The Golden Middle Child

Rating: 9/10 (17 July 2014)

There's a reason that sequels of a certain breed are complimented as going the "Empire Strikes Back" route. Often described as 'bigger, better and darker', it's certainly an appropriate description of Empire. It succeeds by taking the most successful elements of A New Hope and minimising its weaknesses, while expanding the world.
The main cast of Episode IV returns for Empire, with the major additions being Billy Dee Williams as Lando and Frank Oz providing the voice and charming puppeteer work for Yoda. Wisely, Lucas handed over the direction to Irvin Kershner, who takes up the helm admirably, and Lawrence Kasdan tightens up the screenplay. The latter especially improves the dialogue immensely. Regardless, its a slick production at its finest, with the effects, both CGI and practical, improving as well- the puppet-work being a standout for Yoda's simple yet delightful presence.
Empire's narrative suffers typically from middle-film syndrome, serving primarily as continuation and set up. As such, it lacks a coherent beginning and the cathartic climax of the finale. But in doing so, it skips lengthy exposition and avoids the responsibility of tying up the loose ends. As such, it gets to indulge in its traits. Part of Empire's success is how it jumps from set piece to set piece with nary a quiet moment. From Hoth, through the asteroid field, to the finale in the clouds, it rarely lets up. And the few quiet moments either ratchet up the tension (the cloud city), or succeed in intriguing world building (Yoda on Dagobah). What is essentially a glorified training montage works through the interaction between Luke and Yoda and excellent atmospheric cinematography.
What is often forgotten, simply from cultural osmosis, is that Empire contains a twist ending. Its such common knowledge that its sometimes forgotten that it even is a twist ending. Nevertheless, it's a sucker-punch that still has a kick even without the shock.
Empire does so very little wrong. The characters are memorable, the set pieces are iconic. There's a strong argument for the Luke-Vader duel being the finest fight scene in the entire saga. While it lacks the extravagant stunt choreography of the prequels, the fight has a rawness to it that later flamboyant fights fail to match. And the emotional tension between the characters makes one really interested.
It's often said to be the most morally ambiguous film, as part of its 'darker' theme. It is likely true, and certainly touches upon these issues. But to say this is only to bring attention to how idealistic Star Wars as a whole is- a betrayal is almost instantly redeemed, and the importance of friendship is at the fore. And it benefits from being able to set up conflicts without having to solve them.
Certainly, it's only real flaw is its middle-child issues. It doesn't plod, but it's still merely placing pieces in position. Chekov's guns are cocked. But damn if it isn't a blast while it does it.