Camille Paglia pretty much trolls the entire galaxy:
The exhilarating eight-minute battle over Coruscant that opens Revenge of the Sith (2005), with its dense cloud of stately destroyers, swooping starfighters, and fiendish buzz droids, cuts optical pathways that are as graceful and abstract as the weightless skeins in a drip painting by Jackson Pollock.
Lucas’s stature as an artist, as well as his relentlessness as an admitted “micromanager,” is demonstrated by the tremendous climax of Revenge of the Sith, which he directed.
Lucas called this fierce fight between Anakin Skywalker and his Jedi master Obi-Wan Kenobi “the turning point of the whole series.” Fire provides a sublime elemental poetry here, as water did on the storm-swept planet of Kamino in the prior film, Attack of the Clones. Lucas says he had long had a mental color image of the Sith finale, “monochromatic in its red and blackness.” The seething reds and yellows of the great lava river and waterfalls (based on Niagara Falls) flood the eye. It is a vision of hell.
So, just to recap, it’s the Star Wars prequels that really cement Lucas as the greatest artist of our time.
Sadly, Paglia doesn’t weigh in at all on the artistry of Indiana Jones and the Kingdom of the Crystal Skull.
She does manage to provide a brief note about the master artist’s thoughts on plot and dialogue:
Lucas says, “My films are basically in the graphics”: “Everything is visual.” He views dialogue as merely “a sound effect, a rhythm, a vocal chorus in the overall soundtrack.” In structure, Star Wars unfolds as dynamic action sequences alternating with grand panoramic tableaux, including breathtaking cityscapes stacked with traffic skylanes. Lucas declares, “I’m not really interested in plots.”
This is masterful, masterful trolling.