Release Date: May 25th, 1979 Directed by: David Cronenberg Written by: David Cronenberg Music by: Howard Shore Cast: Oliver Reed, Samantha Eggar, Art Hindle
Mutual Productions, Elgin International Films, Canadian Film Development Corporation, New World Pictures, 92 Minutes
Review:
“They’re her children. More exactly, they’re the children of her rage.” – Dr. Hal Raglan
The Brood is one of my favorite David Cronenberg movies and the one where I think everything really clicked for him, as a director.
Man, the atmosphere is thick in this movie. Honestly, the picture just broods over you, as you watch it and while that pun is slightly intended, I don’t think that effect was specifically intended by Cronenberg. He just created such a gripping thriller that’s ridiculously creepy to the point that it sort of squeezes you, as the plot unfolds with dark twists and reveals that get increasingly more fucked up as the plot progresses to its insane and powerful finale.
The story is bizarre, batshit crazy and really takes body horror to a level that is distinctly Cronenberg but in 1979, had to simply shock the living hell out of moviegoers.
The picture also features a really creepy, facially deformed, killer kid. However, you then learn that there’s a few more… and eventually, a lot more.
It’s kind of hard to summarize the plot, but there’s this woo woo “scientist” and his cult-like therapy compound. The methods this guy uses leads to the horrors in the film and the physiological changes to the once normal mother of these mutant demon babies.
The film also features one of my favorite Oliver Reed performances. Admittedly, I think that Reed is always stupendous but he nails this role, is convincing as hell and despite his evils, you kind of want to see him survive the threat of the evil, rage-filled children.
I also thought that Samantha Eggar was so fucking good, especially when the big reveal happens. She was chilling, scary and like Reed, convincing.
David Cronenberg reached new heights, creatively speaking, with this motion picture. For film and especially horror aficionados, this was a great thing, as we’d get Scanners, Videodrome and The Fly remake in the coming years.
Release Date: September 26th, 2006 (New York City premiere) Directed by: Martin Scorsese Written by: William Monahan Based on:Infernal Affairs by Alan Mak, Felix Chong Music by: Howard Shore Cast: Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Ray Winstone, Vera Farmiga, Alec Baldwin, Anthony Anderson, Kevin Corrigan, Mark Rolston, Robert Wahlberg
Media Asia Films, Vertigo Entertainment, Initial Entertainment Group, Plan B Entertainment, Warner Bros., 151 Minutes
Review:
“My theory on Feds is that they’re like mushrooms, feed ’em shit and keep ’em in the dark” – Dignam
I probably would’ve enjoyed this movie a lot more had I not seen the Hong Kong film Infernal Affairs first. Reason being, this is an American remake of that film and frankly, it’s nowhere near as good but I’ll explain why.
To start, the acting is superb as fuck and really, that should go without saying if you look over the cast list. And really, I think that’s the one part of this film that possibly exceeds the original. DiCaprio is solid. Damon is solid. Nicholson is solid. Frankly, so is everyone else and there isn’t really a weak link in this chain of talent.
I think that for the lesser known actors and those with smaller parts, working with these other legends really helped them rise to the occasion. But some credit for that obviously has to go to Martin Scorsese’s direction. Scorsese, time and time again, always pulls the very best out of his actors from top-to-bottom in every production.
But this doesn’t discredit the acting in the Hong Kong film, which was also top notch and pretty damn close to this one even with the language barrier and having to experience it through subtitles.
One thing I’m not super keen on about this version is that it feels like the least Martin Scorsese film that the man has ever made… or, at least, that I’ve seen. It’s like Scorsese really wanted to replicate the tone and style of the original and while he did a fine job in replicating it, it sort of loses his patented touch. I would’ve rather seen him really take this story and make it his own.
Speaking of the story, I found this harder to follow than its source material. The Hong Kong film developed the characters better, especially the backstories. This movie lacked a lot of the extra context we got in the original between the Jack Nicholson and Matt Damon characters. I think that context was pretty important and maybe those scenes were filmed but ended up on the cutting room floor.
What’s strange is that this movie is a whopping fifty minutes longer… fifty! Yet it feels like it has less story and the story that is present is a bit complicated. I feel like they tried to add extra layers into this where they didn’t need to be. While I don’t remember every detail of Infernal Affairs, as it’s been four years since I’ve seen it, but it did feel more streamlined and focused in spite of all the characters it had to balance.
It may seem like I’m shitting on The Departed but I don’t mean to. It’s just that I found a lot more value in the original.
This is still a damn engaging movie with characters you like, even the bad ones. It mostly moves at a brisk pace and as I’ve already stated, it’s a movie that’s greatly enhanced by its performances.
It was kind of cool seeing guys like DiCaprio, Nicholson and Damon come together in the same picture. It truly feels like a once-in-a-lifetime team-up and these guys worked together wonderfully.
Release Date: January 30th, 1991 (New York City premiere) Directed by: Jonathan Demme Written by: Ted Tally Based on:The Silence of the Lambs by Thomas Harris Music by: Howard Shore Cast: Jodie Foster, Anthony Hopkins, Kasi Lemmons, Scott Glenn, Ted Levine, Frankie Faison, Tracey Walter, Charles Napier, Roger Corman, Chris Isaak, Harry Northup, Daniel von Bargen, George A. Romero (uncredited)
“A census taker once tried to test me. I ate his liver with some fava beans and a nice chianti.” – Hannibal Lecter
My memories of this film are as great as they could possibly be but after seeing this again, the first time in many years, I was still surprised by just how perfect it is. There are very few motion pictures that deliver so much and at such a high level that seeing this was incredibly refreshing and left me smiling from ear-to-ear, regardless of the dark, fucked up story.
That being said, as great as both Jodie Foster and Anthony Hopkins are as actors, I have a hard time thinking of anything else they were better in.
Sure, they’ve both had other legendary performances but man, they brought their best to this picture like their entire lives counted on it being a success. Plus, their chemistry is incredibly uncanny that in spite of knowing what Hannibal is, at his core, you almost kind of root for them in a sort of awkward, fucked up, romantic way.
I can understand why Jodie Foster didn’t want to return to the role with Hannibal, a sequel that took too long to come out, but I really would’ve liked to see this version of the characters come together again because the strange connection that they share deserved more exploration.
It would’ve been hard to live up to this masterpiece of a film, though, but I’ll save my added thoughts on Hannibal for that review in about a week.
Anyway, it wasn’t just Foster and Hopkins that were great. This film’s entire cast was perfect and this enchanting nightmare just sucks you in and doesn’t release its grip till well after the credits are over. This movie just lingers with you and a big part of that was the performances of every actor.
Credit for that also has to go to Jonathan Demme, who, as director, was able to pull the best out of this stupendous cast from the smallest role to the most iconic and pivotal.
Additionally, he really displayed his mastery of his craft in this like no other movie he’s directed. The tone, the atmosphere and the sound were perfect. This boasts some incredible cinematography, masterful shot framing, exceptional lighting and Demme employs some really interesting and cool techniques. The best being used in the finale, which sees Foster’s Clarice, terrified out of her mind, as she hunts the film’s serial killer, seen through the point-of-view of his night vision goggles, as he carefully stalks her through a pitch black labyrinthine basement.
That finale sequence in the house is absolutely nerve-racking, even if you’ve seen this film a dozen times. The tension, the suspense, it’s almost too much to handle and that’s the point in the film where you really come to understand how perfect this carefully woven tapestry is.
Plus, it really shows how complex Clarice is as a character. She’s brave as fuck but alone, up against a monster like Buffalo Bill, her senses and her primal fear overwhelm her. However, she still snaps out of it just quick enough to put him down, perfectly and exactingly. Foster is so damn good in this sequence too, that you truly feel yourself in her shoes.
Speaking of Buffalo Bill, Ted Levine was amazing in this role. Man, that guy committed to the bit so much that it’s impossible not to appreciate what he brought to the film. It could’ve been really easy to have been overshadowed by Foster and Hopkins but this guy rose to the occasion with them and excelled in this performance.
My favorite sequence in the film, after the finale, is the one where Hannibal Lecter escapes imprisonment. This is where you finally see how cold and vile he can be. It also shows you how damn smart he is at outwitting those who tried to cage this lion but took that cage’s security for granted. He exposes the flaws in their overconfidence and careful planning and leaves this story a free man, out and about in the world.
The Silence of the Lambs was an unexpected runaway hit and it’s easy to see why. I always thought that it was funny that this was released on Valentine’s Day, as it must have shocked many casual moviegoers just looking for a film to see on a date where they just wanted to smooch their lover. It makes me wonder how many married couples saw this on their first date.
Rating: 10/10 Pairs well with: the other Hannibal Lecter films.
Release Date: September 3rd, 1997 (New York City premiere) Directed by: David Fincher Written by: John Brancato, Michael Ferris Music by: Howard Shore Cast: Michael Douglas, Sean Penn, James Rebhorn, Deborah Kara Unger, Peter Donat, Carroll Baker, Armin Mueller-Stahl, Anna Katarina, Mark Boone Junior, Tommy Flanagan, Spike Jonze, Daniel Schorr (cameo)
“They just fuck you and they fuck you and they fuck you, and then just when you think it’s all over, that’s when the real fucking starts!” – Conrad
I don’t think that I’ve seen this since the theater but I remembered really liking the hell out of in the ’90s and I had always meant to revisit it because Fincher’s other two ’90s films (not named Alien 3) were pretty much masterpieces.
This one doesn’t live up to the quality and iconic status of Se7en and Fight Club but it is a good filling within the ’90s Fincher cinematic sandwich.
The big selling point for me, at least when this came out, was that it starred Michael Douglas and Sean Penn. The thought of seeing those two great actors together made this picture a “must see” for me. Plus, the trailer intrigued me.
For the most part, this is a thrilling ride where you don’t really see what’s coming and how deep this “game” will go. It gets bigger and more complex with each twist in the plot and it’s a lot of fun, seeing it play out.
The problem with the film, though, is knowing that it’s just a game. Granted, the movie does its damnedest to make you question that and it really pushes the bar in pushing Michael Douglas’ Nicholas over the edge. However, I thought that the big reveal was really obvious, even before I knew the ending. In fact, I thought it was obvious from the trailer but I still was captivated enough to see how far the story would push things.
Overall, the plot doesn’t disappoint but being that so many things are so over the top and elaborate, the picture leaves me with more questions than answers. It would’ve been cool to see how all of this was pulled off but you don’t really get that and just have to accept that this is just the work of powerful pranksters with unlimited funding.
From a visual standpoint, the movie looks good and I’d say it’s less stylized than Fincher’s other movies. I’m not sure if he felt like he needed to be more reserved in that regard or of it was the work of the producers. But out of all Fincher’s movies, this one is the least Fincher-esque, as far as the cinematography goes.
As should be expected, it’s a picture that is superbly acted and the leads are truly great, here.
In the end, this is still fun to watch, even after knowing what the ending would be. As I stated earlier, I knew it was just going to be a game beforehand but that doesn’t make it a bad thriller. The big thrills still work and this is an intense movie that still packs a punch.
Rating: 8/10 Pairs well with: other David Fincher films of the ’90s that aren’t Alien 3.
Also known as: Seven (alternative spelling), The Seven Deadly Sins (working title) Release Date: September 15th, 1995 (New York City premiere) Directed by: David Fincher Written by: Andrew Kevin Walker Music by: Howard Shore Cast: Brad Pitt, Morgan Freeman, Gwyneth Paltrow, Kevin Spacey, John C. McGinley, R. Lee Ermey, Richard Roundtree, Richard Schiff, Mark Boone Junior, Michael Massee, Leland Orser, Hawthorne James, Reg E. Cathey, Charles S. Dutton (uncredited)
Cecchi Gori Pictures, Juno Pix, New Line Cinema, 127 Minutes
Review:
“Wanting people to listen, you can’t just tap them on the shoulder anymore. You have to hit them with a sledgehammer, and then you’ll notice you’ve got their strict attention.” – John Doe
I was blown away by this movie when I first saw it, back in the ’90s. I would watch it pretty regularly for about ten years. However, it’s been at least a decade since I’ve seen it and even though I knew I loved it, I somehow underestimated it and forgot how great it actually is.
Fincher made a solid trio of movies in a row in the mid-to-late ’90s between this, The Game and what I consider his magnum opus, Fight Club. Being that I still hadn’t reviewed these films, I figured I’d start with the first.
Fincher had a very distinct look with his movies and while it might not appear distinct and unique nowadays, that’s because a lot of less capable directors came in and stole his aesthetic. But imitation is the sincerest form of flattery, as they say. I would also add that theft is the weakest form of creativity but if you’re going to steal, steal from the greats.
While I’m not a massive Fincher fan, his later ’90s work is pretty fucking exceptional.
Se7en is well acted, well directed, looks incredible and features a story so dark, fucked up and mesmerizing that it’s hard to turn away from the screen, even if you’ve seen the movie a dozen times.
This motion picture is the result of having all the right people from top-to-bottom, behind and in front of the camera. As far as the actors go, they all played their parts perfectly. They felt like real people in a real situation. The relationships between the characters come across as genuine. I loved that the new partners were at odds with one another but knew they had a job to do in spite of their personal issues and differences in their approach to police work and their philosophies on the universe and our place in it.
The score by Howard Shore is one of the composer’s best and when you really look at his body of work, this included, he’s such a versatile composer that it’s sometimes hard to tell that you’re listening to his music. It’s always good but it never takes over a film and just blends in with it, accenting it in a great way.
Additionally, the songs used throughout the film are great, especially the tracks that were used by David Bowie and Nine Inch Nails, as they both fit absolutely perfectly within this picture’s atmosphere.
There’s nothing bad I can really say about this film. My only really gripe is that I’m not a huge fan of the ending. But I’m a traditionalist that doesn’t want the bad guy to win. While he meets his demise, his plan is executed to perfection and while I knew that Brad Pitt’s character was flawed by his emotions and idealism, there’s still that part of me that wishes he would’ve been stronger. Granted, I’ve never had my wife’s head put into a box. Also, this came out in the edge lord ’90s.
Rating: 9.5/10 Pairs well with: David Fincher’s other ’90s films not named Alien 3.
Also known as: Lies (script title), A Night In Soho (working title) Release Date: September 11th, 1985 (New York City premiere) Directed by: Martin Scorsese Written by: Joseph Minion, Joe Frank Music by: Howard Shore Cast: Griffin Dunne, Rosanna Arquette, Verna Bloom, Thomas Chong, Linda Fiorentino, Teri Garr, John Heard, Cheech Marin, Catherine O’Hara, Dick Miller, Will Patton, Bronson Pinchot, Martin Scorsese (cameo)
Double Play, The Geffen Company, 97 Minutes
Review:
“Oh, come on, let’s go find my statue, man. It’s got to be around here someplace. That makes me sick. You know, that statue is the first thing in my life that I ever bought! See what happens when you pay for stuff! Somebody rips it off.” – Neil
How have I never seen this film until now?
While this has been in my queue for quite awhile, I only really heard about it a few years ago. And honestly, that’s kind of unfortunate, as after seeing it, it’s now become one of my all-time favorite Martin Scorsese films.
I think it was forgotten due to it being a straight up comedy, as opposed to his more popular crime films, many of which have received a sort of legendary status as the years have rolled on. However, in its own way, After Hours is just as great and deserves more recognition than it receives.
To start, I’ve always really liked Griffin Dunne since first seeing him as a kid in John Landis’ ’80s horror classic, An American Werewolf In London. Apart from that film, I’ve liked him in everything I’ve seen him in, as he has real charisma and he’s just really damn likable. Taking him and throwing him into this “yuppie in peril” comedy story, just enhances the film greatly in a way that would’ve been hard to achieve with just about anyone else. Dunne is simply perfect as this character.
This is also a big ensemble piece, as the story has so many great characters that weave in and out. It’s well cast from top-to-bottom, however, and there really isn’t anyone that doesn’t pull their weight and give something great to the film.
The story is about Dunne’s Paul, who meets a girl, goes off to see her in Soho and ends up having a series of mishaps that balloon out of control to the point that they would make Larry David jealous. The film slowly escalates but it does so really well, as you eventually get to a point where things are completely bonkers. However, within the rules of this film, which evolve with the story, everything works well and there’s a real magical, charming quality about the movie.
I could see where the finale might be a bit much but I thought it was perfect and brought everything full circle in a rather poetic way.
I don’t want to say too much about the plot as this is probably best enjoyed not knowing much about the details. In fact, even though I always post a trailer at the end of my reviews, if you’ve never seen this, I’d skip the trailer and go into this film completely blind, as I did.
Rating: 9.25/10 Pairs well with: other “yuppie in peril” movies, specifically comedies and from the ’80s.
Release Date: February 4th, 1983 Directed by: David Cronenberg Written by: David Cronenberg Music by: Howard Shore Cast: James Woods, Sonja Smits, Deborah Harry, Peter Dvorsky, Les Carlson, Jack Creley, Lynne Gorman
Filmplan International, Guardian Trust Company, Canadian Film Development Corporation, Universal Pictures, 87 Minutes, 89 Minutes (uncut)
Review:
“The battle for the mind of North America will be fought in the video arena: the Videodrome. The television screen is the retina of the mind’s eye. Therefore, the television screen is part of the physical structure of the brain. Therefore, whatever appears on the television screen emerges as raw experience for those who watch it. Therefore, television is reality, and reality is less than television.” – Brian O’Blivion
Some movies can be batshit crazy but then there are a select few that go beyond that. Videodrome is one of these films, as it is a complete and absolute mindfuck.
This is also a David Cronenberg film from his early days, so intense, disturbing body horror should be expected and in that regard, this movie does not disappoint and it boasts some incredible special effects even though the film had a fairly scant budget.
Overall, this and The Fly are just about tied for being my favorite Cronenberg film. However, this one takes a slight edge, simply because its contents have stuck with me more over the years. At an early age, it penetrated my psyche and it’s roamed around in my head ever since. Maybe I have one of those Videodrome caused brain tumors and it’s just been growing very slowly for decades?
Anyway, the plot of the film follows a television producer who is always on the hunt for fucked up content to air on his cable channel. This was made during the early days of cable and like the early days of the Internet, shit was like the Wild West. This also takes place in Canada, so I’m not sure what restrictions they had, as they weren’t under the rule of the FCC like cable channels in the United States.
On his quest to find fucked up content, the exec is introduced to a show called Videodrome. The show is devoid of plot and doesn’t seem to have much purpose other than being torture porn for some sickos that want to watch captive people go through horrific physical pain.
We do find out that there is a big conspiracy afoot and that the creators behind the show have a sinister agenda. It is up to this exec to try and stop them but his exposure to the show creates strange changes in his mind and body. It’s hard to decipher what is real and what is a hallucination and ultimately, it is never really clear and it makes the movie one hell of a crazy ride.
The linchpin that holds all of this together is James Woods, who plays the exec. His performance is convincing, authentic and so believable that you don’t find yourself questioning the insane developments within the film. You just go along with him on his personal, unique trip through sensory hell.
Cronenberg did a stupendous job in creating a world that feels both foreign and familiar. But beyond that, the mastery of the special effects he employed and dreamed up is uncanny and impressive. The melting, morphing television scene is still one of the greatest effects sequences I’ve ever seen on film. Even knowing as much as I do about practical effects, it’s a moment that still baffles me and I almost don’t want to know the magic trick.
Videodrome is a classic and a real gem of its era. It achieved cult status and deservedly so. However, I feel like it’s now being lost to the sands of time, as younger generations don’t seem to care about anything predating the Marvel Cinematic Universe.
The world is currently in a sad state in regards to mainstream art and this film just reminds me of a time when filmmakers overcame challenges, didn’t give a fuck about the censors or the Hollywood system and just made whatever the fuck they wanted to make.
Videodrome makes me yearn for a long overdue filmmaking renaissance.
Rating: 9.25/10 Pairs well with: other David Cronenberg films of the ’70s and ’80s.
Release Date: December 1st, 2003 (Wellington, New Zealand premiere) Directed by: Peter Jackson Written by: Fran Walsh, Philippa Boyens, Peter Jackson Based on:The Return of the King by J.R.R. Tolkien Music by: Howard Shore Cast: Elijah Wood, Ian McKellen, Liv Tyler, Viggo Mortensen, Sean Astin, Cate Blanchett, John Rhys-Davies, Billy Boyd, Dominic Monaghan, Orlando Bloom, Hugo Weaving, Andy Serkis, David Wenham, Karl Urban, Miranda Otto, Bernard Hill, Ian Holm, Christopher Lee (Extended Edition only), Brad Dourif (Extended Edition only), Bruce Spence (Extended Edition only), Sean Bean (Extended Edition only)
New Line Cinema, WingNut Films, The Saul Zaentz Company, 201 Minutes, 254 Minutes (DVD Extended Edition), 263 Minutes (Blu-ray Extended Edition), 192 Minutes (DVD Widescreen Edition)
Review:
“Hold your ground, hold your ground! Sons of Gondor, of Rohan, my brothers! I see in your eyes the same fear that would take the heart of me. A day may come when the courage of men fails, when we forsake our friends and break all bonds of fellowship, but it is not this day. An hour of wolves and shattered shields, when the age of men comes crashing down! But it is not this day! This day we fight! By all that you hold dear on this good Earth, I bid you stand, Men of the West!” – Aragorn
Having taken a break from seeing this for several years helped me look at this film, and the two before it, much more objectively. I loved this film when it came out and I watched the Extended Editions of all three films almost monthly for a few years. But I actually haven’t seen this now since before the first Hobbit movie came out in 2012.
My biggest takeaway from seeing it now is that this is a perfect film, at least in the form of the Extended Edition. There’s nothing I would change, add or take away from it. It is a great adaptation that took a few liberties but all those liberties worked and made this a richer story in a cinematic sense.
The acting is superb and everyone in this film was at the top of their game. But really, there are two actors who carried this film, Viggo Mortensen and Sean Astin. Mortensen was the perfect choice for Aragorn and if you aren’t willing to follow him into battle after watching this movie, you might be dead inside.
However, Sean Astin is the real star of this chapter in the franchise. As Samwise Gamgee, he is the true hero that sees things through. When Frodo, the one chosen to bear the burden of the ring is emotionally and physically drained, it is Sam who carries on, getting Frodo to the finish line by literally carrying him on his back up a flaming volcano. It’s one of the most badass and touching moments in motion picture history and really, all the credit has to go to Astin for just how damn good he was in this film. Where the hell was the Oscar nomination? I know that this was nominated for eleven Academy Awards and won all eleven but it was short one for Astin’s performance.
I also can’t deny the greatness that was Ian McKellen’s Gandalf in this chapter.
The special effects are still top notch and at the time that this came out, this film had the best effects of all-time. Everything was great over the course of all three movies but the grandiose scale of this epic picture called for a massive amount of effects work. Everything was executed masterfully and it’s almost unbelievable to think that these movies came out just a year apart from each other.
This is a story about friendship, honor and loyalty and it’s hard to think of a better example of these things in any other film. The Return of the King knocks it out of the park in that regard and is pretty inspirational because of it. It taps into the best qualities of human nature, overcomes immense adversity and sees hope and goodness succeed in the face of enormous and seemingly unconquerable darkness.
Again, The Return of the King is a pillar of perfection. It’s so good that I wish I could give it an 11 out of 10 rating.
Rating: 10/10 Pairs well with: the other two Lord of the Rings films, as well as The Hobbit trilogy.
Release Date: December 5th, 2002 (New York City premiere) Directed by: Peter Jackson Written by: Fran Walsh, Philippa Boyens, Stephen Sinclair, Peter Jackson Based on:The Two Towers by J.R.R. Tolkien Music by: Howard Shore Cast: Elijah Wood, Ian McKellen, Liv Tyler, Viggo Mortensen, Sean Astin, Cate Blanchett, John Rhys-Davies, Billy Boyd, Dominic Monaghan, Orlando Bloom, Christopher Lee, Hugo Weaving, Sean Bean (Extended Edition), Andy Serkis, David Wenham, Brad Dourif, Karl Urban, Miranda Otto, Bernard Hill
New Line Cinema, WingNut Films, The Saul Zaentz Company, 179 Minutes, 235 Minutes (DVD Extended Edition), 228 Minutes (Blu-ray Extended Edition), 171 Minutes (DVD Widescreen Edition)
Review:
“From the lowest dungeon to the highest peak I fought with the Balrog of Morgoth… Until at last I threw down my enemy and smote his ruin upon the mountain side… Darkness took me, and I strayed out of thought and time… The stars wheeled overhead, and every day was as long as a life age of the earth… But it was not the end. I felt life in me again. I’ve been sent back until my task is done.” – Gandalf
I have seen all of these movies probably a dozen times but it has been several years now since revisiting them. From memory, I always thought of The Two Towers as the weakest of the trilogy but it is still a masterpiece and a perfect film for what it is: a bridge between the beginning and the end.
It also ups the ante quite a bit and is more epic in scale, as the two final battles alone are bigger than anything we saw in the first film, apart from the intro that showed the fall of Sauron millennia earlier.
But, really, the climax to this motion picture is absolutely amazing. If you are a fan of epic battles, this does not disappoint. If you are a fan of fantasy, this should definitely satisfy your palate.
All the key players are back and that includes Sean Bean’s Boromir, who died in the previous movie. Granted, he is only in a couple of flashbacks in the Extended Edition but it’s great to see him and to get more context in regards to how Gondor is run and the relationship between Boromir, Faramir and their father.
The return of Gandalf and the shift in power away from Saruman and to him is a really great moment that helps turn the tide towards the light. Ian McKellan was superb and his character’s evolution was incredible. The continuation of his battle with the Balrog is one of my favorite cinematic moments of all-time.
It is Viggo Mortensen who steals the show, however. While he was great in the first picture and was perfectly cast, he truly shines here and anyone watching this film would want to follow him, which is great considering what his role is in the goings on of Middle Earth and how this series ends in the following film.
If you are going to watch these films, you should always watch the Extended Editions, as they provide more story, better context and a heftier helping of the meat and potatoes. The Extended Edition of The Two Towers offers a lot of extra footage that isn’t in the original theatrical version. It isn’t so much that it makes it a different film but it certainly makes it a better one.
The Two Towers is perfect. It is a masterpiece like the other two pictures in the trilogy. It is the weakest, sure, but I’d rather be the weakest film in this trilogy than the best film in the Transformers series.
Rating: 10/10 Pairs well with: the other two Lord of the Rings films, as well as The Hobbit trilogy.
Release Date: December 10th, 2001 (London premiere) Directed by: Peter Jackson Written by: Fran Walsh, Philippa Boyens, Peter Jackson Based on:The Fellowship of the Ring by J.R.R. Tolkien Music by: Howard Shore Cast: Elijah Wood, Ian McKellen, Liv Tyler, Viggo Mortensen, Sean Astin, Cate Blanchett, John Rhys-Davies, Billy Boyd, Dominic Monaghan, Orlando Bloom, Christopher Lee, Hugo Weaving, Sean Bean, Ian Holm, Andy Serkis, Sala Baker, Peter Jackson (cameo)
New Line Cinema, WingNut Films, The Saul Zaentz Company, 178 Minutes, 208 Minutes (DVD Extended Edition), 228 Minutes (Blu-ray Extended Edition), 171 Minutes (DVD Widescreen Edition)
Review:
“[Gandalf is standing on the bridge, in front of the Balrog] You cannot pass! I am a servant of the Secret Fire, wielder of the Flame of Anor. The dark fire will not avail you, Flame of Udun! Go back to the shadow. You shall not pass!” – Gandalf
This was a definite treat to revisit, especially since I just revisited The Hobbit trilogy beforehand. I wanted to watch them in chronological order for the first time but having now seen this again, a film I have probably seen a dozen times already, I have an even greater appreciation for it, as it’s truly perfection.
Unlike those Hobbit movies, The Fellowship of the Ring and its two sequels, didn’t have identity issues. It has a consistent tone throughout and it knows exactly what it needs to be and how to accomplish that. This was Peter Jackson at his absolute best and this is a timeless movie and will continue to be for generations.
Being that this was the first major live action adaptation of J.R.R. Tolkien’s work, makes its level of perfection something truly special and a feat that proves that the impossible can be possible. I should state, though, that the Soviets and the Finnish did their own live action adaptations before this but no one has really seen them and they weren’t done with the resources and budget that allowed this story to really live and breathe the right way.
I’ve tried to think of negatives for the sake of this review but the acting is superb, the directing and cinematography are flawless and the special effects are better than anything else that predates this film. Also, the issues that exist with The Hobbit films don’t exist with this one.
We have real human beings in prosthetics and makeup as the orcs and goblins. Also, the film isn’t afraid to rely on some other practical effects. Sure, there is CGI galore but the film doesn’t default to it and it’s why this looks better than The Hobbit films, which started coming out 11 years later.
The best thing about this film is its spirit. You immediately care about these characters, all of them, they mesh well pretty exceptionally, and none of them look stupid like most of the dwarves in The Hobbit. Gimli, the main dwarf in this story, looks like a real character and not a cartoon caricature.
Also, you care about the journey and how it is taking a toll on everyone in the party. You feel their emotions, their stress and their burden in seeing things through no matter what the cost.
The action is stupendous and the big battle at the end of the film is incredible. Also, the wizard battle between Gandalf and Saruman is incredibly badass.
Howard Shore, who scored all of these Tolkien pictures, did a much better job at creating the themes for these films than The Hobbit trilogy. The music here hits the right notes and it’s all become pretty iconic.
There is a reason why this film gave birth to Tolkien Fever in the early 2000s. Everything about it was just right and it was a real example of filmmaking and storytelling perfection.
Rating: 10/10 Pairs well with: the other two Lord of the Rings films, as well as The Hobbit trilogy.
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Talking Pulp 
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