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.
The Hobbit: The Desolation of Smaug
dir. Peter Jackson (2013)
Not a bad film, but much of what happens is filler, plumping out an already-plumped story. Worth watching, if only for Evangeline Lilly as Tauriel (a non-Tolkien character but a welcome addition), and Benedict Cumberbatch voicing Smaug (a highlight in all respects).
The Hobbit: An Unexpected Journey
dir. Peter Jackson (2012)
While some of the action scenes engender a real sense of peril, much of the film seems overstuffed with epic ‘lull’ (not to mention dwarf protagonists and musical bestirment). Martin Freeman is excellent. Sylvester McCoy makes the most of limited screen time.
The Frighteners
dir. Peter Jackson (1996)
While impossible to pigeonhole (there’s no doubt it left the Universal Pictures marketing team perplexed), The Frighteners remains a creepy, funny, offbeat and overdone treat for those on its wavelength. The effects stand up well without ever constituting the be-all and end-all.
The Hobbit: The Battle of the Five Armies
dir. Peter Jackson (2014)
Alternatively: There, a Feature-Length Fight Melange, and Back Again. Peter Jackson’s Gollum-esque craving to don the ring and turn New Zealand once again into Middle-earth gives Howard Shore’s impassioned score first billing while short-changing Martin Freeman. Too many armies, not enough hobbit.