Similarly, the falling staircase in Moria isn’t a problem because it’s a falling staircase (as some would suggest). ![]() It would be like directing a horror movie in which the heroine is racing for the safety of a door and - instead of getting there just in time and slamming it behind her as the creature from the dark nipped at her heels - she got there several minutes before the creature did and sedately shuts the door behind her. He also fails to establish a finish line for what is, ultimately, a race to safety. (Examples: Jackson takes the penultimate moment of the entire Flight to the Ford - the Nazgul almost grasping Frodo - and moves it inexplicably to the middle of the sequence. Both sequences are mispaced and mishandled. This is the only problem which directly impacts FOTR, but it’s evidenced through the anti-climactic Flight to the Ford and the overly-simplistic All the Goblins in Moria. Peter Jackson’s inability to handle a chase sequence. There are several major problems with the movies:ġ. THE TWO TOWERS and RETURN OF THE KING were hollow mockeries. THE FELLOWSHIP OF THE RINGS was a great movie that found a way to realize the book in a way which was both true to the source material and a powerful cinematic experience.īut it was a false promise. How the hell did this scene even get in the script?”ĭoesn’t shock me in the least. I mean, holly crap! All things considered, these movies were actually quite faithful to the book. “I think we can classify this as “the worst idea of the decade” category. ![]() I haven’t rad your post on how Star Wars might have been, and I don’t plan to… it would be too depressingly true (actually, I doubt it would be… you couldn’t possibly come up with stuff as bad as the Holly wood people – they’re the only game in town, and their industry is STILL managing to do badly).īut, in defense of this particular piece of Hollywood drivel, the original fight with Sauron (depicted in the beginning of FotR as a lucky blow for the win) was Isildur and his dad and the elf king and his son in a big battle with Sauron, and they WON (with the two king’s dying, each leaving their son’s in charge), so it’s not quite as far-fetched as it might sound (though in the movie, they made Sauron so ridiculously much stronger as to make it seem ridiculous, and they made Aragorn a bit weaker, IMO – as a descendant of the guy who personally beat down Sauron, there’s a reason the wraiths at Weathertop were reluctant to fight him, another thing which gets lost in the movie, though it was admittedly always a little weak). ![]() After seeing this I think what I wrote isn’t all that implausible. At the time I was going for laughs and tried to come up with the most absurd crap possible. I think back to my bit where I mused about how Star Wars would have turned out if it was run through the modern-day Hollywood meat grinder. The storyboards outline – even choreograph – the swordfight between Sauron and Aragorn. Thankfully this was nixed, although I notice the idea survived at least long enough to get storyboarded. The very suggestion makes me thinks of “ needs more cowbell“. It’s shocking that someone with such a tin ear for the work could get anywhere near the movie project. This is the sort of suggestion you might post to forums frequented by fans if you wanted to do a little trolling and get people riled up. I am trying to imagine the munchkin that read this beautiful story and concluded that what we needed at the end was a dang bossfight. How much worse? Take a look at this bit from the special edition of Return of the King: Having said that, it could have been worse. I’m sure more scholarly fans have already beaten that particular horse into a fine paste. There are several changes which really irritate me, either because they suck the art out of the story or because they make no dang sense. The movies are an amazing acomplishment, but they falter when they break from the book. I’m a fan of the movies, but I’m a bigger fan of the books.
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