The Lord of the Rings. Vikings. Game of Thrones. If these shows define your expectation of cutting edge visuals for your favorite swords, armor, and fantasy property, you’re not alone. In post-production for its new eight-episode series, The Lord of the Rings: Rings of Power, Prime Video revealed 23 teaser posters for presumably the series’ key characters. Consistent with the idea of a “tease,” what has been billed as the most expensive series ever made has opted to home in on the details of characters’ props and costumes rather than faces. But the result is spectacularly… unspectacular. Costume fabrics and trims look more off-the-rack than the hand-stitched costumes and individually-hammered and fastened scalemail of Peter Jackson’s movies. And it is immediately obvious Weta Workshop didn’t make the props for this new series–the intricacy of that studios’ artisanal mastery in forging metal swords, armor, and jewelry could not be confused with what is featured in these posters, which at first blush is more like Legend of the Seeker,Shannara Chronicles, or The Tudors. So what did the studio spend its money on?
Stanley Kubrick’s The Lord of the Rings starring The Beatles. Peter Jackson’s A Nightmare on Elm Street. George Miller’s Justice League. Robert Rodriguez’s Barbarella. Shane Black’s The Monster Squad. Two John Carpenter movies you’ve never seen. If you’re wondering what the best movie was in any given year, you have plenty of options. You can look for the movie that had the biggest take at the box office. You can look to critic reviews. You can scroll through the Internet Movie Database. You can review awards lists or Alternate Oscars. Or you can just watch the movies and choose for yourself. Underexposed! The 50 Greatest Movies Never Made, a new book arriving this month from Abrams, could have been called False Starts–it’s a book about movies that almost made it to the big screen.
Peppered with movie poster mock-ups from art group PosterSpy, filmmaker and film enthusiast Joshua Hull tracked down interesting histories of some of the best and most quirky movies that almost got made, but were either abandoned, had legal rights issues, lack of funding, lack of interest, or simply were not made to save audiences from a bad idea. They aren’t from obscure creators, either. The list includes projects from Alfred Hitchcock to Stanley Kubrick and Steven Spielberg–and some are ideas that sound like they could have been pretty great. What were they thinking? Find out in this book.
If you want to see a good argument for enforcing antitrust policy against mega-sized media corporations, here’s one. Along with so many other change-ups, delays and cancelations, add Fox’s big-(estimated $170 million) budget Mouse Guard movie to the list. The writer, artist, and visionary creator of the Mouse Guard universe, David Petersen announced the news back in April, two weeks before the scheduled filming date. Reportedly Disney directed new subsidiary Fox to cancel the film. No reasons were announced, but it’s difficult to surmise any reason other than a coordinated effort to own the theater box office with its own projects. Just how much work had already been done? How big was this film going to be? Director Wes Ball (The Maze Runner) and Petersen released two videos over social media this week (and more participants have since released even more great pre-production content) that paint a picture that will leave you feeling like audiences have been out-right robbed.
The first video includes a pan of the offices where the pre-production previz work was already completed, including miniatures, maquettes, dioramas, costumes, performance capture and CG-mock-ups, and thousands of pieces of compelling concept art lining the work area walls. You really get a sense for what audiences will be missing with the second video, another development piece for sure, yet even as a demo or “sizzle reel,” anyone who is a fan of fantasy movies can see this was going to be something entirely new. Matt Reeves (The Batman, Planet of the Apes reboots) was producing. Artist Darek Zabrocki was one of many artists who created thousands of pieces of concept art (see above and below) to push the film forward (see Zabrocki’s Instagram account here for several images). Rogue One: A Star Wars Story screenplay writer Gary Whitta′s script was in-hand (he’s now released it via his Twitter account for everyone to read here). Composer John Paesano had his first theme in play with a warrior’s quest-evoking theme in a James Horner/Randy Edelman vibe (listen to it here). It was all just ready for Weta to step in and take over with production, and wham, that House with the Mouse slammed the door. But it looks like no other mice will suffice for Disney. So Fox will either sit on the rights, sell them, or the rights will revert in a few years. All these pre-production pieces will likely get warehoused until they get auctioned off for space reasons down the road as happens with studios (studio storage is expensive!), unless another studio or filmmaker steps in with some money (Peter Jackson? Guillermo Del Toro? The Jim Henson Company?). But we seem to already be past the eleventh hour for that to have happened. On the one hand, outsiders will never know why the decision was made, corporations make these calls for all sorts of business reasons. But what is clear is that without the approval of that mega-merger of behemoth media empires, this expression, this idea, this story, this vision, would be coming to your local theaters soon.
Voice actors enlisted for the film included Idris Elba, Thomas Brodie-Sangster, Jack Whitehall, Samson Kayo, and Andy Serkis. In the meantime, Petersen keeps creating, new Mouse Guard and other worlds. Petersen’s comics and compilation hardcover editions, along with his version of The Wind and the Willows, are the picture books I have purchased more than any other for gifts–ever. His artwork is fantastic, fantastical, and magical, and it came as no surprise when he announced a film in the works back in 2016. Petersen’s Dark Crystal and Teenage Mutant Ninja Turtle comic cover art also has him as a contender for the year’s best cover artist. Mouse Guard is one of those rare worlds in my lifetime that evokes the wonder of Jim Henson, the creativity of J.R.R. Tolkien, and the gravity and import of Mr. Rogers.
Enjoy the little of the film we get to see, these great videos released by Ball and Petersen: Continue reading →
Beginning with a fabulous map of Middle-earth that includes cross-references to the pages of the book where each location is discussed, the reader can take his or her own tour across the film (and book’s) fantasy realm and real-life New Zealand filming locations. The journeys of Frodo and the Fellowship of the Ring from The Lord of the Rings and Bilbo, Gandalf, Thorin and the other Dwarfs in The Hobbit are overlaid so that the reader’s tour sweeps across the landscapes and environments created entirely by concept artists, artisans, and skilled workers of every imaginable category, required to faithfully reflect Tolkien’s and Jackson’s visions. Even more exciting are accounts, including descriptions and photographs, of places that Jackson filmed, but did not make it to the final cut of the film. The weight of this task–the task of creating the films and also in creating this hefty document–are reflected in the artistry and organization of every single page.
Along with the primary narrative focusing on selection, planning, building and filming each environment, readers will discover several sidebars covering topics like key characters, races, and creatures, and a veritable how-to guide to making an epic film series that takes readers through breaking down a script, set conceptualization, set drafting, use of “big rigs”–a twist on forced perspective filming, sound design, location scouting, art direction, set construction, set decoration, cinematography, performance/motion capture, building model miniatures, previsualization, aerial and scenic photography, organic sets, the greens department (charged with plant life set dressing), talismans and props, set and prop finishing, post-production, color grading, lighting, shooting on location, using locations responsibly, and creating digital environments.
Throughout the book readers will learn what materials and settings could be re-used from The Lord of the Rings for The Hobbit. Initially environments were not built to last, but after the success of various filming locations in New Zealand as tourist attractions when filming wrapped on The Lord of the Rings: The Return of the King, many sites were rebuilt to survive past production for The Hobbit films. This included the creation of 44 Hobbit holes that can be visited today among many other sites. The journey across the map of Middle-earth will take readers to The Shire, Lands of Arnor, Rivendell, The Misty Mountains, Khazad-dûm, Wilderland, Mirkwood, Lothlórien and the River Anduin, Realms of Rhovanion, Rohan, Enedwaith & Calenardhon, Realms of the North & Wastes of the East, Ithilien & the Morgul Vale, and Mordor and the Shadowed South.
It’s the best theatrical fantasy series ever released. The Lord of the Rings trilogy and The Hobbit trilogy.
So how much would you pay for a 30-disc edition of all six extended cuts of the Peter Jackson Middle-earth movies on Blu-ray? Assuming you haven’t already purchased each film individually, you could buy the Blu-ray extended edition of the first trilogy–The Lord of the Rings trilogy–for less than $60 from Amazon here, and the second trilogy–The Hobbit trilogy–for less than $65 from Amazon here. That’s about $125.
What kinds of extras would prompt you to pay $799.99 for a single release set of all six movies? For the first time ever, such a set is coming your way soon in The Middle-earth Six-Film Collection–A Limited Collector’s Edition. In addition to the extended edition release of all six films, the collection also includes all previously released bonus content from both the theatrical and extended editions. So what new comes with the set if all the bonus content is on the previous releases? Here’s what you get:
– The 30 discs are housed in six stunning faux leather books and a collectible Hobbit-style wood shelf. The one-of-a-kind wood shelf is crafted from solid wood with design selected by Peter Jackson. – Exclusive premiums designed for the collection include: · Spectacular 100-page sketch-style book with replica The Red Book of Westmarch, filled with original film sketches and new artwork · Original reproductions of exquisite watercolor paintings by acclaimed conceptual artists Alan Lee and John Howe, framable and wall-ready
The bottom line? If you value these extras at approximately $600 or more, this boxed set is for you. If not, you can steer back to the current individual trilogy boxed sets linked above. Here’s more about the content of the new 30-disc boxed set from the press information for previously released content:
For the first time, Warner Bros. is bringing extended cuts of The Hobbit Trilogy to the big screen. Partnering with Fathom Events, The Hobbit Trilogy returns to select theaters nationwide for an exclusive series of three in-theater events including The Hobbit: An Unexpected Journey Extended Edition on October 5, 2015; The Hobbit: The Desolation of Smaug Extended Edition on October 7, 2015; and the world premiere of The Hobbit: The Battle of the Five Armies Extended Edition on October 13, 2015–including never before seen footage.
Academy Award-winning filmmaker Peter Jackson has prepared a new introduction to the trilogy for this event. Nominated for 7 Academy Awards, The Hobbit Trilogy is the ultimate fantasy series and follow-on to Jackson’s Academy Award winning The Lord of the Rings series.
The Hobbit Trilogy Event Dates:
The Hobbit: An Unexpected Journey – Monday, October 5 The Hobbit: The Desolation of Smaug – Wednesday, October 7 The Hobbit: The Battle of Five Armies – Tuesday, October 13
A wealth of concept art for The Hobbit can be found in the fifth volume of Weta’s Chronicles series: The Hobbit: The Battle of the Five Armies Art & Design. Writer and Weta artist and designer Daniel Falconer again delivers a stunning hardcover account of the behind-the-scenes artistry that forged the last of Peter Jackson’s Middle-earth series.
Including much more pencil sketchwork and inspirations for the cities of The Hobbit than prior volumes, this edition showcases many designs that made it into the final film but also many that did not. It’s those pieces that did not make it to the final cut of the film that form a rare treasure trove here. As costume designer Bob Buck writes in he book, “The designs that were never realized are as important as the ones that were, being part of the process and representing the elimination or germination of an idea that grew into the visuals as seen on the screen.” Buck provides valuable insight into the ideas behind many of the costumes in the film along with many other Weta designers and special effects artists, including concept art director John Howe.
Highlights of this volume give a detailed look at concept sketchs and paintings from Weta Digital, 3Foot7, and Weta Workshop of Galadriel’s Maxfield Parrish-esque costume design development from her descent into Dol Guldur, and the ghostly dead Ringwraith kings and the Necromancer, who at many times appeared as if he could have been designed by Bernie Wrightson or Frank Frazetta. Costume designs featured include the elegant Thranduil, Elven soldiers, Bard, an unused but brilliant set of armor for Stephen Fry’s mayor of Lake-town, and every angle and type of Dwarf you could imagine. Not surprisingly, it is the culture and artistry of Dwarves that fill the bulk of the pages here.
Peter Jackson’s final installment of his screen adaptation of J.R.R. Tolkien’s classic novel The Hobbit is a breathtaking piece of film which aspires to the almost insurmountable heights that his masterpiece The Lord of the Rings: The Return of the King achieved. The goal is a worthy, if almost unrealistic one, and Jackson spares no expense in trying to soar to those heights where he took us ten years ago.
I’m of two minds about this movie, and have been struggling to combine them into a single piece for you, our faithful readers. But like Jackson with this trilogy, I am not quite up to the task. And so, like Jackson, I will split something that should be in a single piece into multiple pieces, and although I am aware that they will likely not equal the sum of what a whole, single review should, I will try nonetheless because I have too much to say on the subject and am utterly unable to edit myself. Much like a certain director we all know and admire.
Review by a fan of fantasy cinema
The Battle of the Five Armies is a really good film. Is it great? Well, that will be up to each viewer, honestly. It is big and bold, and gives good screen time to the multitude of characters we have come to know over the course of the last two films in the trilogy. The movie opens where the previous film left off, a different approach from other films in both The Hobbit and The Lord of the Rings trilogies, which tended to open with flashbacks or clever recaps to bring the viewer back into the world of Middle-earth which may have faded slightly since the previous film. Not so here, as the audience is plunged directly into the story right where we exited it last year.
The dragon Smaug, scary and crazy in the second Hobbit film which bears his name, is magnificently rendered and feels vibrantly alive in the dark theater, the screen aglow with dragonfire and the air electric with his howls of rage and vengeance. Benedict Cumberbatch captures the right amount of menace and vanity, bringing the drake alive in ways that superb CGI just could not do on its own. The poor people of Laketown would surely stand in awe of Jackson’s creation if they were not fleeing for their very lives before it.
Martin Freeman knows how to play the everyman, which is essentially what Bilbo Baggins represents. An everyday man who is snatched up from his comfortable if boring life and thrown headlong into the exciting, unpredictable and oft-times dangerous unknown. His subtlety and good humor shine through his portrayal of the Hobbit and it is to Freeman’s credit that he can simultaneously stand up to the chiefest and greatest of calamities and also stand up for himself to Thorin, pointing out the sickness that everyone else can see but dare not mention. The dwarves are also a humorous, entertaining lot, but far too much time would be required to provide the multitude of them a lot of individuality or backstory. The few who are selected for the spotlight are well worth the time. Lee Pace, Richard Armitage and Luke Evans play three leaders of different races whose loyalties lie to their people but with widely different styles and personalities. As with the previous films, Cate Blanchett as Galadriel, Hugo Weaving as Elrond and even Christopher Lee as Saruman himself all put in appearances, though not in a way most might expect!
Just over 14 years ago, Peter Jackson filmed the first scenes of his The Lord of the Rings trilogy–the first live-action effort to capture J.R.R. Tolkien’s complex series of novels. Never before had anyone taken on a movie project so daunting. Just look at photos of Jackson then and now and you can see a bit of how the director’s life has changed.
The culmination of his efforts was reached in 2006 as the series approached $3 billion in gross receipts, then its last entry Return of the King tied the record for Oscar wins with Ben-Hur and Titanic taking eleven Academy Awards, and sealing its status as fantasy royalty by taking the Best Film category.
And so the success of The Lord of the Rings propelled a series for The Hobbit novel adaptation forward. And the end is only a month away. The bittersweet reality of the beckoning end permeates the last trailer we will see for this landmark series of films. With this trailer we’re left with the gloom and darkness where this story must end.
Like Star Wars or the first of any good trilogy, The Hobbit: An Unexpected Journey was almost a standalone story, to be watched over and over again. And like The Empire Strikes Back, The Hobbit: The Desolation of Smaug jumps rights into the adventure and doesn’t relent until the final cliffhanger at film’s end. The Desolation of Smaug’s triumph may be a sweeping and epic inclusion of more fantastical settings and strange, new worlds than any film before it, some beautiful in their colorful grandeur, others in their dark creepiness. And more story and subplots are fit in to keep viewers on the edge of their seats for the whole two hours and forty minute tour.
It’s hard to say if this installment of The Hobbit is better than the first. It’s a wondrous tale in the same way as the Harry Potter series included the stand-out episode Harry Potter and the Prisoner of Azkaban. Sure, it needs to be seen in the context of what comes before it, but wow, what a great ride in and of itself, almost literally. We’d seen previews of the great dwarf barrel escape scene, but director Peter Jackson didn’t just squeeze in river ride as an afterthought. It’s full of good humor and action, something like what we imagine George Lucas intended in his pod race scene, but this effort is successful, focusing on the strengths and weaknesses of dwarves and elves alike, as they dodge the grotesque and foul Orcs under the leadership of two particularly nasty fellows, Azog (Manu Bennett) and Bolg (Lawrence Makoare). Most of the action is over-the-top, but if you’re in for a penny you’re in for a pound, and the arrows flying and dragon fire ablazing are what any fantasy fan could hope for.
