The Lord of the Rings: The Two Towers (2002); The Hobbit (1977); The Lord of the Rings: The Rings of Power Photo: The Lord of the Rings: The Two Towers (2002) Official Trailer #2 - Orlando Bloom Movie HD/Rotten Tomatoes Classic Trailers; Rankin/Bass / Courtesy Everett Collection; Prime Video/Amazon Studios
Prime Video is taking fantasy lovers back to Middle-earth in the new series The Lord of the Rings: The Rings of Power. Although the show, which is the most expensive TV show of all time, is exploring a time period thousands of years before
, it is hardly the only adaptation of J. R. R. Tolkien’s world. There have been several movies based on Tolkien’s works, and some are better than others. Which adaptations are precious to us? Which one is the worst? And which adaptations of Middle-earth are in the middle of the pack?
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For this ranking, we’ll be looking at nine titles — one for each of the Nazgûl. All three of Peter Jackson’s The Lord of the Rings movies are in the running, as are all three of his
Will be added to this list once the season is over, as it feels premature to place it after only two episodes. There have been a few Nordic or Soviet Tolkien adaptations, but we’re sticking to English-language titles only.
Let’s get to the ranking — the greatest adventure is what lies ahead. To paraphrase Bilbo Baggins, “I like less than half of these movies half as well as they deserve.”
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, which came out two years earlier and only covered the events of the first two books in the trilogy while Rankin/Bass handled the third. Legally, it is very much
Isn't great, in large part because it’s telling the third part of a three-part story. The omission of the first two chapters means that everything feels abrupt and rushed, and Gandalf’s narration has to do a lot of heavy lifting as he introduces major characters or plot points as they are happening. Aragorn, for instance, the titular returning king, doesn’t show up or really even get mentioned until an hour and 17 minutes into this 98-minute film. The dialog is mostly characters saying what they’re doing, too, desperately trying to establish some context of what’s going on after it’s already started happening. And yet, there’s no sense of urgency, as
Seems fairly uninterested in the story it’s telling, haphazardly meandering from plot point to plot point as though begrudgingly going down a checklist. It makes all the derivations from the source material — a strange framing device, a long sequence where Sam just kinda wanders around while Frodo’s imprisoned, and a bunch of bonkers folk songs — all the more irritating. At least it fitfully looks interesting, probably because it was animated by Topcraft, a Japanese Studio that would beget the vaunted Studio Ghibli.
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Book, is the worst of the bunch. Despite the name, the climactic Battle of the Five Armies, does not actually have enough going on, narratively, to fill out an entire movie, and so Jackson and Co. invent a bunch of stuff that supposedly looks cool but actually looks like graphics from a PS2 cutscene to pad out the battle. The single best way to describe how
, they one-upped that by having him take down an oliphant single-handedly in a sequence that looks cool but does start to make him seem less like a character and more of a video game quicktime event. In
, he defies the laws of gravity to run up some crumbling stone tower while fighting Azog, a character who is barely mentioned in
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. Howard Shore is back, and his “Lonely Mountain” leitmotif is instantly iconic as anything in the original trilogy. The sequence between Bilbo and Gollum is perfect. And it does feel good to be back in the world of Middle-earth.
’s Middle-earth is apparently no longer good enough. That’s why there needs to be all these padded-out additions, like Azog and some framing devices featuring Frodo that lay it on really, really thick. Also, these movies just look worse than the
Films despite being made a decade later. You can chalk a lot of that up to an overreliance on CGI. The original movies used it (relatively) sparingly. Gollum, an all-CGI character, was a marvelous technological breakthrough that still holds up today. Azog, meanwhile, doesn’t feel like a real character, and not just because he essentially isn’t one, story-wise. He just looks like weightless CGI compared to the practical orcs of earlier films. This overuse of CGI leads to things like the truly absurd sequence where the dwarfs escape from the goblin king, a stakes-free dash through unimportant and unbelievable enemies.
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Has a few things going for it. The conversation between Smaug and Bilbo is, like the Gollum sequence from the previous movie, pretty much taken verbatim from the book, and as a result, it’s delightful, even if the dwarfs’ later tussle with the dragon is a little over the top and more or less pointless. It also introduces arguably the only good addition to
And an explicit prequel, resulting in an underwhelming side plot where by the movie’s logic Gandalf really should have known for sure that Sauron was coming back and yet he’s still caught pretty stumped come the events of
. We also get much more Laketown politics than anybody was asking for. And then this is a minor thing, but despite Jackson being dead-set on shooting and releasing his
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Movies in 48 frames per second, there are a couple of POV shots when the dwarfs are escaping in barrels down the river that are obviously pixelated because it seems pretty clear that they just slapped a Go-Pro onto a barrel and let it rip.
To Ralph Bakshi’s credit, he wanted to fully adapt all three of Tolkien’s books, but a three-movie plan became two movies and the second one, which would have covered
At a pace that’s breezy at best and rushed at worst. It’s still effective, though. While some characters — especially anybody who isn’t in the Fellowship — don’t get much in the way of screen time or development, Bakshi is largely faithful to Tolkien, and specific moments or lines pulled straight from the text are as effective in this truncated telling as they are in the original.
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It also looks wild in a way that’s a mixed if ultimately admirable bag. Bakshi was a big fan of rotoscoping, a process by which animators essentially painted over live-action footage. When rotoscoping works, it makes for incredibly fluid animation, since the animators are essentially tracing over an actual living and moving person. It can also look uncanny, because the live-action elements are clearly not a part of the same world as the more cartoonish Hobbits. This works great with the orcs and especially the Nazgûl, who are supposed to be “other” from our heroes, but it’s less effective when all of the sudden in Bree there are just, like, real human dudes sitting around.
Is a children’s book, despite what Jackson’s trilogy would have you believe. It’s charming and quaintly odd. That actually makes it a good fit for Rankin/Bass, as it is not an epic but something more akin to a fairytale. (It is also a complete story, unlike one-third of
.) It has a curious, slightly ugly aesthetic that actually works well with the vibe of the story it’s telling. This is, after all, a book about a little guy who lives underground being asked by other little guys who live underground to go steal from a dragon (who lives underground). It’s kind of a grubby story, and Rankin/Bass make that into something unique and lovely.
The Lord Of The Rings (1978)
Also boasts some songs that, from our vantage point close to 50 years later, we can only assume must have made sense at the time. They are what I imagine you would get if you sent a 1970s folk musician back in time and told him his only chance for survival is to endear himself with the King and attempt to become the court’s bard. Also, he had a lot of quaaludes on him when he got sent back in time. And yet, something about hearing “the greatest adventure” over and over again actually works for this
Movies (baffling, right???), his trilogy is by far the best, most stirring, beautiful, and epic depiction of Middle-earth on film. You could put these three movies in any order — or even cop out and make them a three-way tie for first, and it would be a valid arrangement. Nevertheless, just as Frodo’s burden was to carry the Ring, ours is to commit to a ranking. The margins here are razor-thin, but
Opens up. The Fellowship has broken. Sam and Frodo on their hike to Mordor, have the “smaller” story, though the stakes are huge. Gollum makes his full debut in
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, and Andy Serkis’ performance (aided by legions of extremely talented animators) is transportive even today. Meanwhile, Aragorn, Gimli, and Legolas go to rescue Merry and Pippin, in the process aligning themselves with the horse-lords of Rohan as they fend off Saruman's
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