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    Home»Movies»Every “Star Wars” Movie Ranked
    "Star Wars: Episode VI – Return of the Jedi" Photo courtesy Lucasfilm, Disney
    Movies

    Every “Star Wars” Movie Ranked

    Derrick MurrayBy Derrick MurrayMay 4, 202411 Mins Read
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    It’s hard to imagine a more influential series in the cultural zeitgeist than “Star Wars.” We have literally dedicated May 4th as the seminal “May the Fourth Be With You” Star Wars day, something no other film franchise or film has ever been able to achieve. Regardless of how you feel about the universe’s current state or Disney’s plethora of streaming shows or even George Lucas going out of his way to make things worse (yes, I said what I said), Star Wars remains a staple of our cinematic existence.

    So, in honor of May the Fourth, I thought it would be fun to rank ALL of the films. As always with these things, this is purely my own personal preference. We are bound to disagree, as the series is extremely personal to a lot of fans, and your order depends on your own experience with each entry. So of course where you place “The Last Jedi” will vary wildly, so please don’t read this as the “definitive” list above all others. It’s just my own personal preference, which is the beauty of the experiment to begin with.

    Note: This will ONLY include theatrical released feature films. All series, no matter how good they are will not be ranked. This excludes some of the animated specials, the infamous Holiday Special, and both Ewok films (which I unapologetically love and have watched more than once…on purpose). With that, let’s rank some space operas!

    11. The Rise of Skywalker

    Sorry, but this one ranks as the worst Star Wars film to date. A literal reskin of “Avengers: Endgame” and an indecipherable plot, “Rise of Skywalker” attempts to undo everything laid out by its predecessor while trying to simultaneously wrap up 9 films in a neat little bow. It’s exhausting, nonsensical, and one of the most forgettable space experiences in the entire franchise. Outside of the Marvel comparison, I couldn’t tell you one single memorable scene from this film. Even some of the lesser prequels (which are terrible) have individual scenes that I can recall every single detail about. “Rise of Skywalker” is void of substance and purpose, an aimless space adventure that requires the director to tweet information not in the movie to understand. No, you are not Rey….Rey Skywalker. Stop it.

    10. Attack of the Clones

    Ewan McGregor as Obi Wan Kenobi in “Star Wars: Attack of the Clones.”

    I know we tend to think fondly of “Attack of the Clones,” and often rush to the defense of the Yoda vs Dooku scene as its pinnacle savior. I was once that defender. I can recall vividly where I was when I saw it at midnight in the theater, and rewatched the fight nearly 100 times on a laptop I was corrupting with my bootleg downloads. But upon a rewatch, “Attack of the Clones” is completely aimless and largely plotless, meandering about its worlds with nothing to add to the story except what we already know. There’s more to make fun of than enjoy, as Hayden Christenssen’s performance and Natalie Portman magical midruff are certified meme canon. But its’ just not good, even by prequel standards. The entirely of “Attack of the Clones” is harder to sit through than you might think, and ranks as one of the worst of the worst of bad prequels.

    9. The Phantom Menace

    STAR WARS — Jar Jar Binks, a Gungan whose curiosity gets him into trouble, eyes some tasty food while walking through a open-air market in Mos Espa, a city on Tatooine in STAR WARS: EPISODE I THE PHANTOM MENACE. Photo from Lucasfilm Ltd. LAB SCAN

    I know we’re all trying to do some revisionist history with “The Phantom Menace.” I know we want to reclaim the epic score (“Duel of Fates” is still one of the hardest hitting composed pieces in cinema ever) and very well staged Darth Maul vs Jedis end fight. But the film as whole is nearly impossible to sit through, showing Lucas’ full hand as an average director with big ideas, most of which shouldn’t be put to film. He works best when people tell him no, and “The Phantom Menace” is Lucas unhinged and it shows in both quality and storytelling. You have to have a pretty horrendous script to make Portman unwatchable as an actress, and even her, Mcgregor, and Liam Fucking Neeson can’t do anything to make the material work. I know we want to pretend like we missed something with “The Phantom Menace,” but no, we don’t need to do the Thanos “perhaps I treated you too harshly” here. It’s bad. Really bad.

    8. Revenge of the Sith

    I used to think this was the best of the prequels, and by my ranking standards it technically is. But like “Attack of the Clones,” “Revenge of the Sith” only hinges on the final battle between Obi-wan and Anakin and the forever memeable “Hello there.” The actual movie surrounding it is pretty awful and slog to get through, and those small things we hold dear don’t actually do a lot of heavy lifting. Contextually, it should be the darkest and most tragic of the prequels, but Lucas is just incapable of conveying actual emotion and emotional stakes in the way better screenwriters and directors he once entrusted with his ideas do much better. “Revenge of the Sith” may be the best of the prequels, but it still ranks low on the list if overall Star Wars films. That reminds me, have you ever heard the Tragedy of Darth Plagueis the Wise?

    7. Solo: A Star Wars Story

    Alden Ehrenreich, “Solo: A Star Wars Story” Disney, Lucasfilm

    In retrospect, “Solo” is actually a really good standalone space movie that works best when it isn’t desperately trying to justify itself to its audience. Every piece of connective tissue to the Star Wars universe is what holds it back, and you can feel the Disney-fication of it all in real time. I’ll admit, I previously ranked “Solo” below most of the prequels, but it does have some great ideas and pretty stellar action set pieces that still hold up. It’s the origin story that ruins a rather solid hero’s journey, and I wish “Solo” existed on its own a lot more than it does. When it is just working for itself and building the smuggler’s underworld, its pretty damn good. It’s when it tries to come up with with the name Solo or show us the Kessel Run or give us the meet cute of Han and Chewie that hold “Solo” back from being a great Star Wars movie.

    6. The Force Awakens

    Billie Lourd, Carrie Fisher on the set of “Star Wars: The Force Awakens” BTS, Lucasfilm, Disney

    Now that the prequels are out of the way, we’re off to the races of good Star Wars. From this point on, there really isn’t a bad film so much as they’re just ranked preferentially, “The Force Awakens” being an incredible love letter to the franchise and basically “A New Hope” but with better visuals. That’s not a slight, either. Making “The Force Awakens” as an updated version in framework of its source material is a good thing. We waited decades for a good Star Wars movie, and JJ Abrams demonstrates his genuine love of the world here. You can tell his is a true fan, and while he doesn’t take too many risks with the story (killing Han Solo notwithstanding) there is a clear reverence for what came before him. “The Force Awakens” is really rewatchable, too, and while there are better films in the ranking, it is a really, really good reminder as to why we love the franchise.

    5. Star Wars: A New Hope

    Ya, I know, how can you rank the original so low?! Truth be told, “A New Hope” is my least favorite of the original trilogy. I get that you can’t have any of the others without it and everything ranked ahead of it wouldn’t exist if this one wasn’t such a phenomenon, but I find it to be the least rewatchable of the three. It’s very good, and I completely understand how “A New Hope” gripped the world and transported them to a world they never could’ve imagined. It has some incredible visuals and characters, and really sets the standard for everything that comes after. But “A New Hope” is just ok for a large part of it, particularly given what we now know what the franchise can be and ends up becoming. It is constantly approved upon even in its follow up right after, and I just can’t handle whiny Luke for that long.

    4. The Last Jedi

    Yes, you read that right. “The Last Jedi” is number 4 on my rankings list. Nevermind how it functions in the overall trilogy (it doesn’t) and yes we can remove the entire Canto Bight Casino scene from the film to make it better. But “The Last Jedi” instilled the sort of childlike wonder I’d been searching for in my space operas for a while, and the subversive nature of Rian Johnson’s story resonated with me big time. There is just nothing like that resistance ship crashing into the star destroyer and exploding in the silence of space. It is one of the most visceral scenes in all of Star Wars history, and I will champion the bold choices in “The Last Jedi” to the death. This movie is great; not flawless, but it is incredible and I stand by ranking it this high. Come at me, trolls. I’m ready.

    3. Return of the Jedi

    Star Wars

    Though it may be the messiest and silliest of the original trilogy, and begins to tread into the corporate branding waters of its own star power for most of it, “Return of the Jedi” has one of the best first acts of any Star Wars film. It is an epic crime caper/horror film that continues to thrust you into the darkest parts of the universe, and then rewards you with an epic turn as Luke becomes the Jedi we all wanted him to be. “Return of the Jedi” has plenty of flaws and gets a little rough in the middle, but every time I fire it up to watch the first act I find myself unable to turn it off and see it through to the end. It is perhaps the most entertaining of the original trilogy, packed with a little something for everyone; furry teddy bears for merchandising, epic new worlds and incredible visuals, dazzling adventure and an extremely fleshed out drama for its leads. “Return of the Jedi” is really good even if it’s not the best, and I feel right about placing it so high.

    2. Rouge One

    Fitting I would love the most dire and tragic films in the franchise for last. “Rogue One” has aged like fine wine for me, and gets better and better with every rewatch. I remember being very down on it when I first saw it, but the more I ponder its themes and execution and brilliant rendition of “Seven Samurai” the more I genuinely love this film. It is so engaging and heartbreaking, yet heroic and hopeful at the same time. Unlike “Solo,” “Rogue One” relies on the world at hand and not so much the world it wants to be a part of. It is not until the final epilogue where the connective tissue and fan service becomes most egregious. For most of the film, “Rogue One” tells its own story that is loosely connected to the films that come after it. The telling of events feel like they matter and it has real stakes, makeing “Rogue One” one of the best entries in the entire franchise.

    1. The Empire Strikes Back

    “Star Wars Episode V The Empire Strikes Back” Lucasfilm, Disney, the Everett Collection

    I don’t think I’m surprising anyone with my pick here. “Empire Strikes Back” has long been herald as the best of the best within the Star Wars Universe, and I stand with the general consensus. It’s just peak cinema through and through. Lucas takes a back seat to his own story and lets better men write and direct, and boy oh boy does it show. Everything from the writing to the pacing the character development to the visuals are as good as the franchise gets. It is Star Wars at its best, and takes the crown as number 1 with ease. No notes. This is perfect Star Wars for me.

    So there you have it! My Star Wars Films Rankings! May the Fourth (or Force) be with you!

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    Most studios searching for a match-3 level design company are looking for five different things. Some need levels built from scratch, others require a live game rebalanced before churn compounds, and some demand a content pipeline that won't fall behind. These are different problems, and they map to multiple types of companies. The mistake most studios make is treating "match-3 level design" as a single service category and evaluating every company against the same criteria. A specialist who excels at diagnosing retention problems in live games is the wrong hire for a studio that needs 300 levels built in 2 months. A full-cycle agency that builds from concept to launch isn't the right call for a publisher who already has engineering and art in place and just needs the level design layer covered. This guide maps 7 companies for match-3 level design services to the specific problem each one is built to solve. Find your problem first. The right company follows from there. What Match-3 Level Design Services Cover The term "level design" gets used loosely in this market, and this causes bad hires. A studio that excels at building levels from scratch operates dissimilarly from one that diagnoses why a live game's difficulty curve is losing players (even if both describe their service the same way on a website). Match-3 level design breaks into four distinct services, each requiring different expertise, different tooling, and a different type of partner. Level production — designing and building playable levels configured to a game's mechanics, obstacle set, and difficulty targets. This is what most studios mean when they say they need a level design partner, and it's the service with the widest range of quality in the market. Difficulty balancing and rebalancing — using win rates, attempt counts, and churn data to calibrate difficulty across hundreds of levels. Plus, this includes adjusting live content when the data shows a problem. Studios that only do level production typically don't offer this. Studios that do it well treat it as a standalone service. Live-ops level design covers the ongoing content pipeline a live match-3 game requires after launch (seasonal events, new level batches, limited-time challenges) sustained at volume and consistent in quality. This is a throughput and process problem as much as a design problem. Full-cycle development bundles level design inside a complete production engagement: mechanics, art, engineering, monetization, QA, and launch. Level design is one function among many. Depth varies by studio. Knowing which service you need before you evaluate a single company cuts the list in half and prevents the most common mistake in this market: hiring a full-cycle agency to solve a level design problem, or hiring a specialist to build a product from scratch. The List of Companies for Match-3 Level Design Services The companies below were selected based on verified credentials, named shipped titles where available, and the specific service each one is built to deliver. They are ranked by how well their capabilities match the service types outlined above. A specialist who does one thing exceptionally well sits above a generalist who does many things adequately. SolarSpark | Pure-play match-3 level design specialist SolarSpark is a remote-first studio built exclusively around casual puzzle game production. With 7+ years in the genre and 2,000+ levels shipped across live titles including Monopoly Match, Matchland, and KitchenMasters, it is the only company on this list that does nothing but match-3 level design. Level design services: Level production, difficulty curve planning, fail-rate balancing, obstacle and booster logic design, live-ops pipeline, competitor benchmarking, product audit and retention diagnostic. Verdict: The strongest pure specialist on this list. When level design is the specific constraint, SolarSpark is the right choice. What they do well: Every level is built around difficulty curves, fail/win balance, obstacle sequencing, and booster logic, measured against targets before delivery. Competitor benchmarking is available as a standalone service, mapping your game's difficulty curve and monetization structure against current top performers with specific, actionable output. Where they fit: Studios with a live or in-development game that need a dedicated level design pipeline, a retention diagnostic, or a one-off audit before soft launch. Honest caveat: SolarSpark does not handle art, engineering, or full-cycle development. Logic Simplified | Unity-first development with analytics and monetization built in Logic Simplified specializes in Unity-powered casual and puzzle games, with match-3 explicitly in their service portfolio. Operating for over a decade with clients across multiple countries, the studio positions itself around data-informed development: analytics, A/B testing, and monetization are integrated into the production process. Level design services: Level production, difficulty progression design, obstacle and blocker placement, booster and power-up integration, A/B tested level balancing, customer journey mapping applied to level flow. Verdict: A credible full-cycle option for studios that want analytics and monetization treated as design inputs from day one, not as post-launch additions. What they do well: Logic Simplified builds analytics and player behavior tracking into the design process. Their Unity expertise is deep, and their stated MVP timeline of approximately three months is competitive at their price point. India-based rates make full-cycle development accessible without requiring a Western agency budget. Where they fit: Studios building a first match-3 title that needs the full production chain handled by a single vendor, with analytics built in from the start. Honest caveat: No publicly named match-3 titles with verifiable App Store links appear in their portfolio. Ask for specific live game references and retention data during the first conversation before committing. Cubix | US-based full-cycle match-3 development with fixed-cost engagement Cubix is a California-based game development company with a dedicated match-3 service line covering level design, tile behavior, booster systems, obstacles, UI/UX, and full production on Unity and Unreal Engine. 30+ in-house animators can cover the full scope of puzzle game production. Level design services: Level production, combo and difficulty balancing, blocker and locked tile placement, move-limit challenge design, booster and power-up integration, scoring system design. Verdict: A viable full-cycle option for studios that need a Western-based partner with transparent fixed-cost pricing and documented match-3 capability. What they do well: Cubix covers the full production chain in one engagement, with strong visual production backed by an in-house animation team. Their fixed-cost model is a practical differentiator for studios that have been burned by scope creep on previous outsourcing contracts. Staff augmentation is also available for studios that need talent to plug into an existing pipeline. Where they fit: Studios that want a US-based full-cycle partner with predictable budgets, cross-platform delivery across iOS, Android, browsers, and PC, and a single vendor to own the concept through launch. Honest caveat: Named shipped match-3 titles are not prominently listed in their public portfolio. This is a verification gap worth closing during vetting, not a disqualifier on its own. Galaxy4Games | Data-driven match-3 development with published retention case studies Galaxy4Games is a game development studio with 15+ years of operating history, building mobile and cross-platform games across casual, RPG, and arcade genres. Match-3 is a named service line. What distinguishes them from most studios on this list is a level of public transparency about retention data. Their case studies document real D1 and D7 numbers from shipped titles. Level design services: Level production, difficulty curve development, booster and obstacle design, progression system design, LiveOps level content, A/B testing integration, analytics-based balancing. Verdict: The most transparent full-cycle option in terms of real retention data. For studios that want to see numbers before they hire, Galaxy4Games offers evidence most studios keep private. What they do well: Their Puzzle Fight case study documents D1 retention growing to 30% through iteration. Their modular system reduces development time and costs through reusable components, and their LiveOps infrastructure covers analytics, event management, and content updates as a planned post-launch function. Where they fit: Studios that need a data-informed full-cycle match-3 partner and want to evaluate a studio's methodology through published results. Honest caveat: Galaxy4Games covers a broad genre range (casual, RPG, arcade, educational, and Web3), which means match-3 is one of several service lines rather than a primary focus. Zatun | Award-winning level design and production studio with 18 years of operating history Zatun is an indie game studio and work-for-hire partner operating since 2007, with game level design listed as a dedicated named service alongside full-cycle development, art production, and co-development. With 250+ game titles and 300+ clients across AAA studios and indie teams, this agency has one of the longest track records. Level design services: Level production, difficulty progression design, level pacing and goal mapping, game design documentation, Unity level design, Unreal level design, level concept art. Verdict: A reliable, experienced production partner with a long track record and genuine level design depth. What they do well: Zatun's level design service covers difficulty progression, pacing maps, goal documentation, and execution in Unity and Unreal. Their 18 years of operation across 250+ titles gives them a reference library of what works across genres. Their work-for-hire model means they can step in at specific production stages without requiring ownership of the full project. Where they fit: Studios that need a specific level design or art production function covered without a full project handoff. This can be useful for teams mid-production that need additional capacity on a defined scope. Honest caveat: No publicly named match-3 titles appear in Zatun's portfolio, their verified work spans AAA and strategy genres; match-3 specific experience should be confirmed directly before engaging. Gamecrio | Full-cycle mobile match-3 development with AI-driven difficulty adaptation Gamecrio is a mobile game development studio with offices in India and the UK, covering match-3 development as an explicit service line alongside VR, arcade, casino, and web-based game development. Their stated differentiator within match-3 is AI-driven difficulty adaptation. Thus, levels adjust based on player skill. Level design services: Level production, AI-driven difficulty adaptation, booster and power-up design, progression system design, obstacle balancing, social and competitive feature integration, monetization-integrated level design. Verdict: An accessible full-cycle option with a technically interesting differentiator in AI-driven balancing. What they do well: Gamecrio builds monetization architecture into the level design process: IAP placement, rewarded ad integration, battle passes, and subscription models are considered alongside difficulty curves and obstacle sequencing. The AI-driven difficulty adaptation is a genuine technical capability that more established studios in this market have been slower to implement. Where they fit: Early-stage studios that need a full-cycle match-3 build with monetization designed in from the first level. Honest caveat: No publicly named shipped match-3 titles are listed on their site — request live App Store links and verifiable retention data before committing to any engagement. Juego Studios | Full-cycle and co-development partner with puzzle genre credentials and flexible engagement entry points Founded in 2013, Juego Studios is a global full-cycle game development and co-development partner with offices in India, USA, UK, and KSA. With 250+ delivered projects and clients including Disney, Sony, and Tencent, the studio covers game development, game art, and LiveOps across genres. Battle Gems is their verifiable genre credential. Level design services: Level production, difficulty balancing, progression system design, booster and mechanic integration, LiveOps level content, milestone-based level delivery, co-development level design support. Verdict: A well-resourced, credible full-cycle partner with a flexible engagement model that reduces the risk of committing to the wrong studio. What they do well: Juego's engagement model is flexible: studios can start with a risk-free 2-week test sprint, then scale to 20+ team members across modules without recruitment overhead. Three engagement models (outstaffing, dedicated teams, and managed outsourcing) let publishers choose how much control they retain versus how much they hand off. LiveOps is a named service line covering analytics-driven content updates and retention optimization after launch. Where they fit: Studios that need a full-cycle or co-development partner for a match-3 build and want to test the relationship before committing to full project scope. Honest caveat: Puzzle and match-3 are part of a broad genre portfolio that also spans VR, Web3, and enterprise simulations. How to Use This List The seven companies above cover the full range of what the match-3 level design market offers in 2026. The quality range is real, and the right choice depends on which service type matches the problem you're trying to solve. If your game is live and retention is the problem, you need a specialist who can diagnose and fix a difficulty curve. If you're building from zero and need art, engineering, and level design bundled, a full-cycle partner is the right call and the specialist is the wrong one. The honest caveat pattern across several entries in this list reflects a real market condition: verified, named match-3 credentials are rarer than studios' self-descriptions suggest. The companies that couldn't point to a live title with an App Store link were flagged honestly. Asking for live game references, retention data, and a first conversation before any commitment are things you can do before signing with any studio on this list.

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