Book Review: The Children of Húrin (JRR Tolkein)

"Then Mablung said bitterly: 'I also have been meshed in the doom of the Children of Húrin, and thus with words have slain one that I loved.'" - JRR Tolkein

Here it is, decades after the passing of JRR Tolkein, and eons after his epic sagas of The Hobbit and Lord of the Rings left their mark on fantasy literature.  Fans wanting more could always fall back to The Silmarillion.  Now, after all this time, Tolkein's son collected, edited, and released this collection of tales to provide even more Middle-Earth action.

Does that mean this book is inherently awesome? Perhaps for diehard Tolkein fans, but I found the book to be a total chore to go through.  Even though it's a pretty trim tome with only 257 pages, it is completely saturated in names, places, and folklore that mostly goes way over my head.  I personally found it tiresome to flip through so many proper pronouns and trying to keep track of who was what and where they were and what they were doing.

Part of the problem is the prose, which I felt tried so hard to be extravagant and grandiose that it felt like Tolkein was trying to rewrite the Prose Edda or something.  As such, it came off as being extremely stiff and dry.  It made it hard for me to personally connect to the characters or the plot, and combined with the onslaught of namedropping, I found myself trudging through the book, going through the motions of reading without truly becoming engrossed in it.

I understand that the book is compiled from various other bits and pieces, which have their connections to The Silmarillion, and parts of this may have been published before in other volumes.  The story is a huge, sprawling, somewhat random saga that includes all manner of war, drama, orc and dragon-slaying, and adventuring.  There are familiar elements, but a lot of it is fresh and new, covering areas and events that are otherwise far from the classic Lord of the Rings era.  In the end though, Children of Húrin is less of an actual story and more of a compendium of background legends and history in the overall lore of the Middle-Earth.

In the end, if you're a huge Tolkein fan and can absolutely dig deep into all the names and history of the Middle-Earth without much reservation on the author's prose, then the book will likely be a total winner for you.  For casual reading, I felt the book was dry, convoluted, and way too dense.

2.5/5 (Entertainment:  Poor | Story:  Marginal | Book:  Average)

Video Game Review: Tomb Raider: Legend

Upon celebrating its tenth anniversary, the Tomb Raider franchise underwent a pretty heavy-duty make-over in Tomb Raider:  Legend.  With a new developer, the series would start with a fresh new direction, ensuring that Lara Croft's adventures would continue for a while longer.

Legend definitely has its share of coolness.  As before, you play Lara on a quest to raid tombs and fight bad guys.  This time, the relic in question is Excalibur, and the Arthur legend is interpreted in a pretty loose way that spreads the tale across multiple countries.  As always, you are required to climb seemingly-impossible obstacles with precise, complex acrobatic moves.  You occasionally fight armed goons and supernatural bosses (although, I don't recall many animals in this game).  In addition to the main story, you can also explore the Croft manor for bonus collectables, and you can unlock a plethora of bonus material.  Overall, the experience is an adventurous rush, much akin to a regular Indiana Jones or Dirk Pitt story.

All that being said, the game had its frustrating parts.  I found myself breezing through parts of it satisfactorily, but then I'd be held up with some obstacle or crazy boss fight that just kept me stuck for hours.  Part of the problem is that the game has a few iffy glitches (at least on the PS3's HD collection, I'm not sure how this game actually fared when it was first released for the PC and older consoles).  Lara would often die an inexplicable, stupid death (especially in the last boss fight, where swinging Excalibur suddenly backfired and caused her to fly off the map).  I had plenty of moments where a jump was miscalculated, either by me or the machine.  It was never a smooth or fully-enjoyable experience, unfortunately; the game has a pretty even mix of good and bad moments.

The story that's told here is at least most of the way relevant, given that it explores more of Lara Croft's backstory and uses it as a focus for the main conflict.  It is still episodic in a contrived way, stringing together exotic locations for the sake of giving you a series of unique levels with unique challenges.  The game ultimately hits up some decent character-building points, but the plotting feels like more of the same.

This game boasts some adequate graphics, especially for its time.  It is most notable for its animation and movements; Lara's climbing and acrobatics are quite flexible and dynamic, and offer its own array of challenges.  The gameplay and control scheme overall is pretty sublime and easy to master.  Levels are well-designed, and features okay-looking settings, items, costumes, and creatures.  Sounds and voices aren't too bad, and the music is lovely.

Playing Tomb Raider:  Legend is pretty fun, but with a few frustrating moments.  If you're a casual fan of adventure gaming, it'll be worthwhile as long as you're patient and able to stick with it.  Fans should love it though.

4/5 (Entertainment:  Pretty Good | Story:  Pretty Good | Game:  Good)

Film Review: Lara Croft: Tomb Raider and the Cradle of Life

One of the most popular characters in video gaming lore returns to the big screen! I've always wanted to like the first Tomb Raider film, and it does have its moments, but something about it always threw me off. I blame it on its indulgence in style over substance, with its chopped-up action scenes, choppy narrative, and one too many surreal scenes.  As it is with any sequel, I expected improvements. Even though both films were poorly received by critics, I do believe that the second Tomb Raider film delivers the solid, straightforward adventure story I always expected.

If nothing else, TR:COL cuts to the chase and maintains a clearer narrative than its predecessor.  It still has its excesses (do we really need to see Lara doing flips on a jetski?), but the pacing is tight and even throughout.  This sequel is still really high on style and action, but it is a smooth and fluid experience; while the first film was rather choppy, this movie is smooth with its camera work and editing, allowing the action to flow and stand well on its own.  There are plenty of smashing shoot-out scenes (especially in the Hong Kong scenes), and quite a few impressive stunts.  Special effects are used quite liberally, for better or for worse.  Overall, the action and style is satisfying.

The substance suffers a little, especially since the strengths of the first film are absent.  This film keeps the characters one-dimensional. The best that can be said is that they try to develop chemistry, which is meant to resonate stronger by the film's conclusion, and it is partway successful. As far as the plot goes, it's pretty standard adventure fare, but I felt that the quest for Pandora's Box was a fairly interesting subject.  The film does suffer from some ridiculous scenes (such as Lara punching a shark...really?!), but for a brainless popcorn flick, I've seen way worse.

This film is really smooth and slick, with stylish and solid photography and editing. Acting is not a huge standout, but it's not as cringe-worthy as the first film. Angelina Jolie returns and does her best to bring Lara Croft to life; even though she still only channels the single-dimension action heroine of the late 90s and early 00s, she does a decent job at it. Gerard Butler puts in as much charm as he can, for better or for worse. Everybody else is passable. Writing is average. This production has some great-looking locales, and features some slick sets, props, and costumes. Special effects are fairly pretty to look at, but are often frivolous and still rather fake-looking. Music is cool; the soundtrack features a number of good songs, while Alan Silvestri's score pretty much uses the same melody as The Mummy Returns to strike up the right tone.

I personally enjoy this film, because even if it is a shallow run-of-the-mill cash-in, it is a good-looking action-packed one.  Really, it's only recommended to diehard fans.

4/5 (Entertainment: Very Good | Story: Average | Film: Pretty Good)

Film Review: Lara Croft: Tomb Raider

Since its initial release in 1996, Tomb Raider is one of the most prominent video game franchises. It did to games what Indiana Jones did to movies and what Clive Cussler did to books: they all tap into a certain sense of adventure, with ties in archeology and ancient history, and with liberal amounts of action and peril, to immerse the audience in a thrilling experience. Lara Croft may be well-known for her...ahem...bodily proportions...but she is an action heroine who could stand shoulder-to-shoulder with Indy and Dirk Pitt, in terms of physique, confidence, knowledge, and wit.

Inevitably, the live-action film for Tomb Raider was released in 2001, with enough hype to build it up as one of the biggest action hits of the year. The film definitely tries its hardest to be cool and hip; right from the start, it's loaded with unusual camera tricks and movements, with lots of frivolous time-lapse shots and fast cuts. A high-tempo soundtrack accentuates the small wealth of shoot-outs, chases, fights, and athletic stunts. The film does entertain, and there are moments where the action does come off as being "cool" and still holds up. A lot of it is pretty senseless and frivolous, and there is an underlying impression that the film is merely emulating a game experience, boss fights and all. Regardless, the film is successful at being stylish and fun.

On the other hand, the style becomes so heavy-handed that it does bring down the experience a notch. Frequent flashbacks and other random scenes disrupt the flow of the film. Some scenes, especially toward the end, become so surreal and weird, they further disrupt what should otherwise be a straightforward adventure flick.

With these random scenes, however, the film does try its best to dig up some solid substance. The story is not bad, per se, and it does its best to add some backstory and relevance to the characters and plot. I'm certain the filmmakers (and some audiences too) geeked out when they saw John Voight playing Lara Croft's father. The actual plotline, however, is pretty screwy, and follows the exact same structure as a video game (cut-scene, enter new area, fight bad guys, fight boss, obtain artifact, continue to next zone). Lara Croft is a two-dimensional character at best, for even with a backstory, there's never really enough to flesh her out and illicit much empathy for her or her struggles.

As mentioned above, the film has style, for better or for worse. Acting is a strange animal to judge here; Angelina Jolie is easily the centerpiece of the show, and she fits the part physically. She also does inject her character with a certain playfulness and wit that suits the character. Now that the games have evolved in so many different ways, however, I can't help but to regard Jolie's performance as an antiquated one-dimensional portrayal of Lara, same as it was in the 90s, lacking in nuanced depth or emotion.   Emulating the classic Lara Croft, Jolie does a good job, but in the future, I'm certain that she'll be supplanted very easily (especially if the 2013 game is any indication). As far as everybody else goes, they're serviceable at best. Except for a few witty lines, the writing is pretty bad. This production has decent sets, props, and costumes, but also some rather aged and bad special effects. Music tries its best to seem cool; the soundtrack is a favorite of mine, but it can serve as a distraction during the actual movie. The score is alright.

With all the style and action, and with the promise of seeing the classic video game character brought to life, the Tomb Raider movie seemed like a big movie event of my generation. It did its part well enough, but it remains a rather shallow and uneven experience.  It would be worth a look for fans and anybody interested in adventure flicks.

3.5/5 (Entertainment: Good | Story: Average | Film: Average)

Travel: Antelope Island State Park, Utah

In the middle of the Great Salt Lake is a massive island, called Antelope Island.  It is approximately 42 square miles of rugged terrain, teaming with wildlife.  That's pretty much all there is to it, but if you have a desire to hike, jog, bicycle, take photos, or sail a boat in a place with unique natural beauty, this island offers plenty to full up a day.

From the I-15 off of exit 332, you can follow Antelope Drive (SR-108) west until you reach a seven-mile causeway.  There is a booth at the beginning of the causeway to purchase an entry ticket (for a single car, it was $10, but other prices apply to different circumstances).  The causeway itself offers some intriguing views of the Great Salt Lake; whether it's a clear day or a cloudy day, the lake naturally produces a clear reflection of the sky and mountains, making each view consistently captivating.  You can also expect to see plenty of birds of varying types in the water, and all around the island itself.

On the island, there are a few different sights that can be reached.  There is a ranch on one side, containing a number of antiques and decrepit equipment, all set up as an exhibit.  It may be of interest if you wanted to see what it would be like to live and work on such a ranch.  I'm not clear as to whether the place is still active, for I did see horses in the area.  On another side of the island, there is a visitor's center that contains exhibits and a gift shop.

For the most part, the island is just a wide-open stretch of fields, with a few tall and rugged hills and mounds.  There are rock formations and stones littering much of the island, and a lot of dry vegetation.  In this setting, it is a common sight to see birds, deer, antelope, and bison roaming freely on the terrain.  The island is especially noteworthy for its bison herds; they were introduced to the island over a hundred years ago, and there are currently 600 of the rare beasts thriving on the land.  There are likely to be oodles of other unique creatures to be spotted, including eagles, bighorn sheep, jackrabbits, and more.

Naturally, the island offers a pleasant experience for photographing the natural landscapes and animals.  There are also paths all over the island for bicyclists, hikers, and joggers, all of which are common activities there.  There are paved and dirt roads that encompass the island, for those who just want a quick drive around.  There are beaches along certain edges of the island.  Camping, boating, nature watching, picnicking, and even skiing are possible.  There are hardly any structures on the island, offering no place for lodging and food; it is most advisable to come prepared with your own water and provisions.

I spent about four hours on the island, just driving around and taking photos whenever I could.  Whether driving, biking, or hiking, it is a requisite to remain on the roads and paths at all times; park authorities will not tolerate people wandering from the paths into the open environment.  Part of this is to preserve the land and animals, but also for personal safety.  I visited the ranch, the visitor's center, and stopped frequently to find good views of the hills, beaches, and the Great Salt Lake.  Even on a highly windy day with a lot of clouds, the scenery was gorgeous, and the wildlife was worth seeing.

I'd say that the park is worth seeing at least once for the casual visitor, but would be an ideal location for those who want to recreate in a pure, rugged outdoor setting.

Film Review: Captain America: The Winter Soldier

In the first phase of Marvel's cinematic universe, Captain America made his appearance as The First Avenger; that film proved to be a fine adventure and a fine introduction to the character, but the best had yet to come.  We got to see a decent sampling of Cap's heroics in Marvel's Avengers, but in the aftermath, the man would kick some serious butt in The Winter Soldier.

Captain America's second film in the Marvel franchise is pretty much a straightforward action film.  It starts off with a thrilling hostage crisis on a boat, which sets off a series of events that causes the characters to go on the run and fight against massive odds.  There are loads of great fight scenes, all fast-paced, hard-hitting, and choreographed with expert precision.  The stuntwork is a thing of beauty.  But that's not all; the film culminates with a fantastic climax involving a huge amount of mass destruction.

What really makes the film great, however, is the constant stream of peril the story dishes out.  It is a huge challenge that makes for a very thrilling plot (and will undoubtedly serve as a paradigm shift for whatever may happen in Avengers:  Age of Ultron).  In between the action and plot twists, the film does take its time to let the characters shine a little (and character conflicts make up the most relevant dynamic for the various conflicts involved).  Underneath it all, the film daringly underscores the threats of the modern world, so troubled by the loss of privacy and liberty through surveillance and technology.  It's a world where Captain America finds himself way out of his element, but that's also what makes him the perfect hero for this story, because it's only his old-fashioned down-to-Earth mindset that gives everybody a chance.  In the end, the film provides a relevant reflection on modern-day geopolitical issues, and the film hints at the scary notion that our world could be subverted.

All that being said, it's still not a foolproof story; there are many small parts that are hard to believe, and other parts that are simply glossed over (many parts where characters hop from one scene to the next without much explanation).  The movie flows fast because of these shortcuts, but the logos of it suffers a little.

This film sports some fine photography; it's very solid most of the time, but tends to get jittery during the action scenes.  Editing is not bad.  Actors do their best; Chris Evans is still apt as Captain America, and it is especially impressive seeing how physically demanding the fights must have been.  Scarlett Johansson is given quite a bit of screen time as the Black Widdow, which I personally welcome.  Everybody else does alright.  Writing is okay.  This production features lots of good, slick-looking sets, props, costumes, and special effects.  Music is okay too.

Despite a few minor plot holes and having some shakey camera work in the action scenes, the film is pure excitement, and still has room to breathe and make a few relevant points on the characters and their ongoing struggles.  As one of the better films in Marvel's repertoire, it comes casually recommended.

4/5 (Entertainment:  Very Good | Story:  Good | Film:  Good)

Film Review: Fight Club

"It's only after we've lost everything that we're free to do anything." - Brad Pitt

I am Jack's review of the movie Fight Club.  If you don't know what that means, it's just a small taste of how sardonic this whole film is.

At first, I assumed Fight Club was just a movie about a bunch of guys beating each other up.  From the moment it starts, however, it proves to be much more than that.  It's actually a very strangely neurotic and mesmerizing descent into a testosterone-fueled madness.  Actual fighting is limited; what you get instead is a storytelling experience that's so warped, it will challenge your perception of what is and isn't real in the film.  The film itself even gets warped, with such bizarre effects as having single frames of images mixed into random spots, and one frenetic scene where the negative appears to come undone.  Throw in some wild computer-generated modelling effects and some brisk editing, and the film becomes a highly stylized and entrancing experience.

The story is a real doozy.  It kicks off strong and hard, showcasing the insomniac protagonist and chronicling how he went from being an average office worker with everything into a deviant with nothing (and nothing to lose).  Things get thrilling when the actual fight club takes off and anarchy starts to spread, but the main focus is always on exploring the characters, and it all builds up to an unpredictable climax.  There is a massive plot twist in the mix, but it's one of those that holds up extremely well on repeat viewings (even though it can be a little hard to believe).  Characters shine really well, thanks to their nuanced performances, their sharp dialogue, their convoluted relationships, and the nature of the plot, which really makes us stop and think about what's going on in their heads.

There are a number of themes that can be extrapolated from this crazy story.  The most blatant messages concern anarchy, as the characters constantly criticize the modern consumerist culture and emphasize "letting go." Much of the story is really about them abandoning the common goals of wealth, success, or material things, and just being yourself.  There are moments where the film also seems to dig up deeper metaphysical questions and meaning, especially regarding morality and the perception of reality.

As noted above, the film has one heck of a style.  The camera work is very solid and good, while the editing tends to be very inventive and wild.  Acting is great; Edward Norton, Brad Pitt, and Helena Bonham Carter are effectively perfect in their roles.  Writing is awesome, and there are tons of great lines.  This production uses some very great and detailed-looking sets, props, costumes, and special effects.  Music by the Dust Brothers can be a bit nutty, but is mostly pretty awesome.

Fight Club is a movie with some serious attitude and style.  The experience of watching it is like going through that feeling of wooziness after being punched in the face, for it is that trippy.  I could say more, but the first and second rules of Fight Club forbid me...

5/5 (Experience:  Perfect | Story:  Perfect | Film:  Perfect)

Film Review: Lord of the Rings: Return of the King

After the last two Lord of the Rings films, the journey of so many heroes has come so far, and it all leads up to this.  Darkness falls upon all of Middle-Earth.  Huge armies of orcs march upon the kingdoms of men.  The One Ring comes closer to its evil master.  Could this be the end of the world, or the start of a new beginning?

This final chapter in the film series starts off with an incredibly moving sequence:  the heartbreaking tale of Gollum's origins.  From the on, it picks right back up where the last films left off, chronicling the journey of Frodo, Sam, and Gollum as they tread in dark and dangerous territory, combating orcs, one giant spider, and ultimately themselves as they approach the threshold of Mount Doom.  At the same time, the film presents some of the biggest and most epic scenes ever committed to film:  the Battle of Minas Tirith.  It is a huge spectacle that fills up the entire screen with thousands and thousands of orcs, men, war machines, lumbering beasts, Nazgûl, cavalry, massive elephants, and even ghosts.  It is a long struggle that fills up most of the movie's runtime, but it's always awe-inspiring.  As if that's not enough, the film then brings the battle to the gates of Mordor, for one grand climax.  Even in the calm before each battle, the film remains as captivating as its predecessors, thanks to its style and storytelling prowess.  If there's anything to truly complain about, it would be the lengthy denouement.  Overall, however, the experience of The Return of the King has never failed to invoke feelings of awe.

At this point, the characters of the film are well-established and intimately familiar, but the film does take its time to explore more of the familiar faces and elaborate on fresh new characters.  They all come together to contribute to the multiple conflicts, tying every strand of the plot to one epic climax; it's a sublime union that makes everything in the three movies relevant, and provides satisfying closure all around.  Many liberties are taken from the original novels, but for the big screen, it works to generate the best possible spectacle and make the plot work evenly.  Themes of war, corruption, addiction, good and evil, and adventure all prevail.

As before, this film is crafted with excellent photography and editing.  All the major players return and contribute fantastic performances in their respective roles (especially Viggo Mortensen, who stands out more in this film than before, but it is always a pleasure to watch Ian McKellen as Gandalf, along with the rest of the fellowship and all their allies).  Writing is superb.  This production boasts some excellent sets, props, and costumes.  Special effects are huge; at its time, it was most groundbreaking for generating the biggest armies ever seen on screen all at once.  Despite aging a bit, the effects are still impressive.  Howard Shore's music score is as masterful as ever.

Return of the King delivers the best possible payoff for the Lord of the Rings trilogy (and it might even outshine the Hobbit saga in the end).  Not only does it boast some of the biggest battles, but it is also a film with power and beauty.  It has cemented itself as one of my all-time favorites (was my number-one favorite for quite a few years), and the Lord of the Rings saga overall remains one of the most sublime marriages between spectacle, storytelling, and style.

If you watch the Extended Edition of this film, you will be treated to about an hour of bonus scenes, which offers a lot of excellent substance.  Among the additions, there are longer battle scenes, a scene showing the fate of Saruman and Wormtongue, an extended encounter with the Army of the Dead, a parley with the Mouth of Sauron, and more.  I think most of these scenes are really awesome, and this version of the film is definitely worth seeing.

5/5 (Experience:  Perfect | Story:  Perfect | Film:  Perfect)

Film Review: Lord of the Rings: The Two Towers

In The Fellowship of the Ring, the film saga of the Lord of the Rings was kicked-off in an endearing and faithful way.  It meticulously established the groundwork for a cast of iconic heroes, settings with palpable folklore, and a grand journey that would stagger the imagination.  The adventure continues in The Two Towers, with all the same flair and attention to detail that was established before.  Only now, it's a return to familiar territory, and the film uses every opportunity to expand the narrative and present an even stronger fantasy experience.

Picking up where the first film let off, The Two Towers wastes no time in tracking each character's tangent and showing what happens next.  The film's opening, showing Gandalf confronting the monstrous Balrog, is an awe-inspiring sight as it is.  Then we continue to follow Frodo and Sam on their quest to Mordor, and it is touch-and-go for them as they evade enemy forces and consort with the villainous Gollum.  At the same time, the film tracks Aragorn, Legolas, and Gimli as they trek into Rohan, to inevitably confront the threat of orc invasion head-on.  All these plot threads build up to a magnificent climax, including the Battle of Helm's Deep (a lengthy and awesome siege), the marching of the Ents (an imaginative and inspiring sequence), and the skirmishes of Osgiliath (providing the emotional climax to accentuate the action).  It is a consistently engaging film with plenty of awesome spectacle.

The story branches off into multiple directions with quite a lot of characters.  You'd think it would be hard to keep track of everything (a complaint that made Cloud Atlas so inaccessible to audiences), but this film somehow manages to juggle everything perfectly, giving each tangent just enough time so that it never fades far from memory.  It's easy to keep track of the characters and their movements across Middle-Earth, even with the addition of new characters, taut political drama, and even more folklore thrown in.  The characters remain as endearing as ever, and the plot is manipulated with expert precision.  Tolkein purists may be quick to point out the changes from the source material, which become more numerous in this film than in its predecessor, but the basics of the story remain intact.  Most changes are made to accommodate the story's events across the three films in the most presentable way.  While the film continues to utilize the classic epic-journey plot structure, it digs up some relevant themes concerning war, industrialization, and courage throughout.

As before, the film is crafted expertly, with excellent photography and editing.  Acting continues to impress from the whole cast; Ian McKellen, Viggo Mortensen, Elijah Wood, Sean Austin, Dominic Monaghan, Billy Boyd, Orlando Bloom, John Rhyes-Davies, Hugo Weaving, Christopher Lee, Liv Tyler, and Cate Blanchett all continue to inhabit their characters aptly.  Andy Serkis steals the spotlight, while Karl Urban, David Wenham, Brad Dourif, Bernard Hill, and Miranda Otto offer welcome additions to the cast.  The writing is great.  Locales are beautiful.  This production continues to use top-notch sets, props, costumes, and special effects.  Howard Shore's music score is still impressively magnificent.

The Two Towers is a thrilling continuation of the events laid forth in The Fellowship of the Ring, and it builds up to one impressive climax.  It's still a great story told with great style, and with good attention to depth and detail.  As strong of an experience as it is, it's still only building up to an even grander experience...

The Extended Cut of this film includes about 45 minutes of new scenes.  Some of it includes extended action and battle scenes, which are cool.  There's also a great flashback scene involving Faramir and Boromir.  There are also a bunch of really neat smaller scenes, many of which adapt specific scenes from the book, or offer more to the characters.  It is a really cool cut of the movie that's well worth seeing.

5/5 (Entertainment:  Perfect | Story:  Perfect | Film:  Perfect)

Film Review: Lord of the Rings: The Fellowship of the Ring

Fantasy fiction has always had an entrancing power, weaving elements of myth, magic, and folklore to tell grand stories that can stagger the imagination in ways other genres cannot.  In novels, there is no limit to what imaginative worlds a writer can conjure, but in films it's never been an easy translation.  For J.R.R. Tolkein's classic and influential Lord of the Rings trilogy, a big-screen adaptation was long considered unfeasible; even master filmmakers like Stanley Kubrick considered it "un-filmable." From the 1990s onward, with the advent of advanced special effects and better film-making tools, a director from New Zealand took up the challenge of creating the Lord of the Rings on film.  The end product was a trio of truly epic, spellbinding films, the likes of which hadn't been seen since Fritz Lang's adaptation of Die Nibelungen.

In the first act of this sprawling trilogy, we are immediately thrust into the lore of Middle-Earth, in a visually dazzling montage of scenes that brings us up to speed on the history of the One Ring.  This prologue sequence is epic as it is, but the film moves on pretty briskly, introducing all the characters one-by-one and setting them off on an adventure.  The fellowship is made to outrun peril at every turn, confronting wicked Black Riders, goblins, powerful orcs, dark magic, and even each other.  Among the film's highlights, there's plenty of sword-swinging action, scenes of magic and whimsey, and breathtaking landscapes.  My favorite sequence has always been the Mines of Moria, which is like a live-action dungeon-crawler, complete with myriads of orcs and huge monsters.  Even in between the action and effects-driven scenes, the film is consistently entertaining thanks to its style, its quick-draw editing, and its focus on storytelling and characters.

The film takes its liberties from the source material when it has to, but it is still pretty close to the original book.  The film goes to great lengths to keep as much of Tolkein's work intact as it can, including the finer details of the locations, history, and folklore.  Changes are mostly minor, and serve to fit the narrative into the film's three-hour runtime.  The basic plot adheres to the original novel pretty closely, and all the key characters are properly represented.  And it is a timeless story, utilizing the classic conventions of the epic journey to bring the characters from one dazzling encounter to another; very much the same manner of storytelling that made other classics like The Wizard of Oz so compelling.  With Lord of the Rings, however, each encounter is a deep exploration of the Middle-Earth, and the film succeeds in submersing the audience in all its splendor.  At the same time, the saga kicks off the end-all-be-all War of the Ring, which mirrors Tolkein's own observations of WWI and WWII, and is as much of a prevailing conflict on-screen as it is in the novels.  Throughout the film, each character is given a chance to shine.  There are also subtle traces of themes that prevail, concerning adventure, courage, and good-vs-evil.

This film is crafted with excellent photography.  A few shots are cheaply-cut, but otherwise, most of the editing is great.  Acting is effectively perfect from the whole cast; Ian McKellen and Viggo Mortensen embody their characters so well that they became iconic as Gandalf and Aragorn respectively.  Performances by Elijah Wood, Sean Austin, Dominic Monaghan, Billy Boyd, Orlando Bloom, John Rhyes-Davies, Hugo Weaving, Christopher Lee, Cate Blanchett, and Sean Bean are all really admirable as well.  I also have a soft spot for Liv Tyler.  Filmmakers went to great lengths to make everything look and feel real, including gorgeous locales, and a plethora of well-crafted sets, props, and costumes.  Special effects show their age, but are still ambitious and wonderful to behold.  Howard Shore's music score is one of the most beautiful compositions ever made for a film.

The first time I watched The Fellowship of the Ring, I realized for the first time that this film embodied everything I ever wanted in films:  the perfect marriage of entertainment, storytelling, and craftsmanship.  It is a bold picture at times, but also an elegant one.  Even though the sequels would have even grander spectacles to behold, this first film has its fair share of adventure, and it is quite the moving picture.  All three films should be seen at least once in sequence, but one couldn't ask for a finer start to such an ambitious series.

On home video, the Extended Cut of this film includes about a half-an-hour of extra scenes, many of which focus on events that would be relevant in The Return of the King.  There are more scenes involving Gollum, and the sequence in Lothlórien is longer.  I think this version has a better opening, showing more of Bilbo and the Shire.  These are all pretty interesting scenes worth seeing.

5/5 (Entertainment:  Perfect | Story:  Perfect | Film:  Perfect)