Movie Review: “The Hobbit, The Desolation of Smaug”

ImageBilbo turns tougher and more cunning and “The Hobbit” turns altogether more entertaining in “The Desolation of Smaug,” Peter Jackson’s livelier, funnier and action-packed middle film in his trilogy based on J.R.R. Tolkien’s slight delight of a novel.
It looks more like a fantasy — fantastical, with more murk and the otherworldly light of those mass produced Thomas Kinkade paintings. Characters feel more distinct, with Martin Freeman’s Bilbo making the transition from mere passenger on this dwarf’s quest “beneath the Lonely Mountain” to the brains of this motley crew.
And there’s just more going on. Jackson & Co. wisely tamper with the Holy Writ of Tolkien to invent a lady elf and find Orlando Bloom’s elf Legolas a part to play. They’re more concerned with making this all a prelude to “The Lord of the Rings,” so foreshadowing and the suspicions of Gandalf the Grey (Ian McKellen the Great) step to the fore.
That ups the ante, creates urgency and sets up a love triangle, just one of several elements that become cliffhangers before “The Desolation of Smaug” ends.
The company of quarrelsome dwarfs led by Thorin Oakenshield (Richard Armitage) stumble through Mirkwood as they make their way through spiders, suspicious elves and Lake-town toward the Lonely Mountain, where they have a date with a dragon who wiped out their kingdom and stole a vast treasure. Bilbo, who found this magical ring he refuses to tell them about, saves their biscuits, time and again as they do.
Gandalf, worried about the fact that “The enemy has returned,” leaves them on their own, of course. So they stumble into Wood-elves, which is where Legolas and the lovely-but-deadly Tauriel (Evangeline Lilly of “Real Steel”) enter the story. Tauriel takes a shine to the tallest of the dwarfs. No, it’s not who you think.
Fans of the novel will be impressed with the gloom of Mirkwood (“Fell things creep beneath these trees.”) and the vast complex of the dwarf’s city beneath The Lonely Mountain. Lake-town, the community of men at the base of the mountain long terrorized by the dragon Smaug, is a Teutonic fairytale Venice, a watery city of canals and wood and downtrodden residents, all in leather and dirty shades of brown. Stephen Fry is the town’s dictator, The Master, one of the few “name” players in this semi-obscure cast. Luke Evans is Bard the Boatman, another Lake-town resident destined to play a key part in the third film.

Jackson stages a splendid chase and a few stirring brawls with legions of digitally-augmented goblins. And he lets the dwarfs and their sometimes incredulous hobbit “burglar” be funny. They’re greedy, petty and far more in need of help than they’d ever admit. And Bilbo, given Freeman’s exquisite double-takes, can only shake his head and endure their put-downs and suicidal orders.
Quibbles? The landscapes mostly look like matte paintings, the murk can be a bit too much, Jackson costumes the soldiers of Lake-town in battle gear from the Wicked Witch of the West Collection. And Jackson’s use of the 48 frames per second filming speed does nothing to smooth out digital action beats, which have a jerky video game graphics quality.
The dumbest voice casting stunt ever — Benedict Cumberbatch, utterly unrecognizable as Smaug, the synthetic-voiced digital dragon. The BBC/PBS Sherlock Holmes gets to team up with his Dr. Watson (Freeman), but any voice actor could have done that and we’d have been none the wiser.
And the padded scenes that allowed them to stretch this brief book into three films show.
But “The Desolation of Smaug” is engagingly desolate and absorbingly back-engineered to prefigure “The Lord of the Rings,” a movie that clips along and amuses as it does. Look for Jackson’s cameo in the opening, which sets the tone. Call it another visual triumph for New Zealand’s vision of Middle Earth. Still, the national tourism board shouldn’t start counting the cash from another uptick in visitors, thanks to this. The Land of the Kiwis never looks so digitally desolate.
MPAA Rating:  PG-13 for extended sequences of intense fantasy action violence, and frightening images
Cast: Martin Freeman, Richard Armitage, Ian McKellen, Evangeline Lilly, Luke Evans, James Orlando Bloom, Stephen Fry
Credits: Directed by Peter Jackson, written by Fran Walsh, Philippa Boyens, Peter Jackson, Guillermo del Toro.  A  Warner Brothers/New Line/MGM release.
Running time: 2:39

About Roger Moore

Movie Critic, formerly with McClatchy-Tribune News Service, Orlando Sentinel, published in Spin Magazine, The World and now published here, Orlando Magazine, Autoweek Magazine
This entry was posted in Reviews, previews, profiles and movie news. Bookmark the permalink.

8 Responses to Movie Review: “The Hobbit, The Desolation of Smaug”

  1. ogsean says:

    I haven’t seen the movie but I’m very intrigued about the dragon’s voice. In the trailer it sounds slightly altered but it also sounds a lot like a previous Cumberbatch voice work: Neil Gaiman’s Neverwhere. At the time a lot of people (included me), were amazed by Cumberbatch’s voice because the director, the very respected Dirk Maggs wrote in Twitter that there weren’t special effects in his voice even when it sounded irreal. We were sure that it was the dragon’s voice.
    Here is a you tube video of Neverwhere:

    And in this recent interview Cumberbatch do a bit of the voice (he also admit at the end that he had some help of the production):

    Thanks for the review.

  2. Wes says:

    Cumberbatch didn’t *just* do the voice of Smaug. He also provided motion capture like Andy Serkis did as Gollum in LOTR and the last movie. You’re also the first critic I’ve read that called his casting “stupid”. Even the negative reviews I’ve read have said he is splendid as Smaug and one of the film’s highlights.

    • Yeah, he looks ever-so-much like a lizard, slithering hither and yon. Only a delusional Cumberbitch who hasn’t seen the movie would buy that bit of studio “spin.”

      • mrs.k says:

        Only a lazy or poorly informed movie critic would call Smaug casting as a dumb voice casting stunt. Cumberbatch auditioned for the role in 2011, hardly a hot commodity back then. he got the job solely because of his voice, not his name. Do your research.

      • Only an ill-informed Cumber-you-know-what would conveniently ignore that “Star Trek Into Darkness” was cast at the same time, “Sherlock” fever was at a peak, and he was plainly a hot commodity.
        Stunt. Casting. Get over it.

  3. Sooooo, you wanted a dragon with a normal human voice, well that’s a bit stupid. They’ve taken to account the anatomy of a dragon when they thought of how he would sound.
    Also, you should know that Cumberbatch’s voice wasn’t completely digitally synthesized. They just lowered the octaves a little to make it more dragon-y. Here’s a sample of his Smaug voice without any alteration: Lilly even commented that it’s almost the same as the one on the film. Also, he didn’t just voiced Smaug; he also did the motion-capture for the movements.
    Here’s another example of Cumberbatch’s vocal range: That was from the radio drama Neverwhere. The director said that there was no alteration whatsoever done on Cumberbatch’s voice in that radio drama.
    Here’s PJ’s justification on why he chose Cumberbatch:
    Cumberbatch is not only a well-known film/tv/theatre actor but also accomplished voice actor in UK. He knows what he’s doing and what he was going into. So you’re wrong about it being the dumbest casting idea ever.

    • Not at all what I said, is it? I said, synthesizing a voice beyond any point of recognition means they could have used pretty much any voice actor. It was a stunt, and only a gullible boob would buy Jackson’s “rationale.” Cumberbatch was “hot” at the time he was compositing Smaug. And by the way, after “The Fifth Estate,” he’s pretty much destined to return to TV stardom. Good in “August: Osage County,” but hardly a big screen headliner.

  4. Jamie Q. says:

    Sounds like you are not very familiar with Mr. Cumberbatch’s voice range. It runs from angel to demon and covers everything in between. When he’s playing a dragon, he won’t let his Sherlock voice out.

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