The Hobbit: The Battle of the Five Armies From Academy Award (R)-winning filmmaker Peter Jackson comes "The Hobbit: The Battle of the Five Armies," the third in a trilogy of films adapting the enduringly popular masterpiece The Hobbit, by J.R.R. Tolkien. "The Hobbit: The Battle of the Five Armies" brings to an epic conclusion the adventures of Bilbo Baggins, Thorin Oakenshield and the Company of Dwarves. Having reclaimed their homeland from the Dragon Smaug, the Company has unwittingly unleashed a deadly force into the world. Enraged, Smaug rains his fiery wrath down upon the defenseless men, women and children of Lake-town. Obsessed above all else with his reclaimed treasure, Thorin sacrifices friendship and honor tohoard it as Bilbo‘s frantic attempts to make him see reason drive the Hobbit towards a desperate and dangerous choice. But there are even greater dangers ahead. Unseen by any but the Wizard Gandalf, the great enemy Sauron has sent forth legions of Orcs in a stealth attack upon the Lonely Mountain. As darkness converges on their escalating conflict, the races of Dwarves, Elves and Men must decide - unite or be destroyed. Bilbo finds himself fighting for his life and the lives of his friends in the epic Battle of the Five Armies, as the future of Middle-earth hangs in the balance. (c) Warner Bros.
Detail For The Hobbit: The Battle of the Five Armies
144 min - Adventure - 2014-12-17
Title : The Hobbit: The Battle of the Five Armies
Writers: Warner Bros., etc
Stars: Martin Freeman (II), Ian McKellen, Richard Armitage, Andy Serkis, Ian Holm
Director: Warner Bros.
Rating : PG-13
Character : Bilbo Baggins, Gandalf, Thorin Oakenshield, Gollum, Bilbo Baggins (old)
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Review Movie The Hobbit: The Battle of the Five Armies
Untold manpower, pixels, and money culminate in the gangbusters final installment. It can't redeem the useless tedium of the first two, which exist for gargantuan profits and structural necessity.
Well, at least there won't be another one for a while.
It's adequately visionary, it's routinely spectacular, it breathes fire and yet somehow feels room-temperature.
It plays out as if someone chucked a whole bunch of ca refully detailed Warhammer figurines into a centrifuge - goblins, goats, dwarfs, wizards and wolves bouncing off one another in waves of alternating tedium and punishment.
It's a big, bold, schizophrenic pageant that still manages to work on a surprising number of levels - creative liberties and indulgences be damned.
Mindless CGI spectacle overpowers every aspect of Peter Jackson's concluding Tolkien adaptation; like the other installments of this lumbering trilogy, it's more tech-demo than movie.
What is perhaps most depressing about Jackson's swollen Hobbit enterprise is the way it retrosp ectively diminishes his Lord of the Rings trilogy.
The pleasure is intense, and mixed with awe. There is majesty here, and not just because we're in the presence of magnificently regal madness.
Talk about beating a dead orc. In dutifully completing his prequel trilogy to his Lord of the Rings triumph, Peter Jackson has sadly saved the worst for last. The Battle of the Five Armies is 20 percent inspiration, 80 percent desperation.
Fighting - presented with Jackson's usual double helpings of visual splendor, emotional oomph and low-key comedy - is what "Battle of the Five Armi es" is all about.
While more than enough praise has been poured on Jackson and his singular gift for CG spectacle, Martin Freeman deserves some credit for lending humor and humanity to what could have been a numbing orgy of pixelated mayhem.
The magic, fleeting to start with, is mostly gone.
It may occasionally seem to be aware of its undiluted preposterousness, but that hardly eases the experience of sitting through its endless cartoonish action sequences and overwrought emotional payoffs.
Considered as contemporary CGI-driven action-adventure cinema, and as the template for a new generation of video games, they are rich and entertaining. Even in the decadent phase of his genius, Jackson remains an expert world-builder and image-maker.
This third installment of The Hobbit trilogy is allegedly the shortest of all of Peter Jackson's Tolkien films, but my theater must have been orbiting a black hole because I could swear it swallowed up 20 years of my life.
What looked like indulgent folly at the outset now seems closer to epic justification, as Peter Jackson's The Hobbit trilogy draws to a rousing close.
[Freeman] could have made a great Bilbo. Instead he's the one thing that has made this trilogy bearable.
Five armies are too many.
Bilbo may fully learn a sense of friendship and duty, and have quite a story to tell, but somewhere along the way, Mr. Jackson loses much of the magic.
If you want to see a Renaissance faire turned into an apocalyptic battlefield, this is the ticket.
If The Hobbit doesn't equal the achievement of Jackson's earlier Middle-earth movies - and, honestly, what could? - it is still, in sum, a thrilling effort.
A passably satisfying ending to a franchise that has always seemed a little like a bonus DVD.
Jackson's storytelling at this point is so driven by green-screen trickery and digital legerdemain that he seems to have forgotten about human emotion.
OK, Mr. Jackson, you proved your point by landing the big finish. Now please, no more Middle-earth, ever.
It's designed to leave the audience drained and exhilarated, and from its opening scenes of exploding awesomeness there's no looking back.
Whose story is this? There's an old saying that history is written by the winners. The screenplay for "The Hobbit: The Battle of the Five Armies" must have been written by elves.
By the second hour of The Battle of the Five Armies, the visual approach becomes a paradox: monotonously dynamic epic storytelling.
Jackson has marched the modern fantasy-action epic into a thun dering blind alley; the movie exhausts your senses without ever engaging your imagination.
The final installment of the Hobbit trilogy is the best, featuring more spectacular action scenes as well as the series' most emotionally resonant moments.
It was too much, and it was not enough.
All this plot unfolds like obligation, a paragraph of book-report summary bulked up to feature length.
There's far too many moments of sabre-rattling, and too much confusion about who is alig ned with whom, and why. Those who know and love Tolkien's texts will have a vested interest. Everyone else may grow restless.
The best of the three "Hobbit" movies, moving from an enjoyable action/battle movie with fantastic visuals into the realm of authentic tragedy.
Tolkien's richly imagined novels served as the template for an entire genre of "epic fantasy," and the opportunity to spend a final 144 minutes inside that world . is more than worth the price of a 3-D movie ticket.
While it's true that none of the "Hobbit" films were as good as any in the & #34;Rings" trilogy, "The Five Armies" at least comes closest to capturing Tolkein's essence. And in this instance that is good enough.
The best film of The Hobbit's three, this final installment is closer in quality to The Lord of the Rings than to its immediate predecessors.
It's sad that Hollywood filmmaking is so often about attempting to put the dreams of children onto our screens, but shouldn't it still be notable when someone actually manages it?
More battles, more creatures, more not-quite-comical asides, more stern speechifying and more gob-smackingly elab orate action set pieces.
"The 144-minute running time showcases Jackson's worst tendencies: eons-long battle scenes, sloppy and abrupt resolutions, portentous romances, off-rhythm comic timing, and, newly in this case, patience-testing fan service."
Third time's a charm for the mammoth screen version of Tolkien's little persons' odyssey.
The result is at once the trilogy's most engrossing episode, its most expeditious (at a comparatively lean 144 minutes) and also itsdarkest - both visually and in terms of the forces thatstir in the hearts of men, dwarves and orcs alike.
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