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With
The Return of the King, the greatest fantasy epic in film history draws to a grand and glorious conclusion. Director Peter Jackson's awe-inspiring adaptation of the Tolkien classic
The Lord of the Rings could never fully satisfy those who remain exclusively loyal to Tolkien's expansive literature, but as a showcase for physical and technical craftsmanship it is unsurpassed in pure scale and ambition, setting milestone after cinematic milestone as the brave yet charmingly innocent Hobbit Frodo (Elijah Wood) continues his mission to Mordor, where he is destined to destroy the soul-corrupting One Ring of Power in the molten lava of Mount Doom. While the heir to the kingdom of Men, Aragorn (Viggo Mortensen), endures the massive battle at Minas Tirith with the allegiance of the elf Legolas (Orlando Bloom), dwarf Gimli (John Rhys-Davies) and the great wizard Gandalf (Ian McKellen), Frodo and stalwart companion Samwise Gamgee (Sean Astin) must survive the schizoid deceptions of Gollum, who remains utterly convincing as a hybrid of performance (by Andy Serkis) and subtly nuanced computer animation.
Jackson and cowriters Fran Walsh and Philippa Boyens have much ground to cover; that they do so with intense pacing and epic sweep is impressive enough, but by investing greater depth and consequence in the actions of fellow Hobbits Merry (Dominic Monaghan) and Pippin (Billy Boyd), they ensure that Return of the King maintains the trilogy's emphasis on intimate fellowship. While several major characters appear only briefly, and one (Christopher Lee's evil wizard, Saruman) relegated entirely to the extended version on DVD, Jackson is to be commended for his editorial acumen; like Legolas the archer, his aim as a filmmaker is consistently true, and he remains faithful to Tolkien's overall vision. If Return suffers from too many endings, as some critic suggested, it's only because the epic's conclusion is so loyally inclusive of the actors--most notably Astin--who gave it such strength to begin with. By ending the LOTR trilogy with noble integrity and faith in the power of imaginative storytelling, The Return of the King, like its predecessors, will stand as an adventure for the ages. --Jeff Shannon
From The New Yorker
The final act of Tolkien's saga. Many hours after Gandalf (Ian McKellen) showed up in the Shire and arranged for the transportation of a significant piece of personal jewelry, Frodo Baggins (Elijah Wood) staggers to the brink of Mount Doom and prepares, if he can muster the will, to cast the One Ring into the flames. By any standard, it has been an exhaustively splendid trip, crammed at once with private anxiety and lofty overviews of public strife. In this last installment, we are privileged witnesses not just to the Ringbearer's quest but also to a furious pitching of battles, as an ocean of orcs beats against the shining walls of Minas Tirith. The old gang-Legolas (Orlando Bloom), Gimli (John Rhys-Davies), and Aragorn (Viggo Mortensen)-is on hand to save the day and, by implication, the future of a civilization. The director, Peter Jackson, loyal as ever to the original book, has inherited a serious case of anticlimax; he is no more capable than Tolkien of finding a pastoral peace, at the close, that can match the energy of his war. Nevertheless, there should be enough here to dazzle the doubters; will Jackson have the nerve to remix his work, in all its majesty, and release a ten-hour marathon next year? -Anthony Lane
Copyright © 2006 The New Yorker