This week on Main the current Middle-earth Conspiracy Theory is asking us, “So why did Tom Bombadil keep himself apart from the wider world anyway?” Share your views here.

On Hobbit Movie board, Roheryn leads us in a look back at our early reactions to the announcement of the cast of The Hobbit. Some funny, some insightful and some just downright weird, join us as we look back here.

Over on Off Topic we remembered the second anniversary of the devastating Christchurch earthquake with our ChCh TORnsibs, “River of Flowers 22 February”.

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-Balin to Bilbo as he welcomes him to the traveling company

At Comic-Con 2012 we saw six of the statues that will be released in Weta’s range of statues for The Hobbit: An Unexpected Journey. One of the six statues at Comic-Con was of the character Balin who was a member of the traveling party and would later retake Moria (though many people’s introduction is of him in his tomb). Balin is the fourth statue released in this line. His brother, Dwalin, is the fifth (review to come) and he makes another fantastic addition to the growing line of sculptures associated with this great movie.

Balin was one of the many dwarves of the Lonely Mountain driven into exile by the dragon Smaug in the year 2770 of the Third Age. Balin would actually make two trips to try and retake the Erebor. One of a venture with Thrain (who was captured), and the second with Thorin Oakenshield in his successful quest to reclaim his legacy. After years of success once Erebor was reclaimed Balin cast his eyes on an even-greater prize — Khazad-dûm. He would be initially successful, but Balin’s new realm lasted a mere five years. The tragic fate of Balin and his kin remained a mystery until the Fellowship stumbled upon his tomb during their journey through Moria.

PACKAGING

The graphics on the box with Balin are similar to those that we saw on the box of Thorin. The front of the box features great design work down the side. It even looks very Dwarvish, though the design varies to the one used on Thorin or the Dwalin box. Also on the front you have a great shot of Balin, graphic work for the title of the movie, and of course the Weta logo. The sides present a couple of different looks with one showing great shots of Balin from different angles while the other side show some of the other products that will be coming out for The Hobbit: An Unexpected Journey like the Dwalin statue, Thorin’s Map, and the Key to Erebor. The back of the box contains a great story on Balin as well as information regarding details of the character and statue. The styrofoam packaging on the inside is typical of what we’ve come used to getting with these statues.

SCULPTING

Lindsey Crummett is a new name to me and I would imagine will be to most of you who have been collecting statues based on the characters of Middle-earth. However, after adding Balin to my collection I have to say I am eager to see what else Ms. Crummett has to show us. The spot-on likeness to Ken Stott’s portrayal of Balin is exceptional! The likeness is scary in a good way that it really feels as if he’s been ripped off the big screen and placed on a shelf. While the sculpt and likeness are excellent, Ms. Crummett did not miss a beat ensuring the rest of the statue was equally good. The embroidery work on his outfit is also very well done and you see the great Dwarvish design of his outfit, which looked beautiful on screen. The execution of Balin’s mace is also superb on this statue. The actual prop is finely detailed with Dwarvish designs. I imagine these must be difficult to transfer to a much smaller scale. Yet, having seen the larger prop replica and compared it to the statue, the quality of reproduction is fabulous. Even though we’re now five pieces into this line I’m still loving the Thror/Thorin’s map on the base. So glad that Weta decided to go with this design.

PAINT

The paintwork on Balin is strong and I believe the best in this line so far (not that I think any of them have had issues). The quality of the paint job brings out the clean lines and the detailed work on the statue. The skin tones are exceptional with the proper use of tones making it look very much like real skin. The job done on Balin’s outfit is equally as good. The paintwork is what helps this look like it was screen used, with the proper coloring matching the outfit worn by Ken Stott. Even his boots show wear through the the paintwork. They look like they’re dirty. As with Orcrist, Balin’s mace came out looking fantastic. You get a great bronze look to the weapon which it had on screen and it looks like its been used in the real world. Critically, the paint enhances the mace’s sculpted details rather than consuming them.

Overall

Balin retails for $230 — a fair price considering the exceptional quality of this statue. This is some of Weta’s best work all around on any single statue and if you enjoyed The Hobbit and the designs of the movie you will want to add to your collection. Even with this statue being an open edition I wouldn’t wait too long to get it, as you never know when the open period could be closed. If Balin and the other four statues are any indication of how this line is going, we’re in for a real treat with the remainder.

SPECIFICATIONS

Balin is an open edition statue with a retail price of $230. He’s also in stock as of right now so don’t delay.

PHOTOS

So, the question you probably want to hear answered is how The Hobbit: An Unexpected Journey compares with LoTR.  From my perspective, it’s pretty favourable – it worked much better for me than RoTK and FoTR, and probably slightly better than TTT.  For context however, this is coming from someone who seriously undermined their enjoyment of LoTR by spoiling themselves rotten – whereas I’ve deliberately kept myself unspoilt for The Hobbit.

The pacing of The Hobbit: AUJ is gentler and more consistent than LoTR – the storytelling unfolds at a much more metered and less rushed pace.  At no point did I feel bored – it felt like a leisurely but appropriate telling of the story.  Also, where story padding is added, it generally feels that it’s actually dramatically required in order to provide additional context for the ‘real’ story, rather than a jarring and illadvised substitution from the books.  For instance, the presence of Radagast is a much-needed and legitimate extension to portray the rise of evil in Mirkwood and Dol Guldur which would otherwise have to be shown as a slightly forced flashback.

Also, the lighter humour and tone of The Hobbit feels much more suited to Peter Jackson’s style – whereas I found myself wincing at many of the incongruously lighter moments in LoTR.  I am glad to say that The Shire is presented much more naturalistically than the rather over-the-top utopia of the LoTR films (especially in the absence of The Scouring to balance it out!) – and there are thankfully no sequences remotely approaching the many “jumping on the bed” endings of RoTK (with the possible exception of needlessly belching dwarves…)

Much of the improved consistency over LoTR can be ascribed to Martin Freeman turning in a pretty much perfect performance as Bilbo, alongside Andy Serkis hitting new highs in his portrayal of Gollum and Ian McKellen growing further into Gandalf.  In fact, almost all the performances are very strong, with the possible exception of the entirely CGI creation of Azog, who unfortunately comes across needlessly one-dimensionally, complete with some very clunky dialogue (bizarrely exaggerated by being subtitled into English) – think Gothmog, but worse.  The contrast is particularly shown up by Barry Humphries turning in a wonderfully charismatic performance as the similarly CGI Goblin King, as well as the spot-on interpretations of the Trolls.

A slightly unexpectedly major overlap with LoTR is the score – beyond the fantastic ‘Lonely Mountain’ theme which underpins the whole film, I didn’t spot any new thematic material at all beyond all the original leitmotifs from LoTR.  Whilst the various themes have been reorchestrated (including a fantastic cymbalom introduction for Gollum’s theme), there really feels like very little new material at all – and in some places (Rivendell, The Shire, The Ring) the audio cues sound taken almost verbatim from the various LoTR scores.  Given that arguably one of the best things about the Star Wars prequels was the vast range of new thematic material that John Williams produced as a prequel in and of itself to the original SW scores, it seems bizarre that the main new theme here was apparently composed by Donaldson/Roche/Roddick/Long rather than Howard Shore.

Outside the content of the film itself, there is of course the question over its presentation in HFR 3D.  The 48fps presentation is unquestionably jarring at first – in my case however, I managed to stop getting distracted by it after about 25 minutes (coinciding with the story really getting going at Bag End).  It’s unfortunately true that the strangely smooth motion does evoke the impression of a shot-on-video 1980’s BBC drama – and this impression is made only worse by the way the 3D glasses mute the colour and vibrancy of the footage.  I actually took off my glasses briefly during Rivendell and was blown away by how vibrant and bright the print was.  Putting glasses on again made it feel slightly as if I was watching it through a fish tank.

The strangest side-effect of the 48fps video however is that certain rapid movements (e.g. Bilbo tying up his dressing gown in preparation to flee Bag End) end up looking as if they’ve been inexplicably artificially sped up, as per the Benny Hill show.  I think this is because when we normally see fast movements on film, they are very obviously motion-blurred.  But if you see movement which is unexpectedly fast without any motion blur, your brain almost thinks it’s more plausible that you’re watching normal movement that has been ‘sped up’.  Either that or PJ is doing something very strange with the framerate in some of the earlier shots in Bag End.  On the plus side, the higher frame-rate added much more detail to the various spectacular fight set pieces – a major complaint of the fight choreography of LoTR for me was that the action was so kinetic and motion-blurred that you often couldn’t really see what on earth was going on.  HFR fixes this problem admirably, which arguably helps with the immersive experience.  (That said, I haven’t seen The Hobbit: AUJ at 24fps yet, so I may be guessing wrong on this).

The 3D is impressive at points – especially in the jawdropping VFX of the Stone Giants’ thunderbattle, and a welcome cameo for Sauron (in a pleasantly understated manifestation as opposed to the boggling eye of RoTK).  However, elsewhere the 3D really doesn’t contribute very much (unlike Prometheus, Thor, Hugo, Avatar or other more 3D-aware films) – and does detract noticeably from the clarity of the image, especially in combination with 48fps.  My recommendation would certainly be to see it at first on a really good 2D 24fps screen – and then follow it up in HFR 3D a bit later.

To conclude: The Hobbit: AUJ is a more than worthy successor to the LoTR films – and learns from many of their mistakes and avoids many of their disappointments whilst standing true to all their positives.  In the end, one of my key metrics for a good film is whether it sucks me in enough for the drama to send shivers up and down my spine… and I’m happy to say that both the sacking of Dale and Thorin’s final showdown managed that big time.  The set pieces are bigger and more spectacular than ever, and the film captures both the essence and the detail of the book.  What more could you ask for?  In IMDB terms, I’d give it 8 out of 10 (with FoTR coming in at 7, TTT at 8, RoTK at 7).

Walking through the morning commuting crowds, heading to the cinema, it was slightly bewildering to think that I was finally going to see this movie.  It’s been YEARS – hoping since The Return of the King that we would get to go ‘back again’; handing out ‘Make the Hobbit Happen!’ buttons at conventions; watching the ‘snakes and ladders’ game of waiting for that greenlight; eagerly taking in every moment of Peter Jackson’s production diaries…  And now, at last, here it is.  Would the anticipation prove too much?  Would I be disappointed?

As the opening credits came up, I knew immediately that the answer, whatever was in store, would be NO.  I was revisiting old friends – and what a great pleasure it was.  I wanted to cry, as Frodo does in The Fellowship of the Ring, ‘It’s wonderful to see you Gandalf!’  What a treat to be back in the Shire, and to delight again in its green beauty.  What fun to explore Bag End some more, and to see Ian Holm and Elijah Wood back where they belong – in furry feet!

Some reviews have commented that The Hobbit: An Unexpected Journey feels too much like an echo of the earlier trilogy – too many parallels, which perhaps feel contrived.  Those perils certainly exist, when revisiting a franchise: remember the James Bond team desperately trying to smooth over the replacement of Sean Connery with George Lazenby, by throwing in lines such as, ‘This never happened to the other guy!’?  Fortunately, Jackson et al have dodged such pitfalls.  They make no apologies, simply plunging in and enjoying being back.  The fact is, we ARE back in Middle-earth – back in Peter Jackson, Alan Lee, John Howe and Weta’s Middle-earth – and it SHOULD seem familiar!  These are many of the same characters, the same locations; should we expect them to be somehow different?  In a recent interview, Richard Armitage commented that ‘connecting blood vessels to those other films [The Lord of the Rings trilogy] … was giving oxygen to our film’;  Middle-earth breathes again because it is linked to the movies we already know – and that is an encouraging thought.

This first of The Hobbit films does have a somewhat lighter touch than The Lord of the Rings movies, in keeping with the difference in Tolkien’s own style, going from The Hobbit to the later trilogy.  An Unexpected Journey feels, in places, closer to a Jim Henson movie or a Goonies style kids’ adventure tale; and this unfamiliar flippancy was sometimes disorienting.  It seems likely, however, with the way that plot events unfold, that The Desolation of Smaug and There and Back Again will be much darker – so perhaps it is as well to find the humour and the levity where we can!  We see the characters having fun, enjoying each other and developing a rich camaraderie – which will make the dangers and darkness to come all the more poignant and frightening.

The occasional frivolity of this movie is counterbalanced by the anchoring performances of its core trio – Martin Freeman, Richard Armitage and Sir Ian McKellen.  These three actors are exceptional, and the intensity and focus which they bring to their roles give the film an essential weight and gravity.  Martin Freeman never puts a (rather fat and chunky!) foot wrong in his portrayal of Bilbo – every moment, whether it be a scene of comedy, of danger or of emotion, is perfectly played.  Richard Armitage gives Thorin extraordinary depth – this is a truly heroic character in whom we can believe as a leader and a potential king, but who is also a haunted, vulnerable being who carries heavy burdens of sadness and self-doubt. And McKellen is, of course, everything we want from Gandalf – funny, touching, wise: a formidable presence.  How we will watch this triumvirate journey together, and see their characters’ relationships grow and change, is a thrilling prospect for the next two movies. The Academy is often churlish in rewarding ‘fantasy’ acting roles, but if there isn’t oscar buzz for these three gents – well, there should be.

Not that the supporting cast is overshadowed!  One of the great joys of An Unexpected Journey is that it is so well cast; everyone plays his or her role to perfection.  Each dwarf is a delight – from William Kircher as the silent Bifur, who manages to communicate so much with his eyes and his grunts, to Adam Brown’s adorable Ori and James Nesbitt’s sparkling Bofur - and all the others in between. Ken Stott is particularly wonderful as Balin; as a long time fan of the Scottish actor, I was thrilled to see him bring such resonance to the role of Thorin’s old companion.

As one would expect, Hugo Weaving, Cate Blanchett and Sir Christopher Lee recreate their particular roles with skill and mastery.  The White Council scenes are beautifully played, and Gandalf’s interactions with Galadriel are a joy to behold.  The only slight disappointment is that Saruman here is a difficult, ornery fellow, ever at odds with Gandalf.  It seems a missed opportunity – to have discovered a real friendship here between the two wizards could have been a powerful and poignant set up for the destruction of that friendship in The Lord of the Rings.

It would be remiss to leave out Andy Serkis in this roll call of excellence; his Gollum is better than ever - if that is possible – and the ‘Riddles in the Dark’ sequence is a highlight of the film.

The perfection of the players in the movie is of course, in large part, a credit to their director.  Sir Peter Jackson is known for being a technical wizard, but there is perhaps a tendency to overlook his further brilliance as an actor’s director.  No film would be so full of pitch perfect performances were it not helmed by a master, who knows exactly how to draw such work out of his cast; how to lead them where they need to go and create for them a world in which they flourish.  Directors don’t always get the credit they deserve for enabling their actors – Sir Peter certainly deserves much applause for what he has achieved here.

So, what didn’t I love?  Well, I’ve never been a huge fan of snot gags, but those slapstick moments in which Jackson loves to indulge are all part of the energy of the film, and they quickly pass, so they didn’t spoil my enjoyment.  My only real issue was with the Higher Frame Rate – and even that was not quite the issue which others have found it to be.

Much has been written about 48 frames per second, with some even stating that the visuals at this frame rate made them nauseous.  I had no such problems, but I wasn’t convinced that this new technology is yet where it needs to be.  The clarity is extraordinary, but rather than enhancing the viewing experience, this brightness somewhat mars it.  At 48 fps, one sees EVERYTHING; this means that special effects, computer generated images, and edits do not blend as seamlessly as they would at a lower frame rate.  The quality of artificial studio light, for example, is never quite the same as actual daylight; at 48 fps, in sequences where the close-ups were shot indoors and the wide shots on location, this slight shift in the light is evident and distracting.  The extreme brightness and intensity of everything you see gives the film a rather cartoonish, ‘video game’ quality at times; rather than feeling that I was seeing right into that world of Middle-earth, I felt that I was gazing straight into the film set.  48 fps may well be the future, (and certainly 3D is much more effective at 48 fps), but the future isn’t here quite yet – the rest of movie making technology needs to catch up to this higher frame rate, so that the minor flaws aren’t exposed by the enhanced clarity.

Such concerns were not significant enough to spoil my enjoyment of the film; I will certainly see the movie again at 48fps - and at 24fps.  With such a team of experts at the helm – from director and actors to designers and crew, and not forgetting the magnificent, soaring score from composer Howard Shore – how could the film be anything but wondrous?  I was left with the feeling that I had spent time with a friend whom I had not seen for years.  For almost a decade, Middle-earth has only been what we’d already seen – we could revisit, but it was not new, not living and breathing.  Now, here is our old acquaintance: returned, alive and well, and revealing new treasures!  Hello old friend – it’s wonderful to see you again.  I’m glad you’re back.

NB: Many people sent us links to these clips earlier. Until now, we have held off posting at the behest of the filmmaker. These clips, hosted on EW.com are official, posted with permission of the filmmakers themselves. Go ahead and freely enjoy.

The goblin chase

Swords are named for the great deeds they do

Who did you tell about your quest?

There is nobody home!

I wasn’t talking to you!

Give him the contract

Warner Bros. has revealed another great scroll-like Hobbit poster on their site. Similar to the movie poster revealed recently, the newest poster concentrates mainly on the dwarves, with a little Bilbo and Gandalf thrown in. This helps further establish personalities and, with this particular scroll, names for each of the dwarves, helping fans familiarize themselves with all thirteen prior to seeing the movie.  Do you have a favorite already? More than one? Let us know: Barliman’s chat; Hobbit Movie Discussion; TORn facebook, TORn Twitter.  Read more…

The only ones missing (at the moment) are Bilbo and Thorin Oakenshield.

The great news for fans is that there are no plot spoilers here (unless you count costumes). So dip right into the full gallery below!

[Full Gallery]