```Long-time Slashdot reader schwit1 brings word that Marcia Lucas, part of the editing team for both Star Wars and Return of the Jedi, has died at age 80 after a battle with metastatic cancer. Married to George Lucas from 1969 to 1983, Marcia is remembered by The Wrap as "a powerful asset in the early days of the Star Wars series, helping shape its voice and identity long before it became the massive global franchise..." She won an Academy Award for Best Film Editing for her work on the original "Star Wars" movie, an award that came four years after she was nominated for editing George's previous film, "American Graffiti." She additionally edited his debut feature, "THX 1138." Beyond these collaborations with her then-husband, Marcia worked as an editor with other acclaimed filmmakers like Martin Scorsese and Francis Ford Coppola. She was credited as sole editor for Scorsese's "Alice Doesn't Live Here Anymore," and served as supervising editor for "Taxi Driver" and "New York, New York." Marcia served as part of a three-person crew editing both "Star Wars" and "Return of the Jedi." On the first film, she worked alongside Paul Hirsch and Richard Chew and was personally responsible for editing the Battle of Yavin — otherwise known as the iconic "trench run" sequence near the end of the film. For "Return of the Jedi," Marcia shared credit with Sean Barton and Duwayne Dunham. "If only Lucas had people like her on the prequels instead of sycophants who worshipped him as a God..." argues this 2015 blog post noting an article calling her "the secret weapon behind Star Wars — including this anecdote from The Secret History of Star Wars : The [Star Wars] Death Star trench run was originally scripted entirely different, with Luke having two runs at the exhaust port; Marcia had re-ordered the shots almost from the ground up, trying to build tension lacking in the original scripted sequence, which was why this one was the most complicated (Deleted Magic has a faithful reproduction of the original assembly, which is surprisingly unsatisfying). She warned George, "If the audience doesn't cheer when Han Solo comes in at the last second in the Millennium Falcon to help Luke when he's being chased by Darth Vader, the picture doesn't work." Thanks to long-time Slashdot reader schwit1 for sharing the news.

Read more of this story at Slashdot.

It's "the first time in seven years that a new Star Wars film has launched on the big screen," writes CNBC. And Variety notes it's expected to earn $102 million through Monday: [B]ox office analysts are mixed on the results. On one hand, it's significant for any film to debut above $100 million in post-pandemic times. On the other, "Star Wars" is one of Hollywood's preeminent film properties, so there's an expectation of a certain level of box office. And this start is the worst for "Star Wars" since Disney bought the franchise in 2012. CNBC cites reports 41% of tickets were sold for more expensive large-format screenings like IMAX and DolbyCinema. So how's the movie? Rotten Tomatoes shows an 89% positive rating from moviegoers on its "popcornmeter" and a 62% average score from professional movie critics. And Ars Technica writes that "The plot is predictable, the fight scenes are meh, but you can't beat the charm of that little green Grogu." So while there's "a paint-by-numbers plot," they add that "the little green puppet pretty much carries the entire film." The new film is ... fine. It's an average Star Wars outing, and it will give families a solid Memorial Day Weekend entertainment option. It's just not the spectacular home run that might have helped launch the flagging franchise into an exciting new era, and diehard Star Wars fans hoping for more are probably going to be disappointed. Of course, not everyone agrees. "How many nails can we realistically drive into Star Wars's coffin before it's time to give up hope of resuscitation?" writes Clarisse Loughrey for The Independent, calling it "the dullest and most inconsequential 'Star Wars' ever made." (She argues that the movie "stitches together what is clearly three episodes of the previously planned fourth season of The Mandalorian and calls it a day. There's not a whiff of effort here.") And a reviewer at RogerEbert.com gave it one-and-a-half stars, complaining that "There's no reason for anything in this movie except the wish to make even more money...." I'm on record as despising the word "content," which was pushed by early tech moguls to devalue art as interchangeable goo in a virtual pipeline, but this washed-out, video-game-looking movie, with its murky night scenes and lack of visual depth, deserves the word. You've seen everything in it before, from the equipment, spacecraft, armor, and tactical maneuvers to the species and various types of terrain (earthlike, but cartoony)... Even Grogu taxes our patience. Some of his cute bits could've ended with him facing the camera and doing jazz hands.

Read more of this story at Slashdot.