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Editorial Reviews
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The extended edition of The Lord of the Rings: The Two Towers adds 43 minutes to the theatrical version's 179-minute running time, and there are significant, valuable additions to the film. Two new scenes might appease those who feel that the characterization of Faramir was the film's most egregious departure from the book, and fans will appreciate an appearance of the Huorns at Helm's Deep plus a nod to the absence of Tom Bombadil. Seeing a little more interplay between the gorgeous Eowyn and Aragorn is welcome, as is a grim introduction to Eomer and Theoden's son. And among the many other additions, there's an extended epilogue that might not have worked in the theater, but is more effective here in setting up The Return of the King. While the 30 minutes added to The Fellowship of the Ring felt just right in enriching the film, the extra footage in The Two Towers at times seems a bit extraneous--we see moments that in the theatrical version we had been told about, and some fleshed-out conversations and incidents are rather minor. But director Peter Jackson's vision of J.R.R. Tolkien's world is so marvelous that it's hard to complain about any extra time we can spend there. The first two installments of Peter Jackson's trilogy have established themselves as the best fantasy films of all time, and among the best film trilogies of all time, and their extended editions have set a new standard for expanding on the already-epic films. --David Horiuchi
From The New Yorker
If Peter Jackson's movie were to map every detail of the Master's work, the result would be three years long. In the event, he's crunched and tidied Tolkien's second book into an easily digestible three hours. We get flying dragons, a breathless opening sequence in which Gandalf (Ian McKellen) plummets down a belching abyss, and Shadowfax, a flawless white horse who will gallop in from nowhere, though only in slow-motion. Then there is Gollum, as white-skinned and blue-veined as moldering cheese, a character who gives the movie a chance for psychological inquiry-the one thing it doesn't require. One of the restrictions and pleasures of an epic is that it both predates and outwits psychology. In addition, Gollum was forged on a computer, and his creators are so pleased with their baby that they can't help showing him off. This is a pity, and we may have to accept that, for those fooling around with brand-new technologies, the toys are simply too much fun. What allows Jackson to truly animate his pictures, even as they threaten to founder in fantastical gothic, is his knack for the telling gesture. And, when Gandalf arrives with reinforcements near the film's climax, the spirit of triumphant rampage is something rarely glimpsed since the days of Olivier and "Henry V." With Orlando Bloom, providing the movie's wildest cheers as the blond-tressed elf Legolas. -Anthony Lane
Copyright © 2006 The New Yorker
The extended edition of The Lord of the Rings: The Two Towers adds 43 minutes to the theatrical version's 179-minute running time, and there are significant, valuable additions to the film. Two new scenes might appease those who feel that the characterization of Faramir was the film's most egregious departure from the book, and fans will appreciate an appearance of the Huorns at Helm's Deep plus a nod to the absence of Tom Bombadil. Seeing a little more interplay between the gorgeous Eowyn and Aragorn is welcome, as is a grim introduction to Eomer and Theoden's son. And among the many other additions, there's an extended epilogue that might not have worked in the theater, but is more effective here in setting up The Return of the King. While the 30 minutes added to The Fellowship of the Ring felt just right in enriching the film, the extra footage in The Two Towers at times seems a bit extraneous--we see moments that in the theatrical version we had been told about, and some fleshed-out conversations and incidents are rather minor. But director Peter Jackson's vision of J.R.R. Tolkien's world is so marvelous that it's hard to complain about any extra time we can spend there. The first two installments of Peter Jackson's trilogy have established themselves as the best fantasy films of all time, and among the best film trilogies of all time, and their extended editions have set a new standard for expanding on the already-epic films. --David Horiuchi
From The New Yorker
If Peter Jackson's movie were to map every detail of the Master's work, the result would be three years long. In the event, he's crunched and tidied Tolkien's second book into an easily digestible three hours. We get flying dragons, a breathless opening sequence in which Gandalf (Ian McKellen) plummets down a belching abyss, and Shadowfax, a flawless white horse who will gallop in from nowhere, though only in slow-motion. Then there is Gollum, as white-skinned and blue-veined as moldering cheese, a character who gives the movie a chance for psychological inquiry-the one thing it doesn't require. One of the restrictions and pleasures of an epic is that it both predates and outwits psychology. In addition, Gollum was forged on a computer, and his creators are so pleased with their baby that they can't help showing him off. This is a pity, and we may have to accept that, for those fooling around with brand-new technologies, the toys are simply too much fun. What allows Jackson to truly animate his pictures, even as they threaten to founder in fantastical gothic, is his knack for the telling gesture. And, when Gandalf arrives with reinforcements near the film's climax, the spirit of triumphant rampage is something rarely glimpsed since the days of Olivier and "Henry V." With Orlando Bloom, providing the movie's wildest cheers as the blond-tressed elf Legolas. -Anthony Lane
Copyright © 2006 The New Yorker
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