The Hobbit: The Battle of the Five Armies

Martin Freeman mulls “His Precious”.

(2014) Fantasy (New Line/MGM) Ian McKellan, Martin Freeman, Richard Armitage, Lee Pace, Luke Evans, Cate Blanchett, Orlando Bloom, Evangeline Lilly, Aidan Turner, Jed Brophy, Ken Stott, Graham McTavish, Richard Kircher, James Nesbitt, Stephen Hunter, Dean O’Gorman, John Callen, Peter Hambleton, Mark Hadlow, Adam Brown, Hugo Weaving, Christopher Lee, Ian Holm, Sylvester McCoy, Benedict Cumberbatch (voice), Billy Connolly, Stephen Fry, Ryan Gage. Directed by Peter Jackson

Since I read The Hobbit by J.R.R. Tolkein as a boy, I was hooked not only on Middle Earth but on fantasy films in general. From Tolkein, I went on to read the works of Robert Howard, Fritz Leiber, Terry Brooks, Melanie Rawn, Piers Anthony, David Eddings, Raymond Feist and many others. I became an avid Dungeons and Dragons player in college. In short, I became a fantasy nerd.

When Peter Jackson did the Lord of the Rings trilogy I was in fantasy nerd heaven. All three of the movies were standout films, epic in scope and yet humanized by Frodo and Sam who ironically weren’t human but Hobbits. I looked forward to the new Hobbit trilogy eagerly.

The first two movies I enjoyed but less than the LOTR films; the third one I enjoyed less than the first two. Essentially what happens here is that the Dwarves led by their new King Thorin Oakenshield (Armitage) have taken Erebor back and the dragon Smaug (Cumberbatch) has gone on a rampage, taking out Laketown with fire and destruction. At last Bard (Evans) the Archer with most of the city fleeing for their lives takes out Smaug.

However, the damage has been done. His town is no longer habitable and his people are refugees. They’ll need assistance in rebuilding their lives, and so Bard approaches Thorin to get a share of the mountain’s treasure which Thorin had promised, but Thorin – now mad with greed – refuses and turns his back on them. He also refuses to return to Elven King Thranduil (Pace) artifacts which belonged to him. With little choice, a battle looms between the three armies.

This is where Gandalf (McKellan), who has been a prisoner of the Necromancer (Cumberbatch again) until rescued by Galadriel (Blanchett), Elrond (Weaving) and Saruman (Lee), arrives to warn all the parties that a massive orc army is approaching. When it arrives, the dwarves are in for the fight of their lives, even aided by Dain (Connolly) a cousin of Thorin’s. When a fifth army arrives from an Orc stronghold, it appears that the Elven, Dwarven and Human armies may be annihilated. However, the courage of a special Hobbit named Bilbo Baggins (Freeman) may be the turning point for the entire affair.

Lots of fans have groused at the adding of new material that wasn’t in the original source material in the first place, particularly of Tauriel (Lilly) an Elf created by the filmmakers to have a romance with Kili (Turner). I can only say that while much of the material served to pad out the book which would have never supported three films on its own that for the most part enhances the original material somewhat. I blow hot and cold myself on the matter but it is at least interesting to see Jackson’s take on the background of the book although I still wish that he’d found some way to shoehorn Beorn into the movies. C’est la cinema.

The biggest gripe I have with the movie and the reason why I have given it the lowest rating I have given any of the Middle Earth films is that it is mainly one long battle scene. Everything in the movie is either battle or leading up to it, beginning with the fight with Smaug at the beginning, Thorin’s battle with his own morality and of course the major battle scene that concludes the film which lasts not quite an hour. Sure, there was an extensive battle sequence at the conclusion of the first trilogy, but that film also had the quest of Frodo and Sam interweaving in to relieve the nonstop clanking of swords.

That said, the CGI effects continue to impress, particularly at the increased frame rate and in IMAX 3D which as I’ve said before, is a rare upcharge that’s actually worth it. Also worth it are the performances of Armitage, who is plagued by demons of greed and at last realizes that he is not that guy, and Freeman who is the heart of the Hobbit and at last demonstrates it. At times throughout the series we have seen that there is more to Bilbo than what we see on the surface and never more than in this film. Freeman is a superb actor – those who saw his performance in the Fargo mini-series earlier this year will agree. He is finally coming into his own after years of being stuck in character actor purgatory. I look forward to seeing him continue to get expanded roles in important projects.

While the movie goes full circle in linking to the original trilogy with some off-hand remarks and essentially reuniting Gandalf and Bilbo as the preparations for the party that began The Fellowship of the Ring are underway, in many ways the links to that trilogy are more assumed than anything else. I would have wished for a little tighter of a bond between the two trilogies.

This will be Jackson’s last foray into Middle Earth and in that sense, we do get some closure, saying goodbye to a film series that will always remain close to my heart as a fan and as a critic. It is not the best movie to go out on and really shows quite graphically how the decision to make three movies out of The Hobbit was not a good artistic decision although it must be said it was a sound financial one as the second trilogy will have generated close to three billion dollars U.S. in box office by the time all is said and done.

Still in all, the movie is sufficiently entertaining to be worth seeing if just for the special effects, although those who didn’t care for the first two films in the trilogy or for fantasy in general will continue to dislike this trilogy. For the rest of us, it is a bittersweet occasion as I will miss our trips to Middle Earth and the company of hobbits, elves, dwarves and wizards.

REASONS TO GO: A pretty solid farewell to Middle Earth. Freeman and Armitage do solid work. Terrific effects.
REASONS TO STAY: Too much battle which gets numbing after awhile. Lacks relief from the constant battle scenes.
FAMILY VALUES: Plenty of violence mainly of the fantasy warfare sort, some scary monsters and other frightening images.
TRIVIAL PURSUIT: Lee Pace, who plays the father of Orlando Bloom in the film, is actually two years younger than Bloom.
CRITICAL MASS: As of 1/4/14: Rotten Tomatoes: 61% positive reviews. Metacritic: 59/100.
COMPARISON SHOPPING: Lord of the Rings: Return of the King
FINAL RATING: 7.5/10
NEXT: Into the Woods

The Wicker Tree

Brittania Nicol is one hot chick.

(2011) Horror (Anchor Bay) Graham McTavish, Jacqueline Leonard, Henry Garrett, Brittania Nicol, Honeysuckle Weeks, Christopher Lee, Clive Russell, Prue Clarke, Lesley Mackie, David Plimmer, Astrid Azurdia, James Mapes, Allidh Mackay, John Paul McGilvray, Bill Murdoch, Keith Warsick, Iain Stuart Robertson, Kristin Murray, Keira McMillan. Directed by Robin Hardy

Some may well remember a movie by the name of The Wicker Man that came out back in 1973. It has become something of a cult classic, well regarded both by film buffs and horror fans alike (a rare occasion indeed) and certainly one of the finest examples of atmospheric horror ever. Then along came 2006 and the Nicolas Cage version of The Wicker Man does its level best to wipe out any good will the original film engendered. So the director of the original decides to make a sequel of sorts based on his own novel Cowboys for Christ. Does it regain that good will?

Born-again Christian pop star Beth Boothby (Nicol) and her boyfriend Steve (Garrett) have been on a mission to Scotland to bring those heathen Scots back to the fold of God. She is performing well-attended concerts, he’s been rockin’ his cowboy hat and sideburns. Ayup.

They arrive in the small town of Tressock, invited by Sir Lachlan Morrison (McTavish) and his wife Lady Della (Leonard). The town has a festival coming up shortly and Beth expects to be performing, although she would never guess how she’s intended to perform.

This is a failure on so many levels. although it at least has more restrained acting performances. Like the 2006 Wicker Man there is a plot that meanders from place to place, stopping to view different scenes which end up being apropos to nothing. They even trot out poor old Christopher Lee for a cameo with some of the most horrible green screen you will ever see on a professional production. I mean c’mon, the guy’s old not daft.

Weeks plays Lolly, a very sexy lady who sleeps with all sorts of people including the frustrated Steve who is tired of waiting for the virtuous Beth to commit to a physical and emotional relationship as well as the spiritual one. Beth, whose history had some sordid sexy music videos (by her standards) though is in no hurry to change things up, particularly while she’s on this mission. Weeks, much more than the somewhat stiff Nicol, is something of a force of nature here and makes the deepest impression of any actor in the movie.

One of the things that made the original Wicker Man so outstanding was the atmosphere that it created that looked bucolic on the surface but from the get go you just felt something wasn’t quite right. You can tell that Hardy went for that feeling again but perhaps it was lightning in a bottle the first time because instead of that just off feeling, you get a sense of a village inhabited by nuts and oddballs being visited by a couple of wing nuts. What makes this especially heinous is that they had the perfect opportunity to make some sort of insight into the religious obsession of Americans but instead boiled it down to caricatures and recycled stereotypes. Absolutely there is plenty of target space on the religious right but I would have expected at least a little bit of a different perspective, particularly from someone whose most famous work examines the difference between Christianity and paganism. Although it might well be said that his view of paganism was a lot more violent and spooky than it actually is. Then again, that would have made for a more boring film.

Self-arguments aside, this is a disappointing work that never comes close to achieving what the original Wicker Man did. What Hardy intended remains unclear, whether to remake his most famous work or update it or merely reference it here but at the end of the day this comes off as a wicker mess.

WHY RENT THIS: Weeks is appropriately sexy.

WHY RENT SOMETHING ELSE: A hot mess. Incoherent script. Lacks atmosphere.

FAMILY VALUES: Lots of sexuality and nudity, as well as some violence.

TRIVIAL PURSUIT: Lee was originally supposed to play the pivotal role of Sir Lachlan Morrison but was injured while filming The Resident. McTavish, who was originally supposed to play Beame, was then switched to the role of Sir Lachlan and Joan Collins, who was originally playing Lady Morrison was replaced by Leonard whose age was closer to the much younger McTavish than Collins.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: Not available.

COMPARISON SHOPPING: Blood on Satan’s Claw

FINAL RATING: 4/10

NEXT: Baby Mama

New Releases for the Week of December 13, 2013

THE HOBBIT: THE DESOLATION OF SMAUG       

(New Line) Martin Freeman, Ian McKellen, Richard Armitage, Cate Blanchett, Orlando Bloom, Christopher Lee, Hugo Weaving, Evangeline Lilly, Benedict Cumberbatch. Directed by Peter Jackson

Continuing on their journey to reclaim the Lost Kingdom of Erebor, Bilbo Baggins, Gandalf and thirteen stout and true dwarves must navigate the gloomy Mirkwood, take on swarms of giant spiders and Beorn the skin changer and the dangerous Wood Elves before coming face to face with the most fearsome foe they could imagine – the dragon Smaug. It will take all their courage and camaraderie to survive these obstacles.

See the trailer, clips and promos here.

For more on the movie this is the website.

Release formats: Standard, 3D, IMAX 3D

Genre: Fantasy

Rating: PG-13 (for extended sequences of intense fantasy action violence, and frightening images)

Nebraska

(Paramount) Bruce Dern, Will Forte, June Squibb, Stacey Keach. A man decides to humor his cantankerous old dad and accompany him to Nebraska to claim a sweepstakes prize the man suspects is a sham. Along the route he will see his father through different eyes – and maybe become a better man in the process. Acclaimed director Alexander Payne shot this in beautiful black and white.

See the trailer, clips and a featurette here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: R (for some language)

Tyler Perry’s A Madea Christmas

(Lionsgate) Tyler Perry, Kathy Najimy, Chad Michael Murray, Tika Sumpter. Madea reluctantly helps a friend make a surprise visit to her daughter in the country during the holidays. When they get there, things aren’t at all what they expect and in typical Madea fashion she must give out massive doses of her own brand of Christmas spirit or kick some serious booty – sometimes both.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard (opening Thursday)

Genre: Holiday Comedy

Rating: PG-13 (for sexual references, crude humor and language)  

Sleepy Hollow

Christopher Walken really needs a new dental plan.

(1999) Supernatural Horror (Paramount) Johnny Depp, Christina Ricci, Miranda Richardson, Michael Gambon, Casper Van Dien, Jeffrey Jones, Richard Griffiths, Ian McDiarmid, Michael Gough, Christopher Walken, Marc Pickering, Lisa Marie, Steven Waddington, Claire Skinner, Christopher Lee, Alun Armstrong, Mark Spalding, Jessica Oyelowo. Directed by Tim Burton

Whenever Tim Burton concocts a new movie, critics everywhere go into a lather coming up with new hosannas in praise of his stuff. Generally, they’re right. By the time his interpretation of the Washington Irving classic came out the paroxysms of praise had become almost scary in their effusiveness. Which was – and is – fine by me.

Sleepy Hollow, after all, is supposed to be scary. However, those bookish moviegoers who have actually read the Washington Irving story and still remember it may find the liberties taken here with the source material a bit off-putting.

Ichabod Crane (Crane) is a foppish New York City constable who has been a bit of a gadfly in the NYPD of 1799. While the judges of the period are content with brute force and intimidation to solve their crimes, Crane is all for using scientific method and deductive reasoning to come to the truth. For his troubles, he is exiled to a small Dutch community in the Hudson Valley called Sleepy Hollow to solve a trio of ghoulish murders.

It seems that several prominent citizens of the Hollow have lost their heads. The trouble is their quite dead torsos are rather upsetting to those townspeople who stumble upon them. When Crane arrives, he encounters the plucky young daughter (Ricci) of a local farmer (Gambon), who imparts the story of the Headless Horseman: A somewhat rabid, bloodthirsty Hessian mercenary (Walken in essentially a cameo but still perfectly cast role) meets a bitter end in the woods near Sleepy Hollow, betrayed by a pair of wood-gathering little girls. The townspeople, who include a self-righteous priest (Jones), a timid notary (Gough), a lusty doctor (McDiarmid), a brave and burly farmer (Van Dien) and a corpulent burgomaster (Griffith) are all of the belief that the Horseman is responsible for the unspeakable crimes. Crane, of course, believes that the murderer is flesh and blood.

The game changes when Crane personally witnesses a murder, sending his faith in science and reason spinning into doubt. Unfortunately for the movie, he resolves this rather quickly; I thought it would have made for an interesting subplot to see Crane struggling between the evidence of his senses and his own rationality. Instead,  Crane and the plucky young farmer’s daughter go on a ghoul hunt, with all the violence, gore and spookiness that goes with it.

There are a lot of fairly impressive names behind the camera including Francis Ford Coppola, Larry Franco, Scott Rudin and Kevin Yagher, with Danny Elfman producing a suitably spooky score. While many of Burton’s key personnel are also in place, this seems less of a typical Tim Burton movie and more of a mainstream action/horror flick. There are a lot of missed opportunities here to bring some credible subplots into play that wouldn’t burden the plot as much as the ones that writers Kevin Yagher and Andrew Kevin Walker decided to leave in.

Burton is wise enough to leave enough atmosphere in to make for some genuinely creepy moments, but his leitmotif of announcing the Horseman’s presence with lightning and thunder effects is a bit over-the-top. Depp makes an interesting Crane, retaining much of the bumbling fright of Irving’s Crane while giving him a heroic bent for the modern moviegoing audience to identify with. Ricci is lustrous in her ingénue role.

There’s some great work in Sleepy Hollow, enough that you’ll be talking about it well after the final credits have concluded. However, with a bit more of Burton and a bit less of Hollywood, this would have been a much more hellacious ride.

WHY RENT THIS: Tim Burton loveliness. Deep and Ricci make a fine couple. Genuinely spooky.

WHY RENT SOMETHING ELSE: A bit more mainstream than we’re used to with Burton. Over-the-top in places.

FAMILY MATTERS: The horror, gore and violence is fairly graphic. There’s some sexuality as well.

TRIVIAL PURSUITS: This was one of the last two films released on Laser Disc (the other was Bringing Out the Dead).

NOTABLE HOME VIDEO FEATURES: None listed.

BOX OFFICE PERFORMANCE: $206.1M on a $100M production budget; the movie broke even during its theatrical run.

COMPARISON SHOPPING: Beetlejuice

FINAL RATING: 8/10

NEXT: World War Z

The Hobbit: An Unexpected Journey

Bilbo, Bilbo Baggins, the greatest little hobbit of them all!

(2012) Fantasy (New Line) Ian McKellen, Martin Freeman, Richard Armitage, Cate Blanchett, Hugo Weaving, Ken Stott, Graham McTavish, James Nesbitt, Aidan Turner, John Callen, William Kircher, Stephen Hunter, Dean O’Gorman, Peter Hambleton, Jed Brophy, Mark Hadlow, Sylvester McCoy, Adam Brown, Andy Serkis, Elijah Wood, Ian Holm, Christopher Lee, Barry Humphries, Manu Bennett. Directed by Peter Jackson

It is easy to become attached to one’s hearth and home. Here are we most comfortable, here is where our routine is. It is also very easy to fall into a rut at home. Why have adventures of your own when you can stay safely at home and live vicariously through the adventures of someone else’s reality or imagination on a computer/television screen?

Bilbo Baggins (Freeman) is of this mind. As a hobbit, he has a particular love of fine victuals, a comfortable bed and a cozy hole. Yet one day the sorcerer Gandalf the Grey (McKellen) turns up at his door, looking for a hobbit who wants to go on an adventure with him. He’s definitely in the wrong place for that. Bilbo is, after all, as respectable a hobbit as you’re likely to find anywhere and respectable hobbits don’t go on adventures, no sir. Adventures are messy, inconvenient things that make one late for dinner.

But Gandalf knows better and soon a company of dwarves are knocking on Bilbo’s door, including Balin (Stott), Dwalin (McTavish), Bifur (Kircher), Bofur (Nesbitt), Bombur (Hunter), Fili (O’Gorman), Kili (Turner), Oin (Callen), Gloin (Hambleton), Nori (Brophy), Dori (Hadlow), Ori (Brown) and their leader Thorin Oakenshield (Armitage).

The Dwarves were driven from their home in Erebor below the Lonely Mountain by Smaug the Dragon, who was attracted by the fabulous horde of gold and gems that were amassed by their King, who had grown greedy. Now homeless, doing odd jobs to get by, the small band means to reclaim their home using a map which will gain them entrance to Erebor through a secret entrance as the only other entrance to their beautiful home is guarded by the ever-watchful Smaug.

Bilbo is at first reluctant to join them but eventually relents, sympathetic to those who have no home. He means to help them retake theirs, even though the way is dangerous as it proves to be. They are captured by Trolls although Bilbo and Gandalf save them; they are also chased by Orcs led by the half-mad Azog the Defiler (Bennett) who bears a personal grudge with Thorin.

They also meet with Elrond (Weaving) in Rivendell although Thorin bears great enmity to the Elves who stood by and watched without helping when the Dwarves needed their aid against Smaug. Elrond alone can read the map and show them the way to the hidden door to Erebor. Also at this council is Galadriel (Bennett), queen of the High Elves, and Saruman (Lee), chief of the sorcerer’s order. Both Elrond and Saruman council caution, while news from Radagast the Brown (McCoy), a sorcerer who protects the Greenwood that a necromancer has appeared in the deserted fortress of Dol Guldur are met with skepticism.

Galadriel however sides with Gandalf and privately offers her support if and when it’s needed. However, there is some dismay when it is revealed that the Dwarves have already departed for the Misty Mountains through which they must pass in order to reach the Lonely Mountain and Erebor. However, in the Misty Mountains they will meet their greatest challenge and Bilbo will find a date with destiny –  a strange creature named Gollum (Serkis) who has a very peculiar ring.

Jackson’s Lord of the Rings trilogy is one of the most beloved film series in history, not only generating a box office bonanza but Oscars as well. However, it was always known that the books they were based on were essentially sequels to The Hobbit which author J.R.R. Tolkien altered after publishing in order to create closer ties between the books.

The original novel was a children’s story and is shorter than each of the three of the books that comprised the trilogy, but Jackson has elected to create three movies from this book totaling well over eight hours of screen time (An Unexpected Journey clocks in at just under three hours). Buffering it with new material and some from other Tolkien works, this might upset purists who probably would have been happier with a single film.

Still, Jackson makes epics like nobody else and his attention to detail is legendary. Once again he has re-created Middle Earth in New Zealand and it looks every inch the part. So does Martin Freeman, a respected actor who is perfect as Bilbo. He gets the nuances of Bilbo, the good and courageous heart that is sometimes hidden beneath a stuffy exterior. Freeman’s voice even sounds like Bilbo. Happily enough, he resembles Ian Holm facially (Holm played Bilbo in the trilogy and reprises the role as the elderly Bilbo and narrates early on; he also gets a lovely seen with Frodo, with Elijah Wood reprising his role as well).

Armitage makes a splendid Thorin and may wind up getting the career boost Viggo Mortensen did from the trilogy. He is charismatic here with an inner nobility and a gruff exterior – just like I remember Thorin from the book. Like Mortensen, he’s also a very handsome man who is going to get his share of female attention.

Now the Dwarven company numbers thirteen including Thorin and while they all have their own personalities and characteristics, it’s difficult separating one from the other. Fili and Kili, the youngest and brashest members stand out as does the oldest, Balin and Dwalin. The others more or less run together – one’s the glutton, one’s the sensitive soul and then there’s the grumpy one. And Sneezy and Sleepy and Doc.

The party sequence at Bilbo’s runs on far too long; it could have easily been shortened by half. In fact, the whole movie is a bit longish; I would have been much happier had it been closer to two hours than three. We really don’t get much more than a glimpse of Smaug (which I suspect won’t change until the third film in 2014) or even the Lonely Mountain which we see from a distance at the very end of the film – not counting the prologue when we witness the Dwarves fleeing Erebor.

Does it recapture the magic of the first three films? Absolutely and that’s the thing to remember. It doesn’t duplicate it however – the mood of The Hobbit is a lot different than the mood of the trilogy – and I think a lot of critics who have dissed this movie have been thrown by that. If you’re expecting a note-by-note LOTR replay, you’ll be disappointed. This is clearly a new set of movies set in the same universe and unlike the Star Wars prequels, these is actually a good movie that you’ll want to see and not just because it’s Middle Earth but because you’ll be entertained.

Da Queen and I decided to go whole hog with this one and we saw it in IMAX 3D with the accelerated frame rate and I highly recommend it. For once the upcharge is worth it.

REASONS TO GO: A welcome return to Middle Earth. Freeman is the perfect Bilbo and the Dwarves are a merry lot. Nice cameos from LOTR veterans.

REASONS TO STAY: Runs a little bit too long; some of the beginning scenes with Bilbo meeting the Dwarves might have been cut a little bit.

FAMILY VALUES:  There are a few frightening images, plenty of action and violence.

TRIVIAL PURSUIT: This is the first film to be shot at a frame rate of 48 frames per second, twice the industry standard. The difference is noticeable with smoother motion, but especially in the 3D version which the depth of field is more realistic.

CRITICAL MASS: As of 12/22/12: Rotten Tomatoes: 65% positive reviews. Metacritic: 58/100. The reviews are surprisingly mixed.

COMPARISON SHOPPING: The Fellowship of the Ring

TROLL LOVERS: The troll scene contains some very realistic if dimwitted trolls.

FINAL RATING: 9/10

NEXT: The Holly and the Quill begins!

New Releases for the Week of December 14, 2012

THE HOBBIT: AN UNEXPECTED JOURNEY

(New Line) Martin Freeman, Ian McKellen, Richard Armitage, Cate Blanchett, Ian Holm, Christopher Lee, Elijah Wood, Hugo Weaving, Andy Serkis, Sylvester McCoy. Directed by Peter Jackson

At long last it’s here; Peter Jackson returns to Middle Earth to take on the original J.R.R. Tolkein masterpiece to which The Lord of the Rings trilogy was a sequel. In it, the wizard Gandalf approaches the respectable hobbit Bilbo Baggins to accompany him and thirteen dwarf warriors to reclaim the lost kingdom of Erebor from the dragon Smaug. However to get there they will have to travel the goblin tunnels where Bilbo will meet a creature named Gollum who has this ring…

See the trailer, clips and a promo here.

For more on the movie this is the website.

Release formats: Standard, 3D, IMAX 3D

Genre: Fantasy

Rating: PG-13 (for extended sequences of intense fantasy action violence, and frightening images)

The Bay

(Roadside Attractions) Kristen Connolly, Jane McNeill, Christopher Denham, Kether Donohue. When researchers discover the levels of toxic chemicals by a small Chesapeake Bay village have reached alarming levels, nobody listens. But when those chemicals spawn a parasitic life form that takes over first the minds and then the bodies of the villagers, “I told you so” just isn’t enough. From Oscar-winning director Barry Levinson.

See the trailer and a link to stream the full movie at Amazon.com here.

For more on the movie this is the website.

Release formats: Standard

Genre: Horror

Rating: R (for disturbing violent content, bloody images and language)

Chasing Ice

(National Geographic) James Balog, Svavar Jonatansson, Adam LeWinter, Louie Psihoyos. A photographer for the National Geographic hits upon the idea of documenting photographically the shrinking polar ice caps. Setting the cameras up in the harshest environment on Earth proves to be a life-risking challenge but the results are both beautiful and terrifying.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Documentary

Rating: PG-13 (for brief strong language)

Miami Connection

(Drafthouse) Y.K. Kim, Vincent Hirsch, Maurice Smith, Kathy Collier. A martial arts rock band in Orlando decides to take on the drug cartels and make Florida a safe place to rock and roll once again. Although this was filmed back in 1987 (and looks it), it is getting its first American release thanks to the good folks at Drafthouse Films, the distribution arm of the Alamo Drafthouse theater with dining chain.

See the trailer and a link to stream the full move at Amazon.com here.

For more on the movie this is the website.

Release formats: Standard

Genre: Action

Rating: NR

Frankenweenie

Good doggie!

(2012) Animated Feature (Disney) Starring the voices of Winona Ryder, Martin Short, Catherine O’Hara, Martin Landau, Charlie Tahan, Atticus Shaffer, Robert Capron, Conchatta Ferrell, James Hiroyuki Liao, Tom Kenny, Christopher Lee, Frank Welker, Dee Bradley Baker. Directed by Tim Burton

 

The bond between a boy and his dog is something that ranks right up there with the closest relationships that we know of. Lonely boys, in particular, seem to become more attached to their canine companions. It is that feeling of unconditional love that is reciprocated; the dog can do no wrong, whether they bark at passing cars or leave an indiscretion on the living room carpet. These same boys as men will rarely love anyone or anything as much as they love their childhood dog.

Victor Frankenstein (Tahan) lives in the quiet suburban neighborhood of New Holland with his parents (O’Hara, Short). He is a smart kid, a science whiz who is something of a loner. He doesn’t have friends and doesn’t want any. In fact, he doesn’t need any – he has Sparky (Welker), an affectionate dog of indeterminate breed. Sparky goes everywhere with him, although he sometimes annoys the neighbor, the Mayor (Short again) by tearing up the flowers and marking the territory (ahem).

The mayor’s niece – Elsa (Ryder) is staying with her uncle, along with her poodle Persephone (Baker). She and Victor are in science class together at school, being taught by the somewhat haughty Mr. Rzykruski (Landau), a sinister looking soul but one who loves science with a passion. Along with Victor and Elsa are Edgar (Shaffer), an unlovely hunchback who can’t keep a secret; Bob (Capron) a rotund young boy with an easy-going nature and an insatiable appetite and Toshiaki (Liao), an Asian boy with ambitions of winning the science fair that go well on the road to obsession.

Tragedy strikes however when Sparky is killed. Victor is inconsolable, despite his mom and dad’s best efforts to cheer him up. He misses his dog terribly – his only companion. Victor watches a film that he made with his dog over and over again, unable to let go. Then, a lecture by Mr. Rzykruski that involved stimulating a dead frog’s muscle with an electric charge suddenly turns a light on in Victor’s brain. He would bring Sparky back to life.

He digs up his beloved dog from the local pet cemetery and turns his attic into a lab using whatever he can scrounge from around the house. There are lightning storms in New Holland regularly and that very night he uses one to revivify Sparky, whom he’s had to patch together with sewing thread. Still, the dog seems no worse for the wear (with an occasional ear or tail being thrown off when he gets excited) but Victor realizes most people will fear what he’s done and certainly nobody will understand it. Sparky needs to remain hidden but there’s not much chance a dog as rambunctious as Sparky will remain cooped up in an attic for long.

This is more or less an “old home week” kind of project for Burton. Way back in 1984 he did a “Frankenweenie” short which this comes from, albeit far more involved and expanded upon both from a cinematic and story standpoint. This is stop-motion animation just like The Corpse Bride was and has a similar spindly pipe cleaner leg oversized head saucer eyes kind of look to it, kind of like a gringo Day of the Dead look.

SCTV vets Short and O’Hara work nicely together as the parents while Tahan, whose Victor resembles Burton facially (and is likely meant to be his surrogate) doesn’t overplay, which sometimes happens in animated features. Landau does an excellent job with the science teacher who looks like a kind of cadaverous Vincent Price. The Eastern European accent also brings Bela Lugosi to mind.

There is a definite love letter to classic horror films here (as mentioned below), with appearances by Frankenstein, Dracula, Ghiderah and the Mummy. There is also a good deal of heart here, particularly when it comes to a boy’s devotion to his dog. I cried twice during the movie (no points if you can guess when) which takes some doing. There is also a certain amount of quirkiness that you would come to expect with a Tim Burton movie – his trademark, I’d say. It’s different from indie quirkiness in that it has a more ’50s suburban feel as interpreted by Roger Corman.

While the movie seems to have a difficult time deciding what era it’s in (at one point there are references to home computers but the look and feel is definitely more 1950s Americana), there is no doubt that this is a movie that knows its own roots and sticks to them. I hadn’t expected much from Frankenweenie after Burton’s misfire with Dark Shadows earlier this year but I should have known better. This is certainly one of his best movies in the last 10 years.

REASONS TO GO: Hits some powerful emotions. A return to form for Burton after his last misstep.

REASONS TO STAY: A little mannered in places. Some era confusion.

FAMILY VALUES: There are some images that might be a tad scary for younger tots. The theme of losing a beloved pet might also be too much for sensitive kids.

TRIVIAL PURSUIT: The first Tim Burton-directed movie not to feature Johnny Depp or Helena Bonham Carter since 1996.

CRITICAL MASS: As of 10/16/12: Rotten Tomatoes: 87% positive reviews. Metacritic: 74/100. The reviews have been strong.

COMPARISON SHOPPING: The Nightmare Before Christmas

CLASSIC HORROR LOVERS: There are homages throughout the film to various classic horror films and genres from the obvious Frankenstein to Vincent Price, the Toho giant lizard films, gothic Hammer horror and Gremlins among others.

FINAL RATING: 8.5/10

NEXT: Taken 2

Burke and Hare

Andy Serkis and Simon Pegg find out it’s tuna casserole for lunch again.

(2010) Horror Comedy (IFC) Simon Pegg, Andy Serkis, Isla Fisher, Tom Wilkinson, Tim Curry, Christopher Lee, Ronnie Corbett, Hugh Bonneville, Jenny Agutter, Bill Bailey, Jessica Hynes, Stuart McQuarrie, Michael Smiley, David Hayman. Directed by John Landis

 

New York Times critic Neil Genzlinger characterized this movie, loosely based on real life murders committed in Edinburgh in the 19th century, as an American director using English actors to portray Irish immigrants committing murders in Scotland (I’m paraphrasing here) which, as Genzlinger opines, leads to a bit of schizophrenia of tone.

William Burke (Pegg) and his associate William Hare (Serkis) are having a spectacular run of bad luck. Times are hard in 19th century Edinburgh; while the best medical universities in the world are here, most of the city is stuck in squalor as the citizens of Edinburgh try to meet ends meet, most with the same lack of success that Burke and Hare are experiencing.

At the same time there is a rivalry going on in the medical schools. Doctors Robert Knox (Wilkinson) and Alexander Monro (Curry) have been going at it tooth and nail as they use cadavers to teach students the wonders of the human body. However, cadavers aren’t easy to come by and Knox is paying top dollar for fresh corpses and thus Burke and Hare discover a wonderful business opportunity for themselves.

At first they pretty much stick to grave robbing but the problem is that people aren’t dying fast enough to keep Knox properly supplied, so Burke and Hare, being entrepreneurial sorts, decide to help them out a bit. Soon the money is rolling in and Hare’s wife Lucky (Hynes), a sensible sort, helps her husband and his partner out with the business. Burke, in the meantime, has become smitten by actress – or prostitute, which Hare points out isn’t much of a distinction at the time – Ginny Hawkins (Fisher) who yearns to put on an all woman version of Macbeth and Burke is determined to finance the show in order to win the heart of his new beloved.

Still, murdering people for their cadavers is sort of frowned upon and the law is soon on their tails. You can imagine what happened next – or you can look it up in Wikipedia. The movie is kind of close to what actually occurred in the end.

This is the product of Ealing Studios which produced some of the most well-known comedies in the history of British films between 1947 and 1957 (including Kind Hearts and Coronets and The Lavender Hill Mob). This isn’t, strictly speaking, a comedy although it is funny in places (although the movie relies on slapstick a good deal for its humor which is fairly lowbrow for Ealing). It isn’t, strictly speaking, a horror film either although there are some grisly images. Hammer Films has nothing to worry about in other words.

Landis who in his prime directed some classic films like An American Werewolf in London, The Blues Brothers and National Lampoon’s Animal House hasn’t directed a feature since 1998. This isn’t by any means going to be remembered as one of his better efforts but it actually isn’t one of his worst either.

Casting Pegg and Serkis (although at one time Ewan McGregor and Colin Farrell were rumored to have been cast in their roles) is a good reason why. The two are perfect for the parts. Their byplay is natural and unforced. It’s what you might expect from a couple of men who have been friends and partners for years; they’re almost like an old married couple in places.

It helps that each of them has a romantic foil that keeps up with them. Fisher, a beautiful woman who has some pretty impressive acting chops, takes a quirky role and makes it believable. Too often these kinds of parts are written to be eccentric for their own sake and I think that to a certain extent that’s the case here (just ask yourself – does having Burke fall for an actress with Ginny’s aspirations add anything to the story that wouldn’t have been there if she was “normal”?) and only Fisher’s performance keeps it from being irritating. Hynes, whose work I hadn’t been familiar with, also does some impressive work here.

There are some mystifying changes to the historical facts which I understand often has to be done for dramatic purposes. However, Burke and Hare were notorious for smothering their victims, which was their preferred modus operandi. I don’t understand why that was glossed over other than to create slapstick opportunities having to do with the murders themselves. Ah well.

I do like the tone of the movie which isn’t overly serious despite its somewhat grisly subject matter. This isn’t a movie people are going to be rushing right out to rent but by the same token it isn’t one that should be ignored either. I would have liked a little more consistency and a few more laughs. However, this is worth a look if you’re out to check something you haven’t seen before.

WHY RENT THIS: Pegg and Serkis are fun to watch. Fisher is gorgeous and there’s a certain sly wink about the film.

WHY RENT SOMETHING ELSE: Lacks consistency. Plays fast and loose with the real story of the murders, some of which seems unnecessary.

FAMILY VALUES: There are plenty of disturbing images as you might imagine. There’s also a little bit of sex and a smattering of foul language.

TRIVIAL PURSUIT: Actors David Schofield, John Woodvine and Agutter all appeared in An American Werewolf in London which was directed by Landis back in 1981.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $4.4M on an unreported production budget; sounds like it made a tidy profit.

COMPARISON SHOPPING: I Sell the Dead

FINAL RATING: 6/10

NEXT: Out of Africa

Lord of the Rings: The Return of the King

 

An olliphant never forgets.

(2003) Fantasy (New Line) Elijah Wood, Sean Astin, Andy Serkis, Ian McKellen, Viggo Mortensen, Orlando Bloom, John Rhys-Davies, David Wenham, Karl Urban, Dominic Monaghan, Billy Boyd, Liv Tyler, Miranda Otto, Bernard Hill, John Noble, Sean Bean, Christopher Lee,Thomas Robins, Hugo Weaving, Paul Norrell, Lawrence Makoare. Directed by Peter Jackson

 

After a long wait at long last the conclusion of Peter Jackson’s version of the epic J.R.R. Tolkein-penned trilogy The Lord of the Rings came upon us, and it was everything we hoped it would be – although had it come out 10 years later it would have been split into two movies in order to maximize profits although in this case I wouldn’t have minded so much.

The movie opens with a flashback, as we see how Smeagol (Serkis) took possession of the ring (or vice versa), murdering his friend Deagol (Robins) for it. Smeagol slinks into the wilderness, gradually losing his soul and becoming the creature known as Gollum.

Frodo (Wood) and Sam (Astin) are being led for a secret way into Mordor by Gollum unaware that the wicked creature intends to lead them into a trap. The lembas bread which has sustained them is running low, and Sam is rationing it. They need to climb a nearly vertical rock face in order to enter the tunnels that will take them into Mordor. However, Gollum displays his treachery, using the ring’s hold on Frodo and some strategically placed lembas crumbs to drive a wedge between Frodo and Sam, which leads to Frodo telling the weeping Sam to go home.

Meanwhile, the other heroes of the fellowship have no time to rest on their laurels after the events which crowned The Two Towers. Gandalf (McKellen), Aragorn (Mortensen), Legolas (Bloom) and Gimli (John Rhys-Davies) ride for Isengard to take on Saruman (Lee), only to find out that the Ents have done it for them. They discover the hobbits Merry (Monaghan) and Pippin (Boyd), happily smoking their beloved South Farthing pipeweed and munching away on the spoils of Isengard’s larder.

Once again, the group separates, with Gandalf and Pippin going to the city of Minas Tirith to assist Gondor in the battle to come. Aragorn, Legolas, Merry and Gimli return to Rohan to await word from Gandalf and also convince King Theoden (Hill) to aid Gondor in their time of need, although he is loathe to do so since Gondor provided him with no assistance when his people needed it. When Gandalf and Pippin arrive at Gondor, Gandalf warns Pippin not to tell Denethor (Noble), the Steward of Gondor, of the death of his son Boromir (Bean) which Pippin witnessed.

However it turns out that Denethor already knows and the news has unhinged him. Pippin offers up his services to placate the half-mad ruler. Denethor refuses Gandalf’s plea to light the signal fires to call on aid from Rohan, but Pippin lights the fire anyway, and Theoden determines to go to Gondor’s aid. Eowyn (Otto) pleads to go with her uncle, but he refuses, asking her to stay behind to lead Rohan if he doesn’t return (he doesn’t expect to, knowing the numbers of warriors he brings will be inadequate). She disguises herself as a man and goes anyway, as does Merry, whom she pledges to look after.

Boromir’s brother Faramir (David Wenham) can do no right in the eyes of his father, which is further complicated when Osgiliath, the fort he is charged to defend, is overrun by a numerically superior force of Orcs. Denethor orders Faramir and his company back to retake the fortress, even though Faramir knows that neither he nor his men will survive the attempt. That proves to be the case, as Faramir’s body is returned to Minas Tirith and Denethor completely loses it, extolling his men to abandon their posts and flee for their lives as an enormous army of orcs and mercenaries riding elephantine war beasts reach the gates of the city and begin to knock on the gates. To Pippin’s further horror, Denethor becomes determined to cremate Faramir’s body, even though as Pippin discovers, Faramir is still alive.

In the mountains of Mordor, Gollum springs his trap on Frodo leading the defenseless hobbit into the lair of a giant spider named Shelob, who attacks Frodo and at last, poisons him with her venom, wrapping the hapless hobbit in web for eventual dining. Fortunately Sam arrives in the nick of time to fight off Shelob, but can’t stop a small band of Orcs from taking Frodo’s inert but still-living body. Sam manages yet another dramatic rescue and the two emerge from the mountains, only to find that there are at least 10,000 Orcs encamped between them and Mount Doom.

As the force from Rohan encamps in the mountains, Elrond (Weaving) appears, bearing the re-forged sword of the King that had once defeated Sauron and gives it to Aragorn, urging him to take up the role he had been born to play: King of Gondor, heir to Isildur and the great kings of legend. Knowing that his love Arwen (Tyler), daughter of Elrond, is dying as Sauron grows stronger, having refused to leave Middle Earth with the rest of elvenkind, Aragorn reluctantly accepts the mantle he has avoided all his life. He, Gimli and Legolas go into the mountain to persuade an army of the dead to assist them. This army, led by the King of the Undead (Norrell), once broke oaths to the King of Gondor and were cursed for it. They will respond only to the King of Gondor, and when Aragorn reveals his sword, he has the allies he seeks.

Not a minute too soon, either. Minas Tirith is in the process of falling, despite the heroics of Gandalf. The mercenaries, orcs and nazghul are in danger of overrunning the city when Theoden and the Rohirrim arrive. They are able to hold off the hordes, but at great cost. Aragorn’s arrival with the army of the dead, however, saves the city. Once this is done, Aragorn releases the dead to their final rest.

All is not over, however. Aragorn knows that Frodo cannot hope to succeed with all the Orcs still encamped in Mordor. The forces of the Fellowship must make a desperate attempt to give Frodo and Sam the time they need to make it to Mount Doom and destroy the Ring in the fires that it was forged in. But Frodo may not want to destroy the Ring after all and Gollum is still lurking about with a part to play in the final dénouement.

As with the first two movies, The Lord of the Rings: The Return of the King is absolutely breathtaking visually. The city of Minas Tirith is like a wedding cake in concrete, beautiful and imposing. On the flip side, the computer-generated Shelob is terrifyingly realistic; you could almost imagine her crawling around the dark places in your home town. A lot of sensitive people are going to have some nasty nightmares as a result of her.

The battle scenes are impressive in their scope. Thousands of computer-generated warriors move in tandem with the real actors and extras that were employed in the battles of Pelennor Field and of the Black Gate. Even the most jaded of moviegoers will be amazed and enthralled by what Peter Jackson has brought to life onscreen.

Mortensen gives a performance for the ages; his charisma and rugged good looks would earn him further starring roles, although I daresay he’ll probably always be remembered as Aragorn. Still, in many ways this movie is Sam’s story more than anyone else’s. He shows growth as a character, becoming the equal of any of the heroes who have garnered more press. It is Sam who provides the movie’s emotional payoff.

Elijah Wood’s Frodo is a curious case. Although ostensibly the focus of the movie, Wood is curiously detached. It’s very hard at times to fathom who Frodo is, although, to be fair, Frodo is undergoing drastic changes at the hands of the Ring. It’s hard to imagine being less interested in Frodo than you are in Merry or Pippin, but that is the case here. Wood does a pretty good job, but that’s not good enough to stand out in a cast that performs so magnificently.

Orlando Bloom also showed the makings of a big star, although Legolas is not really at the fore much in the trilogy; when Legolas is given the spotlight, however, Bloom shines. Andy Serkis provides Smeagol and Gollum both with humanity; although treacherous and conniving, you wind up feeling the pity for the character as both Frodo and Bilbo had, which is crucial for the story. The supporting cast of Wenham, Otto, Urban, McKellen, Monaghan and Boyd in particular all added luster to their résumés here.

Roger Ebert criticized Return of the King and the trilogy overall as having a “silly story,” which is one of the few times I have disagreed with him quite this vehemently. The story of the trilogy is the story of man’s own ability to grow and change. Written at the dawn of the atomic era, it ascribed hope that we could overcome the desire to use an awesome weapon, and conquer the forces of darkness and despair. Not silly at all, I find it a powerful story that has as much meaning in my everyday life as do some of the smaller films Ebert prefers.

The Lord of the Rings trilogy has an honored place in cinematic history for groundbreaking visuals, and passionate vision. Return of the King is the best of these movies, not only because it should be, as the payoff of the trilogy, but because it also is so well-made and the performances well-given. Once you get past the eye candy, all you are left with is the performances and in that, you will not find a better ensemble than this one. It is to date the only movie nominated for more than ten Oscars (eleven to be exact) to win every award it was nominated for, and deservedly so. It is one of three films to win eleven Oscars, the most in the history of the award. I don’t know how much more honored a film can get.

I viewed the conclusion of this beloved trilogy with a mixture of awe, wonder, sadness and satisfaction. I am sorry the trilogy is now complete, but look forward to the works of Peter Jackson, Viggo Mortensen and the rest of the cast. There is an emotional epilogue in which some of the main characters of the trilogy take their leaves – not only from the tale, but from those of us who have followed the story from day one. It is a most satisfying ending.

WHY RENT THIS: An amazing piece of film-making; it earned every Oscar it got and more. It will stand as one of the first true classics of the 21st century.

WHY RENT SOMETHING ELSE: You find this a “silly story.” Roger Ebert, shame on you!

FAMILY MATTERS: The battle sequences are pretty grisly in places but I cannot emphasize enough just how frightening Shelob is as a creature. If you have a fear of spiders or are particularly sensitive to monsters, be warned that Shelob is as scary a creature that has ever been put to film.

TRIVIAL PURSUITS: Peter Jackson has an irrational fear of spiders and modeled Shelob on two of the species he fears the most.

NOTABLE HOME VIDEO FEATURES: There have been several different releases of varying size of the film and there are so many different and fascinating features that listing them all for each edition would take up far too much space here.  Suffice to say that you will essentially have a choice of two different versions of the film; the two hour-plus theatrical release and the nearly four hour extended director’s cut. The latter only last month arrived as part of a box set to take advantage of the renewed Middle Earth fervor generated by the Hobbit trilogy, the first film of which arrives at Christmas this year. Even the bare bones DVD editions have plenty of wonderful features so that no matter which version you choose you’ll have plenty of things to occupy many hours of viewing time but the extended edition Blu-Ray has enough special features (some brand new) to make even the hardiest of Frodo fans faint.

BOX OFFICE PERFORMANCE: $1.1B on a $94M production budget; the movie made ten times what it cost, easily a blockbuster.

COMPARISON SHOPPING: Gone With the Wind

FINAL RATING: 10/10

NEXT: Iron Man

Lord of the Rings: The Two Towers

 

Gandalf sure knows how to make an enterence.

(2002) Fantasy (New Line) Elijah Wood, Sean Astin, Viggo Mortensen, Ian McKellen, Andy Serkis, Dominic Monaghan, Billy Boyd, Orlando Bloom, John Rhys-Davies, Karl Urban, Christopher Lee, Bernard Hill, Brad Dourif, Miranda Otto, David Wenham, Liv Tyler, Hugo Weaving, Craig Parker. Directed by Peter Jackson

 

The second installment of the Lord of the Rings trilogy picks up where the first left off, with the Fellowship broken and the quest very much in peril. Frodo (Wood) and Sam (Astin) have struck out on their own, knowing that the evil of the Ring would eventually corrupt all of them. They are heading for Mordor, but quickly become lost. Apparently nobody thought to call the Triple A.

They are ambushed by the creature that has been stalking them all along, Gollum (Serkis). They manage to subdue him, but Frodo feels pity for the creature, who offers his services as a guide. Although Sam has misgivings, they allow the creature to lead them to the Black Gate of Mordor, which turns out to be heavily guarded. It’s obvious they won’t be able to get to Mount Doom that way. Gollum offers to lead them to a secret way into Mordor, one even the Orcs don’t know.

Merry (Monaghan) and Pippin (Boyd) have been taken captive by the nasty Uruk-hai, who mistakenly believe that these two are the Ring Bearers. The Uruk-hai turn out to be testier than anybody thought, with a faction all for killing and eating the two hobbits, which was expressly forbidden by their creator, Saruman (Christopher Lee). A fight breaks out and things look bad for the hobbits.

Meanwhile, Aragorn (Mortensen), Legolas (Bloom) and Gimli (Rhys-Davies) have pursued the Uruk-hai who kidnapped the Hobbits relentlessly for days. They run into the Rohirrim, who are led by the valorous Eomer (Karl Urban) who tells them that they have in fact massacred the entire band of Uruk-hai. The trio reach the site of the battle, only to discover through Aragorn’s tracking skills that the two hobbits escaped into the forest. They follow the tracks into the reputedly-haunted Fangorn Forest where they are met by a wizard in white — Gandalf (McKellen).

Merry and Pippin had indeed escaped into the Fangorn Forest in the confusion of the fight. There, they meet Treebeard (voiced by Rhys-Davies), an Ent – a walking, talking, sentient creature that looks like a tree. Treebeard rescues the two hobbits from a stray Uruk-hai, then takes the two of them deeper into the forest.

As for the astonishing appearance of Gandalf, there was something of an explanation; having fallen into shadow in the mines of Moria, Gandalf has somehow been reborn and made more powerful. Now clad in white, Gandalf is a formidable wizard indeed. He somehow knows that the kingdom of Rohan is in dire peril, both from within and without. Gandalf leaves Merry and Pippin with Treebeard, and rides the king of horses, Shadowfax, with Aragorn, Legolas and Gimli to reach Rohan.

Theoden (Bernard Hill), king of Rohan, is ill. Weak and feeble, most of the governance of his kingdom has fallen to an advisor, Grima Wormtongue (Brad Dourif). His niece Eowyn (Miranda Otto), sister to Eomer, is powerless to help and moreover is the object of the sleazy affections of Grima. Theoden has become so bewitched that even when his son dies while out on patrol, he is unable to react.

Eomer is banished from the realm by Grima, who sees Eomer as a threat. Eomer takes loyal warriors into the wilderness to protect Rohan as best he can, but things look dark for the kingdom of the horseclans. The arrival of Gandalf changes all this. The white wizard breaks the spell and restores the king to full vigor. Grima is sent packing with a boot to the behind and a warning for Saruman.

Frodo, Sam and Gollum make their way back for Gollum’s hidden entry into Mordor when they stumble onto a battle of Mordor-allied mercenaries and soldiers from Gondor, who capture the three of them. Their leader, Captain Faramir (David Wenham) is brother to the slain Boromir, and wants details of his brother’s death. Frodo, suspicious of everyone, is loathe to tell Faramir much. A battle occurs in which they are attacked by nazghul on terrible dragon-like creatures. Eventually, Farmair is convinced to let Frodo, Sam and Gollum continue on their way.

Theoden thinks that Rohan cannot stand against the army Saruman is sending against them. He orders his city evacuated and the people are taken to Helm’s Deep, a fortress that has never been breached in thousands of years. Gandalf leaves to gather allies to defend Rohan. As the Rohirrim begin the journey to Helm’s Deep, it becomes obvious that Eowyn is developing deep feelings for Aragorn, who continues to harbor a great love for Arwen (Tyler). The elves are almost gone from Middle Earth, leaving for the Grey Havens to travel by ship to the far shores. Elrond (Weaving) urges Arwen to go as well, but she is torn between her love for her father and her love for Aragorn. At last, knowing that should she stay she would only see her love age, wither and die before her eyes, she agrees to leave.

The Rohirrim meet up with an orc patrol, traveling on bestial wargs, and a battle ensues. Gimli and Legolas begin a friendly competition to see who kills more of the enemy, and their friendship begins to deepen. However, disaster strikes when Aragorn is swept over a precipice and into a swift-flowing river. Saddened, the Rohirrim complete their journey to Helm’s Deep without him.

Like Gandalf before him, Aragorn survives and manages to limp back to the fortress. As the fortress prepares for siege, elves under Haldir (Parker) arrive from Rivendell to assist, and the defenders of Helm’s Deep need every one of them, for the army that faces them is vast and merciless. Despite the heroism of its defenders, the walls of Helm’s Deep are breached and it looks like there will be a massacre the likes of which Middle Earth has never known.

Gollum leads Sam and Frodo on the way back to Mordor, but his mind, already twisted and demented by the influence of the Ring, has become further warped at the perceived betrayal by Frodo that led to his capture. He means to do away with both of the hobbits, but knows he cannot do it himself. However, there is a way…

The Lord of the Rings: The Two Towers, The second part of the trilogy is visually magnificent, as was the first. Of particular note is the character Gollum, who was build of Andy Serkis’ physical performance and some brilliant computer imaging on top of that. Gollum is as real and lifelike as any one of the flesh-and-blood actors (in fact, Gollum has more expression and range than Keanu Reeves, but that’s another story), but the nasty wargs and the magnificent Ents (partially real, partially computer-generated) are nearly as good.

Viggo Mortensen shows flashes of major stardom here. His charisma carries much of The Two Towers. Sean Astin also gives a riveting performance; his speech that is meant to inspire Frodo when his friend despairs of surviving the journey is one of the best you will ever see. It’s a memorable moment, and one you should have handy the next time you are depressed.

The problem with The Two Towers is that it feels like there really isn’t a beginning, middle and end; it’s all middle. Of course, that’s a function of the fact that it is the middle chapter in an epic story, but seen on its own it’s not quite as satisfying as The Fellowship of the Ring. It is also much darker in tone. Still, the performances are excellent from top to bottom; in addition to those previously mentioned, Legolas is a swashbuckling hero as portrayed by Orlando Bloom, and John Rhys-Davies brings gruff humor to the part of Gimli. Ian McKellen brings great presence to Gandalf, and Wood does a nice job bringing the torment of Frodo to the fore.

Howard Shore’s score was one of the critical attributes to the success of the first film of the trilogy for me; he continues his impressive work, but none of the various vocalists who contribute to the soundtrack (including Liz Frasier, formerly of the Cocteau Twins) really add up to Enya’s impressive work on the first soundtrack.

Despite its minor flaws, “The Two Towers” is still a classic. The battle scene of Helm’s Deep is beautifully done, and overwhelming in scope. The siege of Isengard by the Ents is an astonishing visual, and although I was a bit disappointed by the Congress of Trees, it is still a feast for the eyes throughout. This is not a disappointing work; quite the contrary. It leaves the viewer champing at the bit for the trilogy’s conclusion. More importantly, it is a tremendous movie in its own right, regardless of what came before or what is to come. The Two Towers, quite frankly, shouldn’t be overlooked as a movie.

WHY RENT IT: The themes of the trilogy become much more developed here. Mortensen and Astin shine. Great visuals.

WHY RENT SOMETHING ELSE: Lacks beginning and end; those unfamiliar with the first movie will most likely be lost.

FAMILY MATTERS: The Battle of Helms Deep has plenty of battle savagery. There are some pretty frightening images and the very young or those who are sensitive should be warned.

TRIVIAL PURSUITS: As the Orcs have black blood, it was thought the inside of their mouths should also be black. All extras who played Orcs had to swill a licorice-based mouthwash in their mouths before filming in order to achieve the effect.

NOTABLE HOME VIDEO FEATURES: There have been several different releases of varying size of the film and there are so many different and fascinating features that listing them all for each edition would take up far too much space here.  Suffice to say that you will essentially have a choice of two different versions of the film; the two hour-plus theatrical release and the nearly four hour extended director’s cut. The latter only last month arrived as part of a box set to take advantage of the renewed Middle Earth fervor generated by the Hobbit trilogy, the first film of which arrives at Christmas this year. Even the bare bones DVD editions have plenty of wonderful features so that no matter which version you choose you’ll have plenty of things to occupy many hours of viewing time but the extended edition Blu-Ray has enough special features (some brand new) to make even the hardiest of Frodo fans faint.

BOX OFFICE PERFORMANCE: $926.1M on a $94M production budget; the film was another massive blockbuster.

COMPARISON SHOPPING: Eragon

FINAL RATING: 9.5/10

NEXT: The Beaver