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THE HOBBIT: THE BATTLE OF THE FIVE ARMIES – Howard Shore
Original Review by Jonathan Broxton
And so, at last, after an astonishing 13-year trip across Middle Earth in the company of director Peter Jackson, through three Lord of the Rings films and two Hobbit films, we come to the conclusion of the saga with The Battle of the Five Armies, the third and final film based on J.R.R. Tolkien’s classic fantasy story The Hobbit. The film picks up immediately where the second film in the trilogy, The Desolation of Smaug, left off last year, with the hobbit Bilbo Baggins (Martin Freeman) and his dwarf cohorts looking on helplessly as the dragon Smaug (Benedict Cumberbatch), having emerged from under the mountain of Erebor, decimates the city of Laketown, before finally being brought down by the brave Bard (Luke Evans). In the aftermath of the devastation, the survivors of Laketown regroup in the ancient city of Dale, while the newly-crowned dwarfish king Thorin Oakenshield (Richard Armitage) jealously guards his new wealth from inside his impregnable stronghold. However, news of Smaug’s death quickly spreads across Middle Earth, and before long numerous different armies are massing outside Erebor’s gates, each claiming a valid right to the treasure inside, or having insidious ulterior motives of conquest and destruction. Read more…
THE HOBBIT: THE DESOLATION OF SMAUG – Howard Shore
Original Review by Jonathan Broxton
The second film in Peter Jackson’s new Middle Earth trilogy based on J.R.R. Tolkien’s The Hobbit is The Desolation of Smaug; it picks up immediately where the first film in the trilogy, An Unexpected Journey, left off last year, with the hobbit Bilbo Baggins (Martin Freeman) journeying to the ancient dwarf stronghold of Erebor in the company of the wizard Gandalf (Ian McKellen), dwarfish king-in-waiting Thorin Oakenshield (Richard Armitage), and his band of adventurers, to take back their homeland from the dragon Smaug (Benedict Cumberbatch). Along way, however, the heroic company must traverse any number of dangers, including vicious orcs, unfriendly elves, a treacherous forest, and the inhabitants of an impoverished lake town in the shadow of the lonely mountain. Meanwhile, much to Gandalf’s consternation, the shadowy threat of a mysterious necromancer continues to grow, looming large over all of Middle Earth, and threatening its long-lasting peace. The film is a significant improvement over the first installment, eschewing some of its comic action material and embracing a more serious tone that befits a story that touches on much more adult themes involving obsession and corruption. It’s visually spectacular, of course (although the orc leader Azog still looks like a bad video game rendering), has a wonderful supporting cast that includes Stephen Fry, Evangeline Lilly, Luke Evans and a returning Orlando Bloom as Legolas, and – most importantly from this website’s point of view – sees Howard Shore returning to Middle Earth for the fifth time as composer. Read more…
THE HOBBIT: AN UNEXPECTED JOURNEY – Howard Shore
Original Review by Jonathan Broxton
They say you can never go home again, but that’s not true for Howard Shore, the multi-award winning Canadian composer of the music for The Lord of the Rings. Prior to the release of the first LOTR film, The Fellowship of the Ring, in 2001, Shore was a respected but generally little-known composer, best known for writing a series of dark, brooding scores for director David Cronenberg, and thrillers like Seven and The Silence of the Lambs. Even when he was first announced as the composer for Fellowship, many commentators questioned whether Shore had the thematic strength to write the broad and expansive music the films required. Fast forward a decade, and Shore is a three-time Oscar winner and international film music superstar, with impressive album sales, sold-out concerts, and massive critical acclaim. When director Peter Jackson announced that he was making a new Middle Earth trilogy based on JRR Tolkien’s book The Hobbit, it was never a question of whether Howard Shore would return to score the films, but whether the music would stand up to the massive hype and sense of expectation that inevitably came with it’s release. For better or worse, the Lord of the Rings scores have become some of the best-loved of the new millennium, and for many fans whose first experience of film music came through those films and Shore’s now-iconic themes, there was bound to be an unimaginable sense of anticipation. So does The Hobbit continue the trend of excellent music in Middle Earth? The answer is yes and no, but not for reasons you might think. Read more…
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