Set in Middle-Earth many many years ago, this is the story of a young Hobbit named Frodo, who has in his possession a ring... This ring is needed by the evil Lord Sauron to destroy civilisation and plunge the world into complete darkness. In order to prevent this, Frodo must find a way to the Mount of Doom and destroy the ring.
A marvellously sympathetic yet spectacularly cinematic treatment of the first part of Tolkiens trilogy, Peter Jacksons The Lord of the Rings: The Fellowship of the Ring is the film that finally showed how extraordinary digital effects could be used to support story and characters, not simply overwhelm them. Both long-time fantasy fans and newcomers alike were simultaneously amazed, astonished and left agog for parts two and three.
Jacksons abiding love for the source material comes across in the wealth of incidental detail (the stone trolls from The Hobbit, Bilbos hand-drawn maps); and even when he deviates from the book he does so for sound dramatic reasons (the interminable Tom Bombadil interlude is deleted; Arwen not Glorfindel rescues Frodo at the ford). New Zealand stands in wonderfully for Middle-Earth and his cast are almost ideal, headed by Elijah Wood as a suitably naïve Frodo, though one with plenty of iron resolve, and Ian McKellen as an avuncular-yet-grimly determined Gandalf. The set-piece battle sequences have both an epic grandeur and a visceral, bloody immediacy: the Orcs, and Sarumans Uruk-Hai in particular, are no mere cannon-fodder, but tough and terrifying adversaries. Tolkiens legacy could hardly have been better served.
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