Lord of the Rings: The Twin Towers: Pierre Vinet
Scott Brown
November 21, 2003 AT 05:00 AM EST

Lord of the Rings: The Two Towers - Special Extended Edition

type
Movie
Current Status
In Season
mpaa
PG-13
performer
Sean Astin, Orlando Bloom, Ian McKellen, Viggo Mortensen, Liv Tyler, Elijah Wood, Sean Bean, Billy Boyd, Brad Dourif, Christopher Lee, Miranda Otto, Dominic Monaghan, John Rhys-Davies, Andy Serkis, Bruce Spence, Karl Urban, Hugo Weaving, David Wenham
director
Peter Jackson
author
Philippa Boyens, Peter Jackson, Stephen Sinclair, Frances Walsh
genre
ActionAdventure, Sci-fi and Fantasy

We gave it an A-

What a difference a war makes. When The Lord of the Rings: The Two Towers debuted last year in the white heat of Iraq fever, its images of a free people besieged by legions of dark, snarling evildoers aroused fantastical passions — which fell effortlessly in step with a real-world battle march. J.R.R. Tolkien’s subtler (some would say fuzzier) lessons about the treacherous nature of righteous might were all but muted.

The new four-disc extended edition of ”Towers” seems designed to redress that cultural tilt. Peter Jackson’s 223-minute cut restores some of the story’s original nuance, including excellent scenes with Faramir (David Wenham), brother of the dead Boromir (Sean Bean, seen here in flashback), whose desire for strategic dominance nearly derails Frodo’s quest to destroy the Ring. (This is essentially an arms race, after all.) The deep, sleek documentaries and lively commentaries — aside from making the vagaries of nasal prosthetics seem absorbing — seek to rebut allegations of bellicosity and racism leveled at Tolkien’s fantasy. We hear a great deal about the author’s environmental streak, backed up with added Treebeard scenes. (”The Song of the Entwives” has been reinstated — if that means something to you, rejoice; if not, fast-forward.) Overall, ”Towers”’ extra scenes feel a bit less essential than the ones in the extended ”Fellowship,” but they do contain more of Andy Serkis’ Gollum, who emerges here as not only the first true success of CGI characterization, but the scarred conscience of a foggy war story.

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