Few franchises inspire as much passion, or as much disagreement, as Star Wars. Nearly every fan has their own idea of what the series should be, which characters matter most, and which movies deserve to be launched into the nearest Sarlacc pit. Trying to rank them all is practically an invitation to start a fight, but here I go.
Despite being a lifelong Star Wars fan, I’ve never seriously considered what my definitive ranking would look like. I genuinely love every one of these movies. Are some better than others? Absolutely. But putting them into an order I actually felt good about proved surprisingly difficult. By tomorrow, I may have changed my mind entirely, but for now, this is where they stand.
So, let’s punch it into hyperspace and see how every Star Wars movie lands when ranked from worst to best.
Although The Clone Wars kicks off this ranking at the very bottom, the movie never really stood a chance. It was cobbled together from the first few episodes intended to launch The Clone Wars television series, with George Lucas himself admitting that the theatrical release was “almost an afterthought.”
With stiff animation, a simplistic story, and plenty of cringeworthy humour, it didn’t exactly make the strongest case for why The Clone Wars deserved to become a series. It even saddled Anakin Skywalker with an irritating new Padawan named Ahsoka Tano.
Of course, the television series would improve upon the movie in almost every way, eventually transforming Ahsoka into one of the franchise’s greatest characters. Still, it’s difficult to ignore just how creaky her beginnings—and the beginnings of the series itself—really were.
As divisive as The Last Jedi may have been, The Rise of Skywalker was a flat-out disappointment. Instead of building on what came before, it seemed determined to undo it, retconning major developments, sidelining characters, and desperately scrambling to give fans what the filmmakers assumed they wanted.
There is no shortage of spectacle, and the emotional connection between Rey and Kylo Ren remains the movie’s strongest element, but nearly everyone else gets short-changed as the story races from one revelation to the next. Finn, once one of the most intriguing characters introduced in The Force Awakens, is reduced to little more than a passenger as the Sequel Trilogy commits almost entirely to Rey and Kylo’s story.
And then there’s “Somehow, Palpatine returned.” I love Ian McDiarmid, and he throws himself into the role, but bringing the Emperor back as the secret mastermind behind the entire trilogy with virtually no explanation or meaningful setup felt less like a shocking revelation and more like a desperate last-minute course correction.
While many regard Attack of the Clones as an improvement over The Phantom Menace—and in several respects it is—it remains my least favourite installment of the prequel trilogy.
There are certainly standout moments. I still remember the audience erupting when Yoda suddenly whipped out his lightsaber to take on Count Dooku. Until then, the idea of Yoda doing anything beyond dispensing centuries-old wisdom seemed almost unimaginable, but the little green guy quickly proved that he could kick ass with the best of them.
What really drags the movie down is the romance between Anakin and Padmé. There is nothing inherently wrong with making their relationship the emotional backbone of the story, but the clumsy dialogue does neither Hayden Christensen nor Natalie Portman any favours. “I don’t like sand” has become the obvious punchline, but it is hardly the only scene that struggles.
The heavy reliance on early digital environments also makes much of the movie feel strangely artificial, especially compared with the more tactile look of The Phantom Menace. There are plenty of interesting ideas buried within Attack of the Clones, but too often the execution leaves them feeling stiff, distant, and unconvincing.
Solo: A Star Wars Story has the unfortunate distinction of becoming the franchise’s first outright box-office bomb, although the drama behind the camera is almost more interesting than anything in the finished movie.
Phil Lord and Christopher Miller were originally hired to direct, but after nearly six months of production, they were fired over creative differences. Ron Howard was brought in to take over and reshot a significant portion of the film, sending an already expensive production budget soaring. That certainly didn’t help when Solo ultimately failed at the box office.
The movie itself is perfectly fine, and I’ve come to appreciate it more on subsequent watches. It’s a breezy space-western with an appealing cast, enjoyable heists, and a scene-stealing performance from Donald Glover as Lando Calrissian. Alden Ehrenreich also wisely avoids attempting a direct Harrison Ford impersonation, gradually settling into the role and making this younger version of Han his own.
Its greatest weakness is the determination to explain virtually every familiar detail about Han’s past, from how he got his surname to how he met Chewbacca. The result often feels less like an essential new chapter and more like a checklist of references. Solo is entertaining while it lasts, but it never quite justifies why this particular story needed to be told, especially now that its dangling sequel threads are unlikely to go anywhere.
After nearly seven years away, Star Wars finally returned to the big screen with The Mandalorian and Grogu. Unfortunately, it wasn’t quite the grand return to form many of us had been hoping for.
Anyone who enjoyed The Mandalorian will likely find plenty to like here. Din Djarin and Grogu remain an enormously appealing pair, and the movie is at its best when it embraces their charming father-and-son dynamic. There’s also no shortage of colourful creatures, familiar faces, and crowd-pleasing action along the way.
However, the stakes are surprisingly low, with the movie feeling more like an extended television adventure than an essential theatrical event. It’s charming and entertaining, but it rarely pushes its characters in any genuinely unexpected directions.
There’s certainly nothing wrong with Star Wars delivering a straightforward, fun adventure. But after waiting so long to see that galaxy far, far away return to theaters, it was difficult not to hope for something a little more ambitious.
The Phantom Menace arrived at the absolute height of my Star Wars obsession. I had practically worn out the THX VHS releases of the Original Trilogy, seen the Special Editions on the big screen, and followed every scrap of news about the new movie through the pages of Star Wars Insider. I was ready. More than ready.
And for much of that first screening, I had a blast. Yet I also remember walking out of the theatre with a strange sense of disappointment. Why wasn’t the long-awaited follow-up to some of my favourite movies giving me the same feeling as the Original Trilogy? As a budding film fan, I was about to learn an important lesson: anticipation can be a difficult thing for any movie to live up to.
That said, The Phantom Menace has grown on me considerably over the years. Whatever its faults, the movie is overflowing with imagination. It is undeniably goofy (largely thanks to the antics of Jar Jar Binks), but it also has a tactile quality that the other prequels largely abandoned. There are plenty of visual effects and entirely digital characters, but they are blended with enormous sets, intricate miniatures, and real outdoor locations.
And then there’s the podrace, which remains one of my favourite sequences in the entire franchise. It was mind-blowing during that first screening in 1999, and it still hits nearly as hard today, thanks to its extraordinary combination of sound design, editing, and visual spectacle. As for the climactic Duel of the Fates battle between Qui-Gon Jinn, Obi-Wan Kenobi, and Darth Maul? Perfection.
Is there a more divisive installment in the entire franchise than The Last Jedi? I’d wager not. For some fans, it ranks among the very best Star Wars movies ever made; for others, it’s lower than bantha poodoo.
Part of what now hangs over the movie is the knowledge that The Rise of Skywalker would either reverse or ignore many of its biggest developments. Had J.J. Abrams resisted the urge to play things so safely and actually followed the threads Rian Johnson established—however controversial they may have been—I genuinely believe the Sequel Trilogy would be regarded more favourably as a whole. A divisive direction is still better than no direction at all.
The Last Jedi certainly wasn’t the movie many fans expected, with its portrayal of Luke Skywalker remaining a particular point of contention, but you can count me among its defenders. Unlike The Force Awakens, it attempts to challenge the franchise rather than simply recreate its greatest hits.
It also contains some of the most striking imagery and powerful moments of the entire Sequel Trilogy. The throne-room confrontation with Snoke—followed by his genuinely shocking demise—is a standout, as Rey and Kylo Ren briefly join forces against the Praetorian Guard. Not every storyline works equally well, but The Last Jedi is ambitious, visually stunning, and willing to take risks. In a franchise increasingly driven by nostalgia, that counts for a lot.
When Disney began rolling out a new era of Star Wars, the plan was to fill the gaps between the sequel trilogy with anthology movies telling standalone stories from across the galaxy. Rogue One kicked things off in impressive fashion with the story of how the Rebel Alliance stole the plans for the Death Star.
Despite undergoing significant reshoots during post-production, the finished movie emerged with a clear affection for the original trilogy, filtered through a grittier war-movie atmosphere. Seeing classic stormtroopers, X-wings, TIE fighters, and the Death Star itself back on the big screen was a genuine thrill, while the Magnificent Seven-style band of Rebels made for an appealing ensemble. The standout is Alan Tudyk as K-2SO, a former Imperial enforcer droid reprogrammed to serve the Rebellion, who provides much of the movie’s personality and humour.
The first half can feel somewhat disjointed as it races between locations and introduces its large cast, but Rogue One eventually builds toward one of the greatest final acts in any Star Wars movie. The Battle of Scarif is spectacular, the characters’ sacrifices carry real weight, and Darth Vader’s final appearance is unforgettable. By the end, Rogue One proved to be a gripping and surprisingly emotional companion piece to the original Star Wars.
Thanks to the two fantastic seasons of Andor, I’ve come to appreciate Rogue One even more.
The strongest installment of the Prequel Trilogy finally delivers the tragedy the previous two movies had been building toward. As Palpatine tightens his grip on the galaxy, the Republic collapses, the Jedi Order is nearly wiped out, and Anakin Skywalker takes his final steps toward becoming Darth Vader. It is a much darker and more emotionally charged movie than its predecessors.
Ian McDiarmid is fantastic, as always. He’s one of the few actors in the franchise who can make even George Lucas’s most heightened dialogue sound positively Shakespearean. His retelling of “The Tragedy of Darth Plagueis the Wise” is especially chilling, as Palpatine carefully exploits Anakin’s fear of losing Padmé and draws him closer to the dark side.
Hayden Christensen also seems far more comfortable in the role, bringing greater anger and vulnerability to Anakin. His transformation into Darth Vader still happens too quickly. One moment, he’s professing his love for Padmé—with Lucas once again proving that romantic dialogue is not his strong suit—and shortly afterwards, he’s slaughtering younglings in the Jedi Temple.
Despite those shortcomings, the ambition, darkness, and devastating final act make Revenge of the Sith one of the saga’s most memorable chapters. The fall of the Jedi, the birth of the Empire, and the duel between Anakin and Obi-Wan give the Prequel Trilogy the tragic conclusion it always promised.
Return of the Jedi may be the weakest installment of the original trilogy, but that says more about the extraordinary quality of the previous two movies than it does about this one. As Star Wars entertainment goes, it’s difficult to ask for much more. The movie rarely slows down as the Rebels launch their final assault against the Empire, and the battle above Endor remains the greatest space battle in the franchise, in my opinion.
The final confrontation between Luke, Darth Vader, and the Emperor also delivers one of the saga’s most satisfying emotional payoffs, bringing Luke’s journey and Vader’s redemption to a powerful conclusion. Sure, the second Death Star feels repetitive, and the Ewoks won’t work for everyone, but its best moments are so thrilling and emotional that they easily outweigh most of its weaknesses. It may not be a perfect finale, but it remains a hugely entertaining and deeply satisfying end to the Original Trilogy.
I’ve probably lost a few of you by placing The Force Awakens this high. Yes, it plays things incredibly safe, bringing back another Death Star-style superweapon and replacing the Empire with the not-so-different First Order, but the movie is simply too much fun for me to rank any lower.
Seeing it in theatres as the first new Star Wars movie in a decade was an absolute thrill. From the moment the opening crawl began, I felt completely transported back to that galaxy far, far away. There were intriguing new heroes, an intimidating new villain, and the long-awaited return of familiar faces. Watching Han Solo and Chewbacca step aboard the Millennium Falcon again? Chef’s kiss.
Much of the movie is devoted to setting up mysteries, but at the time, that was part of the appeal. Who was Rey? What happened to Luke Skywalker? Who was Snoke? Where would Finn, Poe, and Kylo Ren’s stories lead? The speculation and sense of possibility surrounding these characters made the movie feel like the beginning of an exciting new era.
Of course, many of those mysteries would receive disappointing answers in the sequels that followed. But taken on its own, The Force Awakens remains an energetic, enormously entertaining return to Star Wars, and I’ll always defend it.
This is the one that started it all. The original Star Wars remains one of the purest adventure movies ever made. The story may be simple, but the characters are instantly lovable, and George Lucas creates an entire lived-in galaxy that feels completely real, no matter how fantastical the imagery becomes.
When I think back to playing Star Wars with my friends as a kid, we were almost always reenacting scenes from this movie. More than any other installment, A New Hope sparked our imaginations. That unbelievable opening, the Mos Eisley cantina, the rescue aboard the Death Star, the Millennium Falcon blasting away at TIE fighters, and the iconic trench run—it’s just so damn good.
There is an effortless sense of momentum and discovery to the movie that the franchise has spent decades trying to recapture. It may not be the most complex or sophisticated entry in the saga, but everything that followed was built on its nearly perfect foundation. Without A New Hope, there is no galaxy far, far away.
As a child, The Empire Strikes Back definitely wasn’t my favourite Star Wars movie. It was a little too dark, with the heroes constantly on the run and rarely getting the upper hand. But as I got older, I came to appreciate that The Empire Strikes Back isn’t just the best movie in the franchise, it’s a genuinely great film in its own right.
That isn’t always true of the middle chapter in a trilogy, but The Empire Strikes Back became the gold standard for how to do it properly. It takes everything that worked about the original and deepens it. The returning heroes and villains become more complicated, the galaxy expands without losing its sense of mystery, and several iconic new characters are introduced, including Yoda, Lando Calrissian, and, of course, Boba Fett. Despite having only a handful of lines and limited screen time, the mysterious bounty hunter instantly became one of the coolest characters in the franchise.
The story may be darker, but the movie never loses its humour, excitement, or sense of adventure. From the Battle of Hoth to Luke’s training on Dagobah and the devastating finale on Bespin, virtually every sequence has become iconic. It’s one hell of a movie and easily deserves the top spot in this ranking.
According to this ranking, The Empire Strikes Back is the best Star Wars movie. Its combination of character development, emotional depth, iconic moments, and expanded mythology makes it the strongest entry in the franchise.
This ranking places Star Wars: The Clone Wars (2008) at the bottom. While the later television series became a major success, the theatrical movie struggled with animation, pacing, and storytelling.
There are currently 13 theatrical Star Wars movies, including the nine Skywalker Saga films, two standalone anthology films, The Clone Wars, and The Mandalorian and Grogu.
The Original Trilogy is generally considered the strongest overall, with A New Hope, The Empire Strikes Back, and Return of the Jedi establishing the foundation of the franchise.
Many fans and critics consider The Empire Strikes Back the best because it deepens the characters, expands the galaxy, introduces major revelations, and balances adventure with darker emotional storytelling.
Many fans criticize The Rise of Skywalker for its handling of previous story developments, including the return of Emperor Palpatine and the resolution of several Sequel Trilogy plot threads.
All right, now’s your chance to head to the comments and tell me I’m an absolute idiot. I’m sure I’ve earned it with at least a few of these placements. While you’re there, let us know how you would rank the Star Wars movies and which of my choices you disagree with most.