The Art Of The Jewel Robbery

“All right, here we go. Don’t sleep. Don’t sleep, because you might disappear.” ~ Constance

“Taylor Swift? Can’t we just go to this? Do we have to steal stuff?” ~ Amita

“This is Mommy’s very special work trip.” ~ Tammy

“People who steal, man, they’re just not trustworthy.” ~ Lou

“In three and a half weeks, the Met will be hosting its annual ball, and we are going to rob it.” ~ Debbie

It’s been a few years since the Ocean’s trilogy from director Steven Soderbergh, and now a follow up has hit theatres. The original gang led by George Clooney’s suave Danny Ocean aren’t involved this time out (though there are cameo appearances by a couple of them). Gary Ross has replaced Soderbergh at the helm for Ocean’s Eight, but the concept follows through on the franchise- a group of likable anti-hero crooks aim to pull an audacious heist. This time the gang are all made up of women, and the cast clearly is having a whole lot of fun in what turns out to be a playful addition to the caper genre of film.

We meet Debbie Ocean (Sandra Bullock), the estranged sister of Danny Ocean, who’s spent over five years in prison before making parole. Reunited with one of her old partners in crime, Lou (Cate Blanchett), she has a heist in mind. And she has a score to settle with Claude Becker (Richard Armitage), her ex who happened to be the reason she ended up in prison. Debbie and Lou recruit a group of women to carry out a daring heist of an insanely pricy necklace during the Met Gala, one being worn by actress Daphne Kluger (Anne Hathaway). Like brother like sister it seems for Debbie Ocean, and of course there are going to be complications along the way.

Soderbergh said after his trilogy was done that there would not be an Ocean’s Fourteen, particularly following the death of Bernie Mac, part of the crew of thieves in the trilogy. The idea of a follow up with a cast of women was floated about, however, gaining steam some years ago with a script in development from Gary Ross and Olivia Milch. Their story fits the tone of the earlier films- a breezy, fun energy, a group of likable crooks with different personalities and idiosyncrasies, a preposterous plan for a heist, a target who deserved getting robbed, and the carrying out of the crime.

As before, the film paces itself well, in a charming and stylish way, with a wealth of cameos (this being a fashion gala, some of those cameos are more welcome than others), but all in all, the tone of the story has the same smooth, funny energy of the earlier films. Ocean’s Eight isn’t quite at the level of Ocean’s Eleven, but it does well on its own merits. It doesn’t make the mistakes of the Ghostbusters reboot- first, this doesn’t feel like a supplanting of the original film, which outraged the socially demented fanboys, and second, the cast doesn’t include Melissa McCarthy, which was my objection to that reboot. Nor does the story seek to replace the earlier cast, but to take things on its own terms. It helps that these women aren’t portrayed as bickering with each other, at least not seriously, something you wouldn’t see in other films, and the story adds in twists and turns along the way that are refreshing and fun.

Ross as a director is a good choice for the film. He’s written or directed (or both) in a diverse set of films- Seabiscuit, Pleasantville, Dave, The Hunger Games, Big, Mr. Baseball. That’s an impressive resume, and his previous work shows he understands the emphasis of strong characterization and working with actors, as opposed to being the sort of director (Michael Bay, I’m looking at you) who relies on pyrotechnics and quick cut edits. That reflects itself in how he paces the film, and how it’s shot. The emphasis is on the characters, and everything else is in support of that. Yes, making use of the Met Gala, what to most normal people is an insanely over the top self-congratulatory bit of nonsense from the fashion industry, might in other hands overwhelm the story, but that doesn’t happen with the way Ross handles his direction. He gives us the sleight of hand we expect out of the genre, keeps track of the heist as it’s planned and as it unfolds, but always keeps us with the characters instead of lost in the crowd.

Casting was well done all around. Richard Armitage, who spent three films as Thorin Oakenshield in The Hobbit, plays a considerably less likable type here as Claude Becker, an art dealer. He was involved with Debbie before her time in prison, but screwed her over and got her sent away for fraud while he cheerfully walked. And so it’s understandable that Debbie might like a bit of payback against him. Armitage gives the character the requisite bit of charm that glosses over the sleazy, disreputable truth of who he is, ending up as the film’s highly unsympathetic antagonist. Late night host and occasional actor James Corden has a fun role as Frazier, an insurance fraud investigator who has his own suspicions about the group of women.

Rihanna as a musician isn’t to my taste, and the last time I saw her acting was in the cinematic catastrophe Battleship, in which she seemed completely out of place (but to be fair, nobody came out of that film looking well). She gets a different part, and one that suits her better, as Nine Ball (not her real name), a computer hacker and tech genius (because a heist film requires one of them). She fits the role well, giving the character a snarky, wiseass energy. Another musician taking time out to act in this one is the rapper Awkwafina (definitely a stage name), who gets her share of the film’s humour as Constance, a street hustler and thief who’s good with the sleight of hand trick. Her character has more of that snarky quality, along with a streetwise sensibility and a hunger for more. I liked what she did with the performance.

Mindy Kaling, who’s done a lot of television work in particular, is new to me with this film, but I’ve been familiar with her name. She gives the role of Amita a fun, exasperated take. The character is a jewelry maker who lives with her overbearing mother (a character in and of herself). The idea of making enough money on a heist and getting away from her mother holds a certain appeal, and the actress makes her likable and someone we can sympathize with. Sarah Paulson is one of those actresses you’ve seen in many television and film projects, both comedy and drama, most recently a supporting role in The Post. She might seem initially serious- and many of her roles have required her to be- but here she gets a character who’s a sly sort with a twinkle in her eye, particularly as she gets deeper into the heist. She plays Tammy, a suburban mother who has worked with Debbie before on crimes, and is still something of a crook even in suburbia. Her Tammy, seemingly peaceful (but bored out of her mind) with suburban life, comes to life with the idea of going after a heist, and the actress seems to be having a blast playing the part, which comes across through the film.

For whatever reason, Anne Hathaway has been the subject of a lot of online hostility (I don’t get it, but that’s me). Whatever is said about her personality in general, she seems to be taking that and putting it into her character with a lot of self-referencing and poking fun at her reputation. Daphne is the target of the heist- or to be more exact the necklace she’s to wear at the gala is the target, seemingly a self absorbed actress who craves attention, but there’s more to what makes her, and Hathaway ends up gleefully stealing scenes and comes across as enjoying herself.

Helena Bonham Carter is always a joy to watch in a film, with such a rich variety of roles throughout her career. Often they’re eccentric; some are unsympathetic, while others evoke empathy. Here it’s the latter, as she plays Rose, a somewhat nervous, withdrawn, and worrying fashion designer who is part of the heist. She’s far more human than the fashion icons we seen in various cameos during the film (a very good thing), and a bit hesitant to step into a life of crime, but vital to the plan. She really comes into her own, though, as a member of the team, shifting from worrisome to boldness (with a hint of worry), and it’s a treat to watch the actress bring out different nuances to the character.

Cate Blanchett is another actress who’s always compelling to watch, and she’s clearly having fun as Lou, Debbie’s partner in crime from before prison and the first person recruited into the heist. Lou has worked with Debbie before, and they’ve got complicated history with each other. They’ve also got trust and know that they can rely on each other. Her take on the character is a smooth, calm in the face of obstacles, and level headed sort- with the right touch of sarcasm and wit. You can’t help but like the character, even if you’re compelled to check your pocket for your wallet anytime she’s around.

Sandra Bullock has the right touch in the lead role as Debbie Ocean. She brings some of the same steady, affable charm that Clooney invested in Danny Ocean, and some of the same amused disregard for the rules. The actress has an innate likability, and so when we learn the circumstances of how she ended up in prison, we’re both rooting for her and wanting to see the comeuppance of the man who put her in that situation. Bullock also plays her role as the sort of person who other crooks will follow into a high stakes plan, and the right touches of humanity throughout her performance. And she happens to have great chemistry with Cate Blanchett, which plays out through the film. It helps that she seems to be having fun the whole time.

Ocean’s Eight turns out to be a worthy successor to what’s come before, a breezy and fun caper film with a fine ensemble of likable crooks among the characters, and a thoroughly unredeemable jerk in the mix. The actresses come across as though they were thoroughly enjoying themselves during production, and it shows. Director Gary Ross paces the story well, giving it an energetic, light tone in all the right places, and the final result is a treat to watch.

Five Armies Sit Down For High Stakes Poker

"If more of us valued home above gold, it would be a merrier world." ~ Thorin

"You have but one question to answer: how shall this day end?" ~ Gandalf

"When faced with death, what can anyone do?" Bilbo Baggins

Peter Jackson brings his trilogy adaptation of The Hobbit to a conclusion in a big way with The Battle Of The Five Armies, a brisk but sprawling epic that closes the book on the saga but points the way forward to The Lord Of The Rings. For those of us who have loved to spend this amount of time in Middle Earth, it's a final chapter (unless Jackson decides to take on something like The Silmarillion down the line) for the saga. The film concentrates on the epic scale of forces moving against each other in Middle Earth, while emphasizing character in the relationships between the main character, weaving in themes of good, evil, ambition, greed, loss, integrity, and decency.

The film picks up right where The Desolation of Smaug, with the vengeful dragon Smaug (voiced by Benedict Cumberbatch)laying waste to Laketown. Bard (Luke Evans) is all that seems to stand in his way, and of course must have his heroic moment. In the aftermath, the dwarves who have made it into the mountain with Bilbo (Martin Freeman) find themselves concerned about their leader Thorin (Richard Armitage), who's showing more signs of the greed that consumed his grandfather and father's mental states in one way or another. Thorin is obsessed with the missing arkenstone, seeking it out, and not quite acting like himself.

Legolas (Orlando Bloom) and Tauriel (Evangeline Lilly) have survived Laketown's decimation to see another day, as have the other dwarves that remained there during the second chapter. We also catch up with Gandalf (Ian McKellan), who was in peril at the hands of the Necromancer, aka Sauron, when we last saw him. Friends in the White Council (including one who will come back to betray him a few decades down the line) intervene forcefully on his behalf. All's still not well, though, in the heart of Middle Earth, as dwarves, elves, men, and orcs all find themselves drawn into battle (this tends to happen on Middle Earth a lot). 

By this point in the game, Peter Jackson knows Middle Earth as well as anyone, having had spent a considerable amount of time adapting various source material into two sprawling trilogies. He has a hand in the screenplay, along with collaborators Phillippa Boyens and Fran Walsh, and Guillermo Del Toro, who had once been attached to direct the follow up adaptation of The Hobbit. In this case, The Battle Of The Five Armies moves along at a brisk pace, more so than the first two chapters of the trilogy. It's a dark chapter, though, particularly in how it conveys the madness that overtakes the mind when greed enters the equation. And it's a poignant, heartbreaking chapter, with not everyone getting out of this alive (this is Middle Earth, after all, and we'd expect people we care about to die). It gives us closure to the story while leading us right back to where we started in 2001 in The Fellowship Of The Rings: the reunion of two old friends.

Jackson and his crew have made Middle Earth come alive yet again through multiple techniques: set, props, and costume detail feel very much of that fantasy realm. The landscapes of New Zealand suit Tolkien's world very well, and that certainly is taken advantage of by Jackson, giving us a familiar location but also one that feels otherworldly and dangerous. The look of dwarves and elves is paid such close detail, and the same applies to the Orcs, all of whom have such unique looks. I can only imagine how long the makeup process for some of them would have taken. The camerawork, of course, is signature Jackson style, able to give us the epic scale of the story, but also emphasizing the individual as he has before. I never get lost in the film; the camerawork by his cinematographers helps that along. I might suggest, however, to see this one in 2D. That's my personal aversion to 3D speaking.

When needed, CGI does what it's supposed to in giving us armies counted in the thousands, or the dire threat of Ringwraiths (after all these years, those things are still creepy) and their master Sauron. Not to mention the scale of destruction of Smaug's revenge unleashed is very impressively rendered by the special effects crew. Another essential member of the crew (at least from my point of view) is composer Howard Shore, who brings us the last score from Middle Earth with a rich variety of themes, touching on the epic and colossal while giving us the intensely personal, poignant, and intimate in his score. He even brings in a cast member from the previous trilogy, Billy Boyd, who played Peregrin Took, to sing over the end credits.

The cast is as before, astounding in their roles. He with the strange name and much sex appeal (otherwise known as Benedict Cumberbatch) once again gets double duty voicing the malevolent dragon Smaug and the Necromancer otherwise known as Sauron. Cumberbatch infuses both voice roles with a menacing undertone of malice. They're very different characters, but there's nothing remotely decent in either, and that's what he plays to. Lee Pace returns as the elvish king Thranduil, father of Legolas, and he gives the role a somewhat unhinged, not terribly likable quality. There's greed in this elf king, and an opportunistic streak, but that's what makes him work so well as a character. 

Luke Evans returns again as Bard, the hero who steps up to the occasion among the residents of Laketown. His portrayal of the part continues to be that of a man of principle, whose first priority is his family, and finding himself placed into a position of responsibility. Evans plays the role with authority, acting decisively and moving forward with great courage. Ian Holm returns in a closing coda as the older Bilbo Baggins, and it's a treat to see him cantankerous yet still full of mischief. Orlando Bloom still looks ageless as Legolas, brought into the trilogy by the screenwriters, and still as deadly a fighter as ever. He plays the role as an elf chafing at the bit, torn between duty to his father and doing what he sees as the right thing to do. Evangeline Lilly is radiant as Tauriel, created for the trilogy but fitting right in. There's a real connection between she and the dwarf Kili (Aidan Turner), and it comes across in how the two bond and banter with each other. 

Christopher Lee returns as Saruman, decades before his betrayal in The Lord Of The Rings, and what strikes me first is how this actor, past ninety now, still handles himself very well physically in action scenes. He gives the wizard a sense of authority and directness- we still get the sense of not wanting to cross this man. There are hints in his performance of what's to come, and Lee seems to relish playing the role. We know not to trust him, but we find him compelling nonetheless. Sylvester McCoy returns as the wizard Radogast again. He's a comic relief sort of character- more than once he earns laughter- and he plays the role of the nature loving magician as somewhat unhinged, but in a good way. Hugo Weaving also returns as the elf king Elrond, once again playing the role with authority and force, and this time getting right into the action. And it's a treat to see Cate Blanchett return as the ethereal Galadriel of the elves, enigmatic in her speech but bold and decisive in her actions. There's a great strength in the character, and Blanchett plays to that in her performance.

As is before, it's hard to keep track of the dwarves- at least their names. With rhyming names all over the place, you need a score card to keep track of them all. However, each actor has a very distinct look, and plays their roles in unique ways that set them all apart in just the right way. Aside from Armitage and Turner returning as Thorin and Kili, the rest of the company return. Ken Stott, James Nesbitt, Dean O'Gormlan, Jed Brophy, John Callen, Adam Brown, Graham McTavish, Mark Hadlow, Peter Hambleton, Stephen Hunter, and William Kirchner all reprise their roles. Ken Stott certainly stands out as Balin, the wisest of the company, a steady presence for Thorin, and he sees the sickness of greed infect his friend. There's a poignancy in the character, and a sadness. Turner's take on Kili is also a standout among the dwarves. He's a charming fellow, and dashing, but there's a longing for home in the character... and a longing for that fetching elf maiden who's caught his eye. Turner has such good chemistry with Evangeline Lilly that we like the two of them together.

It is refreshing to see McKellan back as Gandalf one last time. He fits the role of the wise wizard so well, giving the character the gravitas needed. There's a sharpness to his portrayal, but also a decisiveness and inner strength. His Gandalf is a man of integrity, and that comes across throughout his performance. It has been a great character for the actor to play, and McKellan fits it so well. Richard Armitage has really made himself a reputation playing Thorin through these films. He is a bold leader, courageous even to the point of recklessness. We see here for a time the character take a different turn, consumed by greed that overrules everything- there are shades of the older Bilbo or Smeagol in that greed, or perhaps a bit of Boromir in that lust for his treasure. And yet that dark place he descends into is not the end of him, and Armitage plays the dwarf leader with great authority.

Martin Freeman was the perfect choice for the young Bilbo. We can believe that he'll one day age into Ian Holm, not only physically but in his character. He's been on a journey through these films, and the character has changed throughout. Where he started out as a hobbit happy at home and content in his life, awkward and out of place in a company of dwarves, he's moved beyond that. He's proven himself courageous, resourceful, and bold, a quick thinker and a sharp wit. Freeman's played the role in such a compelling way that we take his side, feel loyal to him. It's a terrific way to cap off the character, and set the stage for where he goes next. 

So is this really the end of the line for Jackson's forays into Middle Earth? If so, it's quite a way to wrap things up... by bringing us back to where we started. There's heartbreak and loss along the way, but also the forging of bonds, the breakthrough of personal strength. And the inherent decency of a hobbit, the unlikeliest hero of all. 

A Hobbit, A Dwarf, And A Dragon Walk Into A Bar...

First, some links to see to today. Norma has a Snippet Sunday post at her blog. And there's a Snippet Sunday post at our joint blog as well. And take a look at what two incorrigible dogs are up to at Shelly's blog.

Now then, it's another movie review today, and in this case, it's for one just out in cinemas near you. Go see it. Though if you've got profound fears of spiders, heights, giant monstrous reptiles, or Orlando Bloom's aim, you might have a problem.

"If this is to end in fire, we all burn together." ~ Thorin Oakenshield

"Aren't you going to search me? I could have anything down my trousers." ~ Kili

"Or nothing." ~ Tauriel

"I am king under the mountain!" ~ Smaug

The second film to emerge from The Hobbit novel by Tolkien is now out in theatres. Director Peter Jackson, in the process of a trilogy that turns what was a children's book into an eight hour plus three part epic, gives us a tense, whirlwind ride in this middle chapter entitled The Desolation Of Smaug, adapting the story, adding in material from Tolkien's appendixes, and other elements along the way as thirteen dwarves, one hobbit, and a wizard continue to navigate their way along the paths of Middle Earth towards fulfilling their quest. Jackson gets his cameo out of the way quickly in a blink and you'll miss it opening walk by set in the village of Bree, twelve months earlier, when Gandalf (Ian McKellan) first meets Thorin (Richard Armitage). Then we move to the present day action, where our company of dwarves, Gandalf, and Bilbo (Martin Freeman) are on the move, being pursued by the orcs under the command of the loathsome Azog the Defiler (as is the case with orcs, Azog is a really ugly brute, and I know, I'm going to get complaints from the Orc Defamation Society for that). 

Their journey takes the company through the dark wildness of Mirkwood Forest, to the human settlement of Lake-town, and to the Lonely Mountain, where their old kingdom of Erabor is currently under occupation by the dragon Smaug. Along the way they encounter elves, giant spiders, and men. There is a familiar face from  Lord of The Rings, Legolas (Orlando Bloom), and we get more of a sense of his father King Thranduil (Lee Pace) who appeared briefly in the first film. We also meet a non-Tolkien creation, Tauriel (Evangeline Lilly), a woodland elf maiden and fierce warrior. And there are other additions from the Tolkien side of things: Bard the man from Lake-town, played by Luke Evans, and a brief appearance by a shapeshifter named Beorn (Mikael Persbrandt), a man who can change into a fierce bear. The path takes the company in different directions at times, most notably Gandalf following his own road in pursuit of a dark threat, but ultimately the lion's share of the group find themselves in a confrontation with their ultimate enemy, the very fearsome dragon Smaug, who we've seen briefly in the first film but who makes himself very much known here.

Jackson, his crew, and the special effects teams are all back in top form with this one. This includes Andy Serkis (otherwise best known as Gollum, but who has taken on the job of second unit director with these films). Serkis, who's made a career of motion capture performances, also gave tips to Benedict Cumberbatch on the style for his own work, as some of his performance as Smaug the Dragon involved motion capture. It seems Cumberbatch watched reptiles in preparation for that part of his role, and his performance (more on that in a bit) is matched well with the CGI work on the dragon from the crew. When we see him in a vast cavern filled with enormous amounts of coins, jewels, and wealth, and as the dragon stalks our heroes through that cavern beneath the mountain, it looks real, looks as if it's occupying the same space as them... and it's huge. It looks fierce, it looks dangerous... and it's not a friendly dragon (no Sean Connery playing Draco with this one). Smaug is a menace, and the entire last hour of the film is tense because of his presence. Smaug alone is a worthy technical achievement, but the crews do other great work with the look of Mirkwood, for example, or the spider sequence. 

The design of the wood elves realm within Mirkwood is particularly engaging to the eye, a mix of CGI and set work, and Lake-town's design also catches our attention. So does the realm of the Necromancer, the object of Gandalf's search, a dark and dreadful place where an evil force is consolidating its power. Jackson makes good use of location, using New Zealand as a stand in for Middle Earth to good effect as usual. His camera work can be dizzying at times, but it works for the scale of the film (do go out of your way to see the 2D version of the film though). And his crew as usual pays attention to every detail, particularly in set design and costuming. No detail, it seems, was overlooked, and the crew gives us a fully formed world. As before, Howard Shore returns to give us the music score, which I love- with hints of older themes from the first film and Lord Of The Rings, but also new material.

It's an epic, of course, but the actors are what stands at the core of the film, and what keeps it grounded. Cumberbatch pulls double duty here. He does the motion capture side of things for Smaug, but also the voice, and the voice itself is malevolent and frightening. There's a grand darkness about Smaug; you could close your eyes and just listen to the voice and feel unnerved. Cumberbatch captures the sense of a dragon well, a greedy monster eager to hold onto every bit of his stolen treasure. He also appears as the shadowy Necromancer again, more of a special effect visually, but we hear his voice, and in fact his true identity stands revealed here. He of the strange name is one of the actors most in demand these days, and that's for good reasons. Though we don't see him as an actor on screen, we feel his presence absolutely underpinning everything. Evans, as the hesitant human ally Bard, is wary of the dwarves; he relates to them in complicated ways, worried that they bring danger to his home and yet at the same time is principled and brave. There's more for him to come.

The woodland elves are a mixed sort this time out. Pace plays Thranduil as more antagonistic towards the Dwarves than in the book, suspicious of their motives and with his own designs on the wealth of the Lonely Mountain. Evangeline Lilly as the new creation Tauriel is an interesting addition. She's brave and principled, not as suspicious of dwarves as some of her people; in fact, she has a bit of a flirtation going on with Kili (Aidan Turner). Lilly, best known for her role in the television series Lost, provides us a new female character that feels true to the world of Tolkien, while not being one of his creations. She can take care of herself, just as capable and adaptive a fighter as her counterparts. And Orlando Bloom returns as Legolas, despite having had not been in the book. Jackson gives him a lot to do (killing orcs in a running battle here and there, for instance). He's much more suspicious of dwarves, though willing to go against orders in aiding them somewhat- this is sixty years before his friendship with Gimli (who we see in a picture ever so briefly as a child). He looks much the same as he did in the trilogy, still seemingly fearless and as deadly as ever.

The dwarves themselves are as entertaining as ever, a motley crew. Tolkien developed some in the book more than others, so it was Jackson and his fellow screenwriters who fleshed them out, along with the actors themselves, all returning once again in their roles. The crew gives each a distinctive look, and the actors give them distinctive personalities, even if the audience still needs a score card to keep track of them. Turner gives Kili a dashing, roguish charm as one of the more handsome among the dwarves, shamelessly flirting with Tauriel. Ken Stott as Balin is the wisest of the party, worrying about the effect Thorin's obsession with reclaiming his homeland is having on his chieftain. Stott gives the role a quiet dignity. And Armitage, playing Thorin, delves deeper into the role. As an audience, we find ourselves wondering about what's driving him as we get more into the story. Is it about doing what's right for his people, or is he being driven by more selfish motives? Armitage continues to bring a ferocious quality to the character, suspicious of those outside the party, and determined to move forward. 

Ian McKellan has been playing Gandalf for five films now, and he continues the streak of playing the wise, enigmatic wizard very well. His take on Gandalf always feels like that of a man who knows more than he says, who notices much about what goes on around him, and who is driven by worries for the future of the world around him. He perceives the darker threat underlying the narrative, and his own quest takes him in a dangerous direction against an even more threatening foe. McKellan knows this character so well, and seeing  him in this role is very welcome. 

Martin Freeman as the younger Bilbo continues to give us a character who reflects the Ian Holm version from the Lord of the Rings trilogy but still bears his own stamp on the performance. He's falling somewhat more under the influence of the Ring that has come into his possession. Yet at the same time, he's stepping out from the anxiety that preoccupied him at times in the first film. Freeman shows us a Bilbo more sure of himself, confident and moving foward, quickly thinking on his feet as situations unfold before him. Bilbo is able to adapt well in a crisis, and Freeman conveys that quality admirably.

The second act in the trilogy moves the story along and really drives up the tension. It takes our company along different paths, but with the sense that the story will converge yet to come. For those of us who love to spend time in Middle Earth as told by Jackson and company, The Hobbit: The Desolation Of Smaug is very welcome indeed. I look forward to seeing the final chapter in this series. 

If only we didn't have to wait another year!

Far Over The Misty Mountains

"I would take each and every one of these dwarves over the mightiest army." ~ Thorin Oakenshield

The Hobbit: An Unexpected Journey is the first of three films adapting J.R.R. Tolkien's book The Hobbit, which would serve as the jumping off point for his later trilogy The Lord Of The Rings. Director Peter Jackson along with Fran Walsh and Philippa Boyens have joined up to give us the first story after their success a decade ago, recounting the adventures of Bilbo Baggins as he sets off on the adventure that will define his life. The original book isn't as big as the novels in the LOTR trilogy, and Jackson and company have opted to work in material from Professor Tolkien's extensive appendixes and notes about the world of Middle Earth for these three books, turning what had originally been a children's book into more of an epic.

The story starts itself off in a familiar place, with the older Bilbo (Ian Holm) writing down his adventures for his nephew Frodo (Elijah Wood, making a cameo). We are drawn back some sixty years to a younger Bilbo, content to do as all hobbits do: consume ale, stock the pantry, and stay out of the way of the big folk. That is, however, until the wizard Gandalf (Ian McKellan) and thirteen dwarves turn up in his life.

Bilbo is drafted into their quest. Erebor, the homeland of the dwarves, has been laid siege to by a dragon, Smaug, seen in flashback, and the treasures of their people stolen. They aim to get it back, and the road will lead them through both wonders and dangers, including elves, orcs, trolls, goblins, and all manner of dark forces, including an emaciated creature who was once a hobbit, but is now something else entirely. Yes, Gollum turns up here as well, long before meeting a bad end in the caverns of Mount Doom, once again played in a mesh of performance and CGI by Andy Serkis.

Returning to the world of Middle Earth is welcoming indeed. It feels in a way as if we've never really left the place. Jackson and company reassembled a crew, filmed largely on location again in New Zealand, which has a wildness to it that comes across beautifully in the film. Much has been made of the technical aspects involved in the filming; the projection rate of 48 frames a second used here are twice as much as usual; Jackson wanted to go for heightened reality. It's somewhat disconcerting at first; it gives perhaps too much clarity at times, but it's a minor quibble. The story itself renders that one problem an afterthought. There are theatres running the movie in the traditional 24 frames a second format; look into seeing it that way if you can.

His assembled production crew have gone through great lengths to draw us back into Middle Earth again, with painstaking attention to detail, in costuming and makeup- one of the things I loved about the LOTR trilogy, for example, in production values, was that no Orc ever looked the same as another. The same applies here, where there is such variety and differences in character looks. Cinematography and camera work remains as stunning as ever, with sweeping vistas and just the right framing- not to mention the tricks that successfully convince us that a tall actor is in fact much shorter than a wizard. And Howard Shore returns to compose the musical score, returning to some of his older themes but weaving in new material as well, creating a memorable, powerful, and epic score once more.

Jackson brings back some of the actors from the LOTR trilogy in appearances. Hugo Weaving as Elrond and Cate Blanchett as Galadriel, two immortal and wise elves, return, and it's pleasing to see them again. Christopher Lee appears briefly as the wizard Saruman, before his fall as seen in LOTR. Holm and Wood returning once more to reprise their characters briefly is a treat. Serkis is, of course, creepy and sinister when he finally turns up as the nefarious Gollum. And Ian McKellan seems to have picked up right where he left off as the old yet ageless Gandalf the Grey, the wizard guiding the quest. He is, as ever, wise and enigmatic, and getting the chance as an audience to spend more time with the character is welcome indeed.

Within the fresh cast are some surprises. Barry Humphries, who created the Dame Edna persona, turns up, hardly recognizable, as a malevolent goblin king. Among the thirteen dwarves are some we've heard mention of in the LOTR films, such as Gloin, father of Gimli, and Balin. Yes, you'll need a scorecard to keep track of them, but the dwarves each have their own distinctive look and personality quirks. You'll get used to them. Their chieftain is Thorin Oakenshield, played by Richard Armitage, a sort of king who's lost his country and wants it back. Armitage, a British actor with quite a following (it must be his eyes, right?), has appeared mostly on the other side of the Pond, notably in latter seasons of the British series MI5 (or Spooks, depending on where it's being broadcast), and did a cameo appearance as a Nazi saboteur in last year's Captain America: The First Avenger. Armitage plays Thorin as a decisive, noble, and courageous leader; he's the Aragorn of the story.

Martin Freeman is the anchor of the film. He's a character actor best known at the moment for a modern television adaptation of Sherlock Holmes in Britain, and he plays a believably younger Ian Holm, while giving the role of Bilbo his own exuberant sensibility. There's a trace of anxiety and worry in this hobbit, suddenly drafted into an adventure despite his own wishes, a good element of humour and mischief in the performance, and Freeman brings to full life a decidedly enjoyable Tolkien character. Bilbo Baggins is in good hands.

The adventures of a hobbit, a wizard, and a group of dwarves has started off well indeed, and will be going on for the next two years. As a great fan of the Lord of the Rings trilogy, I can say that I'm pleased by the first of the three films. Even if I'm wondering... did it have to be three films? I want to see the end now!