films in. Despite excellent production values, “Episode IX” contains forgettable characters, tedious action and banal proceedings that destroy the entire redemption arc of Anakin with a climax so overblown and pointless that has to be seen in order to be believed. "The Rise of Skywalker" is the worst film in the franchise.

8. The Last Jedi (2017)

The middle chapter in the new trilogy is where things went really wrong. From illogical decisions (e.g., Leia has force powers) to fan fic homages to "The Empire Strikes Back" (1980), the lack of a clear villain, thrilling action - if you think the throne scene is great, played it in slow motion and despair, and the deconstruction of beloved characters like Luke and Leia as relics of a bygone era make "The Last Jedi" the ultimate cinematic disappointment. It does not answer any of the questions of "The Force Awakens" (2015) following a story that is made by the filmmakers on the spot as opposed to George Lucas who had a concrete vision for his beloved Darth Vader. If you add in the mix misplaced Marvel humour, force abilities that come out of nowhere and nonsense plans of action (e.g., space bombers), wasted character potential (e.g., Chewbacca does not do really anything, Captain Phasma is pointless) with the acting powerhouses of Kelly Marie Tran and John Boyega and the pointless casino side-adventure, you will end up with a film that resembles “Star Wars” only in the title. The only reason why it is not the worst entry is due to some striking cinematography that gets lost in a sea of bad decision making, contrived plot holes, mediocre acting and nonexistent direction.

7. The Force Awakens (2015)

Dubbed as a return to form for the franchise by the mainstream critics, "Episode VII" promised to continue the legacy of the Skywalker saga. However, what we got instead was a well-made but safe movie that featured the same plot of "A New Hope" (1977). Instead of Tatooine, you have Jakku, instead of the orphan Luke, you have the orphan Rey, instead of Vader, we have Kylo Ren, instead of Palpatine we have Snoke and more. It is cringe worthy at best with a forced relationship between newcomers Finn and Rey, and a rehash of the Empire into the First Order with the same clothes! Unlike the gap of the prequel trilogy and the original one that displayed a stark contrast in styles, technology, planets and characters, "The Force Awakens" offers more of the same. Yet, its biggest fault is the (likeable) plank of wood that is Rey. Whereas Luke was a kid dreaming adventures with a great destiny laid in front of him, and Anakin started as a slave and got corrupted in the process of attaining unlimited power, Rey is perfect but lacks attributes, character development and most importantly, an arc. She gets transformed from a scavenger into a war pilot, a mechanic, a veteran, a Jedi and a powerful force user without being taught anything from anyone, a gift now that keeps on giving on "The Last Jedi" and "The Rise of Skywalker". However, watching Harrison Ford back as Han Solo does give goosebumps and the production values are top notch. Ren makes for an interesting villain but ultimately gets betrayed in the latter movies as a gimmick and nothing more.

6. A New Hope (1977)

The film that started all. Surprisingly it is low because its universe is not fully expanded like it was on in "The Empire Strikes Back" or "Return of the Jedi". Although this criticism might be a personal preference, George Lucas tries to capture the mystery of the science fiction films that he grew up with by embracing slow direction and mystical aspects in unusual settings. Introducing fresh villains and heroes that would become legendary in human history, he constructs a classic story of good vs evil in an appealing space opera package. It boasts the coolest villain entrance ever and some of the most memorable credit scrolls in film history under John Williams’ thunderous score. The special effects in their majority for an almost half a century film, hold up extremely well displaying a dazzling array of designs that can still make an impact with even by today’s standards, the production design, costumes and sets are all top notch and still feel fresh. Despite moving in a snail’s pace, particularly in the first hour, the cast is in great form with Ford stealing the show as the smuggler Han Solo, Leia is not as helpless as you might think, Hamill brings child-naivety to his adventure calling and Alec Guiness depicts a brand new mentor for a generation to look up to.

5. Attack of the Clones (2002)

Out of all the “Star Wars” films, "Attack of the Clones" is probably the most polarising due to its corny dialogue exchanges between Padme and Anakin, coupled with their tiresome romantic scenes invoking those epic films of the 50s, political themes, an uninteresting opening, an over-reliance on CGI (mostly because Lucas believed in digital film and new technologies should be pushed forward), serious pacing issues and an almost non-existing chemistry between Portman and Cristensen. However, there is much to admire in “Episode II”. IT smartly expands the universe and lays key groundwork for the things to come. New and visually stimulating planets are being introduced along with dodgy political figures, and several subplots to make this entry feel a bit more personal. The inclusion of politics gives a weight in our world where discussion about individual freedom, peace and war can now resonate with many and provides a sharp commentary about the fall of the republic and the rise of one of the most bastard villains of all time: Emperor Palpatine. Other highlights include an expanded cast with the late Christopher Lee being awesome, Obi Wan going detective mode in the imaginative rain soaked planet of Camino, a mesmerizing flying car chase on Coruscant and the introduction of Jango Fett. And while the slow pace might be problematic for some, "Attack of the Clones" culminates in a forty minute spectacular climax that sees an arena, monsters, a Jedi army, lightsaber duels and a full blown battle between two gigantic armies that packs inventive designs and effects that put most films of this caliber in shame.

4. The Empire Strikes Back (1980)

There are an overwhelming amount of elements to love here: a thrilling fight between Luke and Vader at the end holds up extremely well, the cinematography and the production design is fantastic, Yoda's teachings have been inspired from Zen monks and contain lovely metaphors for our emotional struggles today and the battle of Hoth showcases just how powerful the Empire really is. Lucas is smart enough to avoid replicating what made “Episode IV” successful and opts out to take his story in surprisingly effective places that raise the dramatic stakes in one of the best finales in history. He cleverly adds new and unique locations that serve as the backdrops for the several skirmishes between Rebels and the Empire. While Mark Hamill seems more confident with the material and Leia’s and Han’s relationship starts blossoming, it is Vader who overshadows every character as the ultimate and calculating badass that he is. Despite some minor pacing issues, and a wishful sentiment to explore further the Cloud City and Lando, “The Empire Strikes Back” is “Star Wars” in top form dressed accordingly with John Williams’ further articulated score.

3. Return of the Jedi (1983)

"The Empire Strikes Back" might be a better movie but "Return of the Jedi" has more emotion. An excellent conclusion, it contains incredible for the time set pieces (e.g., speeder chase) and a brilliant confrontation with the emperor with several layers (mental, emotional, physical), the now nine film big bad played with gusto and real Shakespearean menace by Ian McDiarmid. "Return of the Jedi" finished the Skywalker saga on a high note (before "The Force Awakens" undid everything) establishing a better relationship between Luke and Leia, a more humanized Vader and a visually inventive skirmish with Jabba the Hut in the sand dunes of Tatooine to rescue Solo. Packed with now iconic visuals and the awesome music of John Williams, "Return of the Jedi" might have little Ewoks defeating the Empire but that is the point. Arrogance of the far superior technologically invaders is their downfall, a motif that has been repeated many times throughout the human history. Pace issues remain in the beginning and middle sections with Vader pretty much being absent in the first act, but "Return of the Jedi" is an uplifting movie with clear story structure and character arcs that fulfill their purpose. So be it, Jedi.

2. The Phantom Menace (1999)

While some of its execution is clunky - Darth Maul gets only 5 minutes of screentime (!), Loyd's performance leaves much to be desired and Jar Jar is in way too many scenes, few films can match the "The Phantom Menace" in vivid imagination alone. Back in 1999, Lucas went all guns blazing and showcased an extremely detailed world in a galaxy far far away. There are hundreds or thousands of designs for ships, aliens, costumes and sets, all extremely unique and memorable backed with state of the art visual effects, editing, cinematography, make up, costume and production design and sound. From the palaces of Naboo to the more scrappy locations in Tatooine to a full blown planet that is a basically a gigantic city, "The Phantom Menace" offers more bang for your buck. The action is thrilling, the ideas are novel (e.g., pod racing, double light saber fight) with Lucas recreating old epics in inventive technological ways that pushed the limits of what could be done. Despite some stale (but not distracting) performances, the cast is excellent. Liam Neeson is brilliant as the stoic Qui Gon Jin and Ewan McGregor slipped comfortably in Alec Guiness's shoes as a younger version of Obi Wan. Now add in the mix the thunderous score of John Williams and it has to hard to see the lack of an appeal. Aiming to attract more minors that full blown adults, “Episode I” remains an adventure that even grown ups can enjoy before things go into a very dark place. While the politics might be too much for some by the time we reach the final entry (see below), they make perfect sense and demonstrate how to conduct well an overall arc across three films.

1. Revenge of the Sith (2005)

By far the best “Star Wars” film in the franchise remains “Episode III”. The opening, a tour de force one shot action spectacle demonstrates Lucas' ability to offer unique set pieces with exquisite imagination. With improved dialogue and chemistry between Portman and Christensen, the on-screen proceedings bear more dramatic depth than before supported by a more focused performance from Christensen who captures accurately the confusion, sense of betrayal and utter helplessness in the situations he founds himself in and beyond his control. The tighter script gives Christensen plenty of screentime to present Anakin’s fall from grace served with excellent visual storytelling and assisted by a deliciously seductive Ian McDiarmind as Palpatine; the film’s most valuable player who excels in his role and having the best acted scene in the entire saga: the Opera scene. Lucas offers a sharp political commentary that feels more relevant today with every action scene serving the story and not otherwise; nails for the coffin of the peace era that paves the way for the emergence of a literally universal authoritarian state that at the end is backed by a strong emotional pay off. The final fight between Anakin and Obi Wan is not only thrilling but tragic too serving as the catalyst for these two characters for the yearly events to come. Despite all the political discourse and intricate plot maneuvers, “Episode III” does not forget to please thrill seekers too offering truly phenomenal set pieces under the most dramatic and epic score that John Williams has done in the whole saga. There are minor flaws scattered around: Samuel Jackson deserves more screentime, some lightsaber duels fall flat and most importantly, Portman should have been elevated as an emotional core for Anakin instead of been reduced to a side character while the infamous NO! at the end should have been left at the cutting room. Yet "Revenge of the Sith" leads smartly and efficiently to “A New Hope”, connecting the puzzle pieces from Episodes I and II with comfort and delivering the proto-jigsaw that other films will follow follow.