Tag Archives: The Hobbit

Review: The Hobbit: The Desolation of Smaug: Theatrical Edition

Director: Peter Jackson
Year: 2013
Score: 6/10

Toilet Dwarf™, the perfect accessory for any rustic restroom. Make your own King Under the Mountain!

Toilet Dwarf™, the perfect accessory for any rustic restroom. Make your own King Under the Mountain!

The Two Towers is my least favourite entry in the Lord of the Rings film trilogy, suffering as it does from middle film syndrome (lacking both the joy/wonder of introducing us into the world and the catharsis of ending the story), so it makes sense for me to have similar feelings about The Desolation of Smaug. Of course, I won’t know for sure until the release of The Battle of the Five Armies later this year, but I’m guessing I’ll enjoy that more than this.

Many of my criticisms of An Unexpected Journey apply here too: over-length, unnecessary action sequences, padding the story out with extra bits that don’t add enough, and sticking too closely to the formula established in the previous trilogy. There are also some more specific criticisms to be made: the opening scene lacks ‘oomph’; the ending is weak, lacking even a semblance of finality, let alone resolution; the Kili-gets-injured-and-winds-up-in-a-love-triangle subplot is entirely superfluous and irritating, especially since the two other members of the triangle (Legolas and a female elf created for the movie and played by Kate from Lost) aren’t supposed to be in the movie at all; in the motion-captured-character-redeems-movie’s-final-act stakes, Smaug is no Gollum; the entire Lonely Mountain sequence is muddled; and Thranduil’s arseholishness, with no real redeeming features, quickly grates.

Having said all that, there are still some fairly enjoyable parts (the barrel sequence, for instance), and all the usual elements worthy of praise in a Peter Jackson Middle-Earth movie (action, visuals, music, casting, etc.) are still there too. As for acting, Orlando Bloom continues to think that squinting is the sole form of emoting available to him, Stephen Fry overdoes it a bit as the Master of Laketown, Sir Ian McKellen is solid as ever but seems to be overusing the move-bags-under-one’s-eyes-to-indicate-drama technique, and everyone else is fine.

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Review: The Hobbit: An Unexpected Journey: Extended Edition

Director: Peter Jackson
Year: 2012 (theatrical version) / 2013 (extended edition)
Score: 7/10

The real reason for the extended edition, of course, was so we finally get naked dwarves. The fans... go... wild.

The real reason for the extended edition, of course, was so we finally get naked dwarves. The fans… go… wild.

I’m a big fan of Peter Jackson’s Lord of the Rings trilogy and my initial viewing of the theatrical (non-extended) version of The Hobbit: An Unexpected Journey, in 48fps 3D, left me quite impressed but a tad concerned. It was an immensely fun ride, with Jackson’s familiar brand of humour-infused action, constant winks at the fans, a largely excellent cast (both new and returning), and a brilliant adaptation of the novel’s crucial ‘Riddles in the Dark’ chapter in the final act. Mostly it was just great to be back in Jackson’s immersive world; it isn’t quite Tolkien’s Middle-Earth, but it’s equally impressive in its own ways.

I did, however, have reservations about the film’s length, the sense that many of the action sequences were shoe-horned in to pad it out as the first part of a trilogy (case in point: the entirely unnecessary rock-monster boxing match scene), the decision to split a fairly short children’s book into three lengthy films, and the often slavish beat-for-beat recreations of moments/sequences/arcs from the original trilogy. In a sense all of these concerns come down to the fact that this isn’t just a film adaptation of the novel; it’s very specifically JACKSON’S adaptation, in the style, vein and scope of his Lord of the Rings. That means we lose the childish frivolity and lightness I remember from the novel, and instead get a dose of Sauron-y seriousness and a bunch of extra bits, all designed to create parity with the original trilogy so this (together with the next two movies) will serve as a stylistically and narratively cohesive prequel trilogy.

I can't decide if the Great Goblin's chin testicles are as bad as or worse than Peter Griffin's.

I can’t decide if the Great Goblin’s chin testicles are as bad as or worse than Peter Griffin’s.

Watching the extended edition in preparation for the release of The Hobbit: The Desolation of Smaug, I had roughly the same response but if anything my concerns grew: this is, after all, an even longer version – 13 minutes of additional footage! – of a movie I already regarded as bloated. For some reason I disliked the Great Goblin character (portrayed by Barry Humphries) more this time round. On the other hand, I found the emotional climax (Bilbo finding his courage and being accepted by Thorin) considerably more affecting, though I don’t recall any changes to the scene in this version that would have made it so. I also noticed and enjoyed the dwarves’ theme music, within Howard Shore’s excellent-as-always score, more than I previously recall.

For anyone choosing between the theatrical and extended versions, the bottom line for me is this: when I watch the trilogy in the future, I’ll be putting aside my concerns about length and unnecessary action set-pieces and ill-advised movie-splitting, so I might as well take the completist route and watch the extended version; the extra bits aren’t by any means fatal to the overall length, and they tend to play OK in a home cinema environment. Or maybe I’m just a glutton for punishment.

Review: 13 Assassins

Director: Takashi Miike
Year: 2010
Score: 7/10

Traditional samurai weapon #441: flaming bulls.

Traditional samurai weapon #441: flaming bulls.

Solid if slightly overrated samurai movie with good action scenes and excellent production values. The story offers very few surprises and the inevitable deaths of many of the titular assassins don’t pack much of an emotional punch. The antagonist is extremely one-dimensional; he’s sadistic, abusive of his power, and ultimately overconfident, but I couldn’t tell you anything else about him or his motivations. However, the real draw here is the samurai action, particularly in the spectacular battle that takes up most of the film’s final third. It’s also an interesting counterpoint to Peter Jackson’s Hobbit movies in that it shows how to better overcome the challenge of introducing and making the audience familiar with thirteen similar characters on a quest.