The Lord of the Rings: The Return of the King
dir. Peter Jackson (2003)
Jackson’s trilogy concludes in resounding style, offering overt but effective contrast between Frodo’s journey and the epic clashing of armies. Sam emerges as the true hero. Éowyn, by taking Merry under her wing, juxtaposes the overlooking/recognition of Hobbits with that of women.
The Lord of the Rings: The Two Towers
dir. Peter Jackson (2002)
Relentlessly scored, and the much-lauded Battle of Helm’s Deep speaks more to cinematographic proficiency than competent siegecraft (military historians, close your eyes). Gollum/Sméagol (a distinction that Jackson explores) proves a highpoint of the production. Gimli provides a welcome source of comic relief.
The Lord of the Rings: The Fellowship of the Ring
dir. Peter Jackson (2001)
Epic in ambition but not outcome. The titular fellowship is remarkably dim, questing through a geo/chronographically elastic Middle Earth. Peter Jackson isn’t quite sure whether he’s making a big emotions music video or a drinking game predicated on wide-eyed closeups of Frodo.
The Hobbit: The Battle of the Five Armies
dir. Peter Jackson (2014)
Having sketched out an epic adventure by way of join-the-dots, humour-laced escapades, Jackson makes a mess of the final picture, breaking his pencil lead on manufactured pathos and scribbled-mess battle scenes less credible than a giant origami horse with built-in rectal flamethrower.