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The Lord of the Rings: The Return of the King
USA, New Zealand, Germany
Drama, Action, Adventure, Fantasy
IMDB rating:
Peter Jackson
Noel Appleby as Everard Proudfoot
Sean Astin as Sam
David Aston as Gondorian Soldier 3
John Bach as Madril
Sean Bean as Boromir
Cate Blanchett as Galadriel
Orlando Bloom as Legolas
Billy Boyd as Pippin
Sadwyn Brophy as Eldarion
Marton Csokas as Celeborn
Richard Edge as Gondorian Soldier 1
Jason Fitch as Uruk 2
Storyline: While Frodo & Sam continue to approach Mount Doom to destroy the One Ring, unaware of the path Gollum is leading them, the former Fellowship aid Rohan & Gondor in a great battle in the Pelennor Fields, Minas Tirith and the Black Gates as Sauron wages his last war against Middle-Earth.
Type Resolution File Size Codec Bitrate Format
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DVD-rip 640x272 px 796 Mb h264 128 Kbps mkv Download
iPhone 640x360 px 2257 Mb h264 1569 Kbps mp4 Download
There'll never be anything like it
(huge whopping spoilers like you wouldn't believe)

It's not really a movie at all - what it is, is an experience perhaps only religious conversion can touch. This movie, as a whole, has changed my life. I make movies because of this movie. I owe more to it than the filmmakers can ever know.

It starts off wonderfully unexpectedly, with a shot of a worm between two fingers. The focus pulls back and we see a hobbit - or something like a hobbit. We find out its Smeagol in a bit, and then, a bit farther on, we find out what Smeagol did to ever have his Precious in the first place. Then it moves on - to Frodo and Sam, to Pip and Merry and Aragron and Gandalf and all the rest. I won't bore you with a whole retelling, since no doubt if you're reading this you're probably as obsessed as I am. I'll just mention a few things-

Merry and Pip greeting the riders at Isengard. There's nothing funnier than stoned hobbits, man.

Minas Tirith. Enough said.

The stairs at Cirith Ungol, and the spire of light that went up into the sky. Most people don't mention this in their reviews, but I felt terror, sheer and true. I can't remember the last time I've felt that, and I watch countless amounts of horror flicks.

Gandalf explaining death to Pippin. So soft and beautiful and true. It feels so true, somehow.

Sam carrying Frodo on his back. You'll see that one parodied in a few years, trust me. It's just too strong and lovely and heartbreaking and man if I'm not using the same words as everyone else uses.

Everything in Mount Doom, all of it. It worked out better than I had hoped for.

Frodo and Sam lying on that rock, the lava streaming around them, waiting to die. Frodo remembering the Shire, seeing it. Sam remembering Rosie dancing. I've seen it four times now, and I can never get through that bit without sobbing like a child. Sam gave everything for his master, and only in the end, in that last moment before death, did he even truly think of himself.

Frodo's face as the eagle picks up up. Oh my God I can't describe how beautiful it was. My first thought when I saw that was: "He think's he's dead. You only have that sort of release with death."

Frodo getting on the ship at the harbor, the slow way he walked and then the strange making slow creeping flush in his eyes and his face. He was back, and he was our Frodo again.

And the line, "You cannot always be torn in two," Frodo's voice-over message to Sam. Ah, I love it so much. Man.

There's more, thousands of words worth more: Pip's song, Denethor's funeral pyre, the mumakil charge, the charge of the Rohirrim. More strikes me each time I watch: this last time, it was the way Aragorn and Arwen's son looked, and the strange colors in his eyes.

I staggered out of the theater all four times with a washed-clean feeling - like I'd run a thousand miles and washed in a thousand oceans. I've never cried so much in a movie before. I've never come out of a theater feeling reborn before. Only these movies, only these, forever - I can only hope to someday have half the effect these movies have had. They aren't really movies at all - they are religious experiences.
Minor flaws aside, LOTR proves itself one of the most successful trilogies in modern film
In Return of the King - which follows the book (that I have not read, though heard what is in it that is not in the film) as close if not closer than the past two - co-writer/co-producer/director Peter Jackson brings Tolkien's grand tale of the quest to destroy the ring to an end. The story strands follow along the similar linear paths of the others, and it is done so with an equal worth in entertainment. Frodo, Sam and Gollum's path to Mordor unfolds as almost something of a love triangle for the ring; Merry and Pippen follow their own tales towards the great battle; Gandalf, Aragorn, Legolas, Gimli, and all the dwellers of middle earth prepare for the swarm of the terrors of Sauron.

There is much praise that should be given to Jackson and his crew/cast on not just the worth of Return of the King, but to what is now the entire saga of the Lord of the Rings as a whole. Though the film does carry quite a load to it (at three hours and twenty-one minutes it's the longest of the three in theatrical form, and it definitely does go on at least ten to fifteen minutes longer than it should), and expands and deflates on the details of some characters (i.e. Saruman is nowhere in sight in this version, while Arwen gets more than what is from the original work), there are plenty of rousing scenes and sequences, terrific battles, and a grasp on the visual effects as a whole that don't let up. In all, ROTK is on the level with Fellowship and Two Towers, making the parts as good as the whole. This is something that only several other filmmakers can make a claim to, that one film does not bring on a let down from the expectations that preceded it. It's the kind of film I'll want to see again, however it would be very difficult to sit through it in one place. Grade: A (both as a picture in and of itself, and overall on the three epics combined)
Absolutely Awesome!
It's difficult to process something like The Lord of the Rings: Return of the King: Its very nature defies comparison.

There has never been a cinematic endeavour based on a more daunting...or more beloved...literary work. There have never been motion pictures of the magnitude undertaken by co-writer/director Peter Jackson and his production team. The Lord of the Rings movie trilogy will endure forever as one of the most bold and audacious enterprises in the history of cinema. It is, quite simply, a seminal event. Other projects (for example, a movie filmed in space) are already being considered and may someday be attempted. They may challenge LOTR's logistical complexities (or, at the very least, present a comparable set of obstacles), but it is unlikely the numbers of people involved or the sheer duration of the creative process will ever equal this effort.

Jackson & Company have made believers out of millions of readers who doubted the works would ever enjoy respectable translation into a more "mainstream" media. They have changed the way production models are approached for large-scale projects. They have forged what may well be the premiere visual effects house in the business (WETA Digital). They have raised the bar for all filmmakers to follow, and reminded millions of jaded moviegoers of one simple truth: Love, attention, and genuine dedication to (and appreciation of) one's material can overcome inconceivable obstacles, and always...always shows on-screen.

And now it's over.

With the longest running time of any film in the cycle (early indications suggest next year's extended DVD cut will clock in at over 4 hours long), RotK is an all-out assault on the senses. There are times when it is simply impossible to take it all in: Armies of hundreds of thousands clash beneath towering war beasts as deadly, dragon-like bird-things strafe hapless victims on the ground. Mountainsides erupt with pyroclastic fury as lava flows labour to engulf our heroes. This film is off the hook, gloriously so.

In tone and "feel", RotK rests comfortably between Fellowship of the Ring's penchant for character-centric drama, and The Two Towers' colder, more mechanical "war movie" approach. What we end up with, is, in essence, an emotionally charged war movie sprawling in scale yet intimate in heart, its effects are frequently overpowering.
This Christmas The Journey
The Fellowship makes its final path through war and wilderness. The story comes to an 11 academy award winning climax. The movie has a stunning power unlike the other two. Peter Jackson uses incredible insight into sstories and themes and character study. The Return of the King culminates its three story lines unimaginably. As the characters finish what is a three year journey you see exactly why Peter Jackson made the fellowship and the two towers because he wanted to arrive at this incredible finale to what is a career trilogy. I enjoyed this film for two main reasons action and intimacy. The action is stunningly realized by weta workshop. But even though the action is great at the center of it is what is a wonderfully intimate story. As Frodo and Sam make their way to Mount Doom we really get to see them both rise to the occasion. We see the real power of friendship as Gollum continues to try to break it. When Aragorn and Gandalf arrive at over 600.000 orcs and yet they stand as strong as they were at Helm's Deep. I become more amazed as the tale goes on we see how difficult and at what price will either side win. The feelings of community within us. This is a classic and whoever watches will not be disappointed. 10/10
Ending to the best series there was, the best series there is and the best series there ever will be
Great finale that does justice to this masterpiece. It is difficult to find a single flaw in the whole series and the last movie in the trilogy is no different - from exceptional actor's performance, throughout the wonderfully made environment, to the heart moving story-line (including the finale). I think Tolkien would love this, just as every movie lover does. Thank you Peter Jackson for making this happen.
Spoilers herein.

This raises the bar on production values, as it certainly is competently made, say, compared to the `Star Wars' stuff. It seems oddly paced, lacking a rhythm, and more importantly lacking the patina of magic that colored the first two. In fact, everything seems brighter this time out.

Unlike the battle of the second, they have decided to not have any movie jokes, like the surfer/warrior who winks at the camera. But there is still a variety in tone from place to place as if different directors were involved. I suppose that's true.

I remarked on the earlier films that they innovated primarily in how they use the vertical dimension. This third film is even more competent and extreme in that regard. They knew it was a discriminator and exploited it. Unfortunately, the towers and cities and mountain gates all have an unnatural sameness to them, they are photographed with huge vertical sweeps. Even the first ending where everyone bows to the hobbits and there is the obligatory `helicopter' shot, it goes shockingly far beyond what one expects. The way it pulls back fast and swoops reminds that we are used to an eye that is constrained by the aerodynamics of light helicopters.

Not so here. When this is considered in hindsight, I'm pretty sure that the high production values won't be noticed; that all the effects and conventions here – especially the battle scenes – will be seen as borrowed, all except for the exhilarating use of height. That's worth watching. Magic of its own.

That magic is enough to carry this project for me. It is clearly Jackson's intent to move his camera in great vertical arcs, usually in ways that no physical camera could. That gives us a fantastic eye. Just a few hours later, I saw `The Lion King' again and noticed that although they were never constrained by physics, they always moved the `camera' in ways we have seen in ordinary `real' films. That's because `Lion' wanted to look real while `Return' wanted to seem ultrareal.

Ian McKellen has always puzzled me, he's sort of a working man's John Gielgud, an engineer of the spoken word. Here, he stoops to Alec Guiness' role. A sad way to cap a career.

Ted's Evaluation: 3 of 3 – Worth watching
Perfect wrap up to a wonderful trilogy. This movie, though set in another world, sheds light on the power of hope we so desperately cling to in our own reality. A wonderful blend of superb acting and brilliant script-writing. It is very relatable, however fantastical it may seem, no human wants to be vulnerable and this movie shows that truth.
Wonderful finale, sweeping emotions and action
Where do I start? Those who have already seen this movie don't need a review, and those who haven't will probably never look at my review given the multitudes of others to choose from. So, I'll just say how this movie personally affected me, as a fan of the books and of movies in general. I absolutely loved the original film, Fellowship of the Ring, and did enjoy the Two Towers, though not as much. I loved the emotion of the original (subtle scenes like Frodo's long decision-making boatside scene at the end), and found that the Two Towers was great in action and scope but as a result sort of put character development and characters' feelings into the background. But this makes sense, as the book it was based on dealt more with action and also had the burden of introducing half a dozen important new characters. Return of the King, however, is just simply fantastic. I try to avoid statements like "gets everything right", and "I enjoyed every minute of it", but in this case, it's true. I was so moved at the presentation of this film that I couldn't help getting misty at the end, despite knowing exactly what would happen (based on the books of course). I credit this to not only the great performances but also the stirring music (Annie Lennox's moving "Into the West" is a beautiful tune and perfectly echoes the sentiments of the film's themes). And also, I couldn't help being moved knowing that it was now all over, and there will probably never be another Lord of the Rings epic of this magnitude in my lifetime (and rightfully so). I just felt like I was saying goodbye to old friends. The movie, although beginning with an important flashback, begins immediately where the second film concluded, and every character has a conclusion. The main part of this movie that I loved is the simple fact that no character is shortchanged; the main characters have their own moments of screen time and good dialogue, from Gandalf telling Pippin what beautiful peace awaits him if he should die in battle, to Sam heroically carrying an exhausted Frodo on his own shoulders through sheer determination. It's all done well, and it takes its time to do it, which I wouldn't have any other way. Whereas Fellowship of the Ring dealt more in emotion and character development and the Two Towers was more hurried and action packed, I was delighted to see that return of the King found a perfect balance between the two and devotes ample time to both. The battle scenes are the grandest in scope and awe, and the highs and lows of sheer emotion are quite gracefully handled as well. And when everything is said and done and the battles are over, there's still a journey home for some of the characters and a good amount of movie left to enjoy. But everything moves along so smoothly, it's sometimes easy to forget that it's a 3 hour and fifteen minute ride. If there isn't action going on, there are scenes of pending action or drama at an almost nonstop rate, making sure that there's something to stop even the most restless from becoming bored.

If for some reason you've chosen my review out of the many available, let me at the very least leave you with this, and it will hopefully help you to decide to see it if you haven't yet: As the finale of a trilogy, this is the masterstroke that ties everything together and is successful on a multitude of levels. It's action packed and stirringly heartfelt at the same time. And finally, from someone who loves the books, I can say that although some omissions were made, the story doesn't falter as a result and the film as a whole was handled in about the most graceful, pleasing way I can imagine. It is, quite honestly, a cinematic masterpiece and a major accomplishment. I left teary eyed, happy for having been thrilled for more than 3 hours, and also quite sad that I don't have another of these films to look forward to.
The problem with imagination
Overall, I am disappointed, though not surprised, by the negative criticism of this movie. Indeed, this criticism exceeds the offering of alternative viewpoints and the expression of other cinematic possibilities and sinks into the realm of bitter invective. So many armchair critics are currently competing with avid Tolkien, Jackson, and movie fans alike in order to espouse the "true" value of Peter Jackson's landmark movie trilogy. For it is a landmark event in cinema history based on its sheer size and careful attention, praise and evisceration apart. The issue that greatly irritates me and pushes me to write is that many of the negative reviewers on this website have such limited room in their imagination that they cannot conceive of a world outside their own narrow framework. I find that a most sad reality in light of the legacy of Tolkien, Jackson, and all good story-tellers -- to create, to engender, and to nourish the growth of any and all imaginative ventures.

The problem with imagination is that it is an individual event, a unique subjective experience that a single person experiences completely alone. Those who enter into the realm of Art, Fiction, Fantasy, and any degree of Story-telling agree (willingly or no) to take that personal act of creation and primal nature and share it with the community of human beings, each of whom has his or her own imaginative context. It is a bold act of sacrifice, self-confidence, and faith (spiritual, one could argue) to thrust the contents of one's subjective reality into (to borrow from Douglas Adams) the Whole Sort of General Mish Mash. People who do so deserve respect for the mere creative act, the ability to foist forward what they believe is true. From Homer to Bill O'Reilly, this concept of personal creation, what Tolkien called Sub-Creation, is the essence of modern human existence, and we owe it to each other to respect the right to creation history has granted us.

Therefore, in defense of both Tolkien (whom some on this website have maligned) and Jackson (whom many have maligned), I forward that both are imaginative creators in their own right, with different and completely acceptable offerings to the world. Those who cannot tolerate either for "mediocre writing" or "atrocious film-making" should offer forth their literary or cinematic offspring instead of cunningly-worded diatribes of their deep dissatisfaction with all that does not conform to their inner reality. Then, we few who believe in and trust the creative ability of all will be able to see how those critical inner realities (so authoritative in exposition) match up with the rest of our perceptions.

Tolkien was an enormously talented, intelligent, and imaginative man, one whose stories, though unpolished by experience, still managed to attract a worldwide audience and devoted following with their luster. Jackson's movies took the sheen and inherent value of Tolkien's stories and placed it in a visual medium, a place where fans of LOTR could witness and love the events and people they held so dear. Of course Tolkien's story is imperfect; of course Jackson's movies aren't as full as we wish them to be. Their great successes are that they still manage to capture our imagination, to move us, to take genuine truth and isolate it in a world outside our ken, a place where we see ourselves better against a foreign backdrop. Both have created and done so masterfully, with the intuitive grasp that is termed "genius." Tolkien would have had much at issue with Jackson's movies, where plot incongruities, lapsed character development, and visual splendor overshadow the philological and melancholic overtones of his book. Jackson admits he finds much at issue with Tolkien's book, including a lack of clear character motivation, extended and largely extraneous dialog, and heightened language not suited for Hollywood. But Tolkien, despite his perfectionist griping and loathing for any film version of his book, would respect Jackson for continuing the act of creation, for taking his modern-day mythology and spreading it to as many people as possible. Jackson has taken the beauty, the scope, the complexity, the richness, and the loss that permeate Middle-Earth and shared those leitmotifs with the world. Tolkien's characteristic "niggling" would have prevented any such attempt (even Jackson's), but in the end, his heritage lives on in beautifully conceived and executed films.

I do not ask others to stifle their opinions of this movie or any other. Indeed, continue to express the direst and bleakest of your frustrations with the creative power of others, as it may lead you to actually do some creation yourself. Remember though, that the great evils of history, from Satan to Hitler to Sauron, are never capable of creation -- only twisting, mutilating, mocking, deforming, and misapplying. Be open to the vision of others and what they have to offer, especially when that offering comes in the virtuosic shape of Tolkien's writing or Jackon's movies. Look for the True in the Secondary and how it manifests itself everywhere once you recognize it.

This movie receives a 10 from me because it not only maintains incredible faithfulness to Tolkien's themes (and yes, events may deviate in completely separate and dissimilar media) but it asks intelligent viewers to look deeper into the circumstances of its own creation and beauty. From the loyalty of Sam and the weight of epic history to the sacrifice of Arwen and the never-completely-won nature of war, Jackson's movies capture the essence and heart of Tolkien's tale, with the benefit of the director's own imaginative fruit as well. The world owes Mr. Jackson its gratitude, as he has created another world and another reality that so many can, do, and will cherish.

One final word: There are few who would not rather be wandering in a far green country rather than dwelling in their own Circles of the World.
Return of the King does Deserve #4 status
In an era when filmmakers of mediocre ability can get financing to do grunge slash thrillers or sex-pie college comedies of Farrelly-manque nonsense, this poll serves to illustrate the gratitude of fans everywhere at being served such a luscious 9 course meal of a film. Or 3 of them. At the Director's own insistence, the writing, the production, the editing, the art design, the sound planning, the actors/characters, the costumes, the music, the effects. Everything was delivered until the limits almost gave.

None of these and ALL of them are the stars.

To say this vote reflects only appreciation of the special effects is to disingenuously shoulder aside the leadership and dedication and commitment from ALL teams required to produce not just one but all three films to such incredible standards of consistency to the books, while pleasing worldwide fans, and new audiences, as well as all ages.

Schindler's List was not Spielberg's story by authorship any more than Tolkien's was Jackson's, both borrowed a cultural event, one historical, one literary, story to exploit on the big screen using the appropriate talent. That's what filmmakers do. And if they're smart, they get the right material. I don't think Spielberg could have delivered LOTR. But I have a funny feeling PJ might have come close to SL. Both proved their genius by traveling outside their closest strength positions and moved to new arenas. Both borrowed from past projects and knowledge of film to create the dramatic impacts they engineered in those films.You cannot say because one was historically based then it was by that ilk superior.

Schindler's List may be the most sociologically impactful movie ever made, but it was not the best. There was exploitation, and the Nazi's character was colored fancifully, and Schindler was not the spitting image of Liam Neesam, etc etc. You can read history without the women prostituting themselves and children lying in outhouse filth. Spielberg made the same kinds of decisions making that movie Jackson did making rings, but each used "special effects" of a different kind. Did Naziism happen in black and white?

That anyone would seek to disprove Rings popularity by citing the more proximate (and non-disputed) sociological consciousness raised by SL is gaging on the wrong scale. I would not pay to see SL again, once as enough. But I've paid a dozen times (X3)and for the extended DVD's to relive Tolkien's world, because like those characters "I believe there's something good in this world worth fighting for". And Jackson's world gives me and others a place to go to encourage us. The films are about Hope.

Wasn't THAT the message from Schindler as well?
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