The Lord of the Rings: The War of The Rohirrim ★★★

Released: 13 December 2024

Director: Kenji Kamiyama

Starring: Brian Cox, Gaia Wise, Luke Pasqualino, Miranda Otto

“The horn of Helm Hammerhand, shall sound in the deep, one last time!” It’s one of the many, many stirring and uplifting moments from The Lord of The Rings trilogy, spoken by the seventeenth King of Rohan Théoden (RIP to the great Bernard Hill). In a moment of defiance – with an army of Uruk-hai baying at the door – Théoden leads a charge to turn the tide of the battle and drive the country of Rohan to a decisive victory at the Battle of Helm’s Deep. However, such is the rich tapestry of the world of Middle Earth constructed by J.R.R. Tolkien, there are stories buried deep within the appendices that feel ripe for a big screen adaptation, generations before the events of The Fellowship of the Ring. Almost 21 years to the day since The Return of the King was released in cinemas and conquered all before it, veteran anime director Kenji Kamiyama, like the Great Eagles themselves, whisks audiences back to Middle Earth.

Right from the moment the title card appears on screen with the familiar stirring anthem of Rohan’s theme, and future Rohan shieldmaiden Éowyn’s (Miranda Otto) narration, it immediately catapults you back into the world and feels like we have never been away. Set 183 years before a certain Ring of Power found its way into the hands of an adventurous hobbit, the country of Rohan is ruled by King Helm (Cox). Driven by revenge after his father’s death at Helm’s hand, the Dunlending lord Wulf (Pasqualino), launches a brutal attack on Rohan. The attack forces the citizens of Rohan to retreat to the fortress of the Hornburg. In an increasingly bleak situation, Helm’s daughter Héra must draw the strength required to lead her people and fight back against Wulf and his army, who are hellbent on their complete and total destruction.

Given the sweeping visual majesty with which Peter Jackson brought Middle Earth to life, it shouldn’t be surprising that Kamiyama and his animators have used Jackson’s trilogy as a blueprint for the look and feel of this world. These grandiose locations, such as the golden halls of Edoras or the imposing fortress of the Hornburg, have been meticulously recreated. Yet simultaneously, Kamiyama’s resume includes such revered franchises as Ghost in the Shell, Star Wars and Blade Runner, stamping his authority on the film, particularly regarding the picturesque scenery and the harsh and unforgiving weather conditions.

However, nowhere is Kimiyama’s impact felt more than in the film’s pulsating battle sequences. The realm of Middle Earth is no stranger to phenomenal jaw-dropping battles where the sheer size and might of the armies are acutely felt. The War of the Rohirrim uses the medium of animation to its advantage, where the possibilities are endless, and the result is striking and intense battle scenes that leap off the screen. Furthermore, like the piercing shrill cry of the Nazgûl, the work of the sound team adds so much intensity to the sequences, whether it’s the blast of a soldier’s horn or the thunderous roar of the Mûmakil/Oliphaunts.

What might give those gigantic oliphaunts a run for their gargantuan tusks in terms of ferocity, is King Helm himself. Here is a leader you wouldn’t think twice about following into battle, exuding charisma, unrivalled sheer strength and gravitas. It is easy to see why he was called Helm Hammerhand, and there couldn’t have been a more perfectly suited actor to voice this character than Brian Cox. Although she doesn’t have her father’s sheer brute strength, Héra’s steadfast courage and fearlessness come to the fore amid the situation her people find themselves in. While the voice performances of Pasqualino and Wise are strong, the relationship between Héra and Wulf, given their complicated past, could have been an intriguing plot point for further exploration, which the film doesn’t take up sadly.

Given this is based on appendices from deep within Tolkien’s work, the script from Jeffrey Addiss, Will Matthews, Phoebe Gittins and Arty Papageorgiou – from a story by Addis, Matthews and Jackson’s trilogy screenwriter Phillipa Boyens – can feel a little stretched and struggles to justify its 134-minute runtime. To borrow a quote from a certain hobbit, it feels like “sort of stretched, like butter scraped over too much bread”. Furthermore, like giving into temptation or being unable to resist the lure of the One Ring, the script cannot resist the temptation to throw in visual nods and Easter eggs to both The Lord of the Rings and The Hobbit trilogies.

It may not be the animated film to rule them all in 2024, but for diehard fans of Tolkien and Lord of the Rings, this is a visually dazzling return to Middle Earth that is well worth charging into battle for. Forth Eorlingas!