The Hobbit: The Battle of the Five Armies Movie Review

For the third and final installment in Peter Jackson’s bloated trilogy, The Hobbit, I couldn’t bear to sit through An Unexpected Journey and The Desolation of Smaug to refresh my memory before trudging through the morass of The Battle of the Five Armies. The predictable result is that I had completely forgotten who some secondary characters were, what they had done previously, and why I should care about them at all.

The Hobbit: The Desolation of Smaug Movie Review

Each of these dwarfs is just like the others...

As if the first chapter weren’t already interminable enough, the second part of The Hobbit has arrived. This one, subtitled The Desolation of Smaug, is the insufferable middle section of a trilogy that had no business being, at most, a single three hour movie. Like The Two Towers a decade ago, it’s a movie without beginning or conclusion and so it just feels like you’re awash in stuff that happens to characters. Only it’s far worse than The Two Towers because that was at least based on a book of its own whereas this is from part of a single book with lots of additional crap thrown in.

The Hobbit: An Unexpected Journey Movie Review

Peter Jackson’s expansion of his mega-profitable behemoth of a franchise has gone from being a labor of love and an astounding cinematic adaptation of a beloved trilogy of books to a cynically calculated cash grab. The Hobbit: An Unexpected Journey is just the first in a three part film adaptation of Tolkien’s single book prequel to The Lord of the Rings. Clocking in at just under three hours, it is already nearly twice the length of the 1977 animated version that was already a decent adaptation.

From My Collection - The Lord of the Rings: The Return of the King Movie Review

J.R.R. Tolkien’s Lord of the Rings trilogy must pack so much into those novels that it’s a minor miracle they were ever made into successful films. I’ve never read the books, of course, but you get a sense by the third installment of director Peter Jackson’s epic trilogy of adaptations that the final book is replete with an abundance of minor and secondary characters all requiring a closing to their arcs. The effect is a film that is bloated and overblown, but at the same time a visual wallop and a great piece of entertainment filmmaking.

From My Collection - The Lord of the Rings: The Two Towers Movie Review

Eowyn tests Aragorn's fealty to his beloved in The Two Towers.

As much as I loved The Fellowship of the Ring is as disappointed as I was in The Two Towers. Except in its magnificent closing epic battle, it failed to inspire a sense of awe. Everything I admired about the first film was largely absent in the second. This includes the focused storytelling that had as its centerpiece a group of men on a quest. Now the fellowship was fractured, it felt like three different stories. And the toggling back and forth left me feeling impatient and restless. I don't know that there was any way for screenwriters Peter Jackson, Philippa Boyens, and Fran Walsh to get around that. It's a style of 'cutting' that works fine in the format of a novel, but for a three hour plus film it grows tedious.

From My Collection - The Lord of the Rings: The Fellowship of the Ring Movie Review

More than anything, I want movies to surprise me. I want to see something that I haven’t seen before, or see an old story presented in a unique way. I want my expectations to be exceeded. I never read J.R.R. Tolkien’s The Lord of the Rings trilogy. I wasn’t interested as a child. To this day, the genre of fantasy fiction doesn’t particularly appeal to me. In December 2001 I went to see The Lord of the Rings: The Fellowship of the Ring because it was expected to be one of the biggest movies of the year. It was the subject of countless magazine and newspaper articles about the 15 month shooting schedule in New Zealand with Peter Jackson painstakingly creating a world on film that was already known to millions of loyal fans of the novels. I walked out of the theater both exceedingly surprised and deeply moved by both the story and the unbelievable craftsmanship involved in the making of the film.

The Adventures of Tintin Movie Review: Tintin, We Welcome You to America

The opening credits of Steven Spielberg’s motion capture animation The Adventures of Tintin is probably the most exciting opening credits since the same director’s Catch Me If You Can. The title designs are similar, both based on the classic Hollywood work of Saul Bass with spritely jazz compositions by the great film composer John Williams. His Tintin opening theme highlights such instruments as are not often heard in orchestras, but which lend themselves credibly to the time period (1930s) and setting (Europe) of the “Tintin” stories. Amid the fluttering flutes, dancing clarinets and staccato brass we hear accordion, harpsichord and bells all featured prominently. It’s a sequence that offers the promise of excitement and adventure to come. It’s been a long time since I had that feeling in the first moments of a movie. Unfortunately, what followed turned out to be a slight letdown.

The Ten Best Films from the All-Time Top 100 Box Office

Star Wars remains in the top ten all-time box office after 33 years

The list of the top 100 box office successes is measured only in terms of pure dollars. For this reason the list is heavily slanted in favor of more recent films. This is not only because of standard economic inflation, but also because of ticket price inflation, which generally has not matched inflation of the dollar. Star Wars remained atop the list from 1977 until it was unseated by Titanic in 1998. E.T. The Extra Terrestrial was number 2 from its 1982 release until 1998. Home Alone (released at the end of 1990 and earned a significant amount of its box office in early 1991) now sits in 45th position despite having been in the top 10 for a decade or more. In less than ten years it has dropped 35 places. That's an incredibly precipitous drop when you consider the kind of staying power older films had. But with exponential growth in ticket prices we're left with a constantly shifting list of the top box office kings.

Movie Review: Peter Jackson's The Frighteners a Big Disappointment from a Big Director

*This 1996 film was released several years ago as a 4 disc DVD set in a shameless attempt to capitalize on Peter Jackson's success with The Lord of the Rings and King Kong. It is hardly deserving of a Director's Cut, Director's Commentary and the special features to fill so many bytes of digital space. If I have time this weekend, I will take a look at some of the special features and post a follow-up.

It’s a wonder that the same directing/writing husband/wife team of Peter Jackson and Fran Walsh that gave us the incredible Heavenly Creatures next foisted The Frighteners upon us. One of the earliest films to heavily employ CGI for story-telling purposes (to decent effect for 1996, I must add), it rather unfortunately has no idea what kind of movie it wants to be. What could have been a compelling psychological thriller/mystery about a man who started seeing spirits after the tragic death of his wife turns into a bit of a farce employing gimmicks, schtick, caricature and really bad jokes in a very mildly scary ghost story.

Michael J. Fox plays Frank Bannister, a kind of sham ghostbuster who utilizes the help of two ghosts (a bookish white guy with glasses and an afro-adorned, bellbottoms wearing black guy who practically speaks jive like the two black passengers in Airplane) to haunt the homes of the recently bereaved in order to prey on their vulnerability, swoop in and clear the house of poltergeists, reaping a heavy cash reward in the process.