Guns... So Primitive

Year: 2018

Director: Ryan Coogler

Cast: Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o 

Run Time: 2 hours 14 minutes

MPAA Rating: PG-13

For a huge corporation dominating the box office, Marvel sure does manage to take some risks. Let's not pretend that these risks aren't carefully calculated and demographically analyzed within a nanometer of their lives to be as safe and sure as possible, but they're risks nonetheless. 

They hand movies to indie auteurs with only a few low budget gems under their belt (Taika Waititi earned his way to Thor: Ragnarok with Hunt for the Wilderpeople, and James Gunn nabbed Guardians of the Galaxy with Super, a film that had literally 1% of that Marvel flick's budget), they adapt low-performing properties into mega-blockbusters (the aforementioned Guardians had two brief runs, and hadn't had a comic published in at least four years when the movie came out), and though all their movies have the same general sheen, they aren't afraid of changing up the tone and even genre of individual entries (from the paranoid political thriller of The Winter Soldier to the frothy heist antics of Ant-Man, there's a pretty wide range of material at this point). When you really take a look at the way they've gone at least a teensy bit out of their way to make sure their mass-market product is guided by interesting, dynamic people, it's pretty, well, marvelous.

Black Panther is a combination of all of these things, and way more. The character of Black Panther is a Marvel B-side, though he's right on the cusp of being a household name, at least in nerdier families. The director, Ryan Coogler, only had two films under his belt, though admittedly one of them was Creed, already a successful, critically acclaimed franchise extension. But most importantly, this is the biggest budget film ever to have a predominantly black cast, a black director, all while being the first Marvel film with a female cinematographer to boot. These are all very wonderful, and yes, capital-I Important things. While I personally wouldn't consider this kind of casting and hiring particularly risky (because I live in the real world, and am aware that all kinds of people can make all kinds of art), Hollywood has a tendency to view anything non-whitewashed as a potential financial loss. In the eyes of Hollywood, the near-future careers of many hard-working, diverse crew members depends on the success of  the mega-multi-million dollar Black Panther, as does the continuation of the box office juggernaut Marvel Cinematic Universe. That's what I'd call a risk, and a very Important one.

Of course, the movie also has to be good in addition to important, but would Marvel take a risk on something that wasn't good?

Well, you got me there.

Spoiler alert: It's good. But first, the plot, which is blissfully as insular as it can possibly be from the greater orchestrations of the Marvel universe. After the events of Captain America: Civil War, which saw the death of T'Chaka (John Kani), King of the African nation of Wakanda, the throne has been passed to his son T'Challa (Chadwick Boseman, who is finally free from playing every significant historical African-American figure the country to offer). Wakanda, though it seems to be a third world farming country from the outside, is secretly a high-tech utopia thanks to its vast deposits of vibranium, a magical compound that does, I dunno, comic book stuff. It's magic.

Unfortunately, not everyone in Wakanda is as pleased with T'Challa being crowned King as his mother Ramonda (Angela Bassett) and tech-genius sister Shuri (Letitia Wright). The five tribes of Wakanda slowly begin to splinter according to their various allegiances, but the real breaking point comes in the form of two villains: the chav-bro arms dealer Ulysses Klaue (Andy Serkis, using his actual god-given face) and his partner in crime Erik Killmonger (Michael B. Jordan, who is three for three on Ryan Coogler films at this point), an Oakland native who has mysterious ties to the Wakandan War Dog tribe.

Everything swiftly descends into what you might just call a "game of thrones" involving every major Wakandan figure, including General Okoye (Danai Gurira), leader of the bald, entirely female royal guard; W'Kabi (Daniel Kaluuya, currently an Oscar nominee for Get Out), a friend of T'Challa whose overwhelming hatred of Klaue makes him unpredictable; Nakia (Lupita Nyong'o), T'Challa's former flame and an international spy who wants to use Wakandan technology to help those in need out in the world; and also Zuri (Forest Whitaker), but I'm honestly not really sure what he does. 

He mainly just delivers exposition and takes care of flowers.

Perhaps the most surprising thing about Black Panther how very political it is. It's necessarily about political engagement and the responsibility of upper-class minorities to reach out and help the oppressed (which honestly isn't as far from the general theme of superhero movies as you'd think, although it is much more fervently expressed here). Occasionally the movie gets a little didactic, especially in a clunky monologue it shoves onto Michael B. Jordan's shoulders midway through, but otherwise it's soaked with an urgency and vitality that's startling for a film with this corporate pedigree.

But that's yet another thing about what makes it Important, and I'm a little sick of dwelling on that for the time being. Because Black Panther is fun, and it doesn't serve the movie to forget that. A tremendous cast is delivering crackling dialogue here, with just enough of a snappy edge to remind you that you're watching a Marvel project, but still shedding the vestiges of Joss Whedon flop sweat and finding its own personality in the process.

I mean, there's no way you can deny how awe-inspiring it is to look at that cast list. These people are all from different genres, mediums, and levels of fame, but they come together to create something spectacular. Everyone is having fun here, even Lupita Nyong'o, who is saddled with a tragically generic love interest role. A bright spot here is certainly Letitia Wright (whose biggest credit up to this point has been the odious British TV series Cucumber/Banana, which I regretfully watched all of in my capacity as a recapper at The Backlot) as the eager younger sister, whose energy and vivacity light up the screen like a thousand gigawatt bulb, but sometimes it's hard to look anywhere but the villains.

Marvel has notoriously had a problem with crafting solid antagonists, and that issue is cracked wide open here. Klaue is maybe not the best example, but the anarchistic glee with which Andy Serkis digs into the role is immensely satisfying. Killmonger, however, in spite of the ridiculous name, is a force to be reckoned with. Michael B. Jordan takes a role that we've seen in every Marvel origin story from the beginning of time (a villain who is a dark mirror-image of the main hero's costume and power set) and tosses in about a dozen extra layers of prickly emotion, charismatic intimidation, and moral ambiguity. He's not just a one note slab of eeeeevil, but rather a complex, satisfying character who serves up the themes of the movie on a silver platter. And not for nothing, he's so good-looking it almost hurts. Part of being a movie star is drawing the eye like an electromagnet, and he's at full charge.

Dude knows how to rock a vest, what can I say?

On top of all that, Black Panther is probably the best looking Marvel film to date, although - to be fair - only recently has it seemed like they've been trying to create any sort of visual beauty in their movies. But it also inhabits a wholly unique space in the American cinema sphere, bringing the traditions and aesthetics of Afrofuturism to the grandest scale they've ever seen. From the costumes to the sets to the sweeping cinematography of Rachel Morrison, Black Panther fully invests in the color, patterns, and majesty of Africa to create an arresting visual schema that dares you to look away for even a second.

There aren't nearly enough high quality screenshots of the film yet for my liking, but here's a quick taste of some of what it has to offer:

In the future, we don't question that women are badasses.

Western clothing patterns can go f**k themselves.

Oh yeah, did I mention Martin Freeman is in this movie? Should I have? Eh, probably not.

Sometimes set designers just get it.

The bottom line is that Black Panther is spectacular, and it makes itself so by utilizing a perspective that's been long absent from modern cinema. The heavy drums that propel the soundtrack straight through your skull, the elegant simplicity of the sci-fi gadgetry that blends old traditions with hyper-futuristic tech, and the eye-searing color scheme that doesn't remotely feel 80's in the way that most bold color palettes have gone recently, none of it could have come from Western culture, and the fact that it has been given such a platform is a blissfully new, visually entrancing experience.

What does come from Western culture, however, is the plot structure, and it's nothing we haven't seen before. Marvel falls back on a lot of their favorite tropes and plot devices, so nothing in the plot itself is going to particularly shock you. And while the action sequences are fun (especially a trawl through the streets of Busan, a South Korean burg we should all know very well, and a fight on the edge of a waterfall), none of them are blow-the-roof-off unique, especially the too-busy, dizzying CGI-fest that closes the third act.

The reasons to watch this movie are ample, but the parts where it fails are exactly the elements that mark it as a Marvel project. It's not Black Panther's fault that a formula we've seen 18 times before is getting a wee bit stale, but this is one in a long line of movies that are doing something unique and memorable, but I probably never need to see again. And it's a shame, because the act of seeing Black Panther is exactly what makes it so incredibly satisfying. 

It's a triumph of aesthetic, world-building, character-creation, and political urgency, and I highly recommend it. But it's still a Marvel movie, y'know? Thank heavens they're taking risks, but they're never going to make something one hundred percent new. There's no shame in that, but there's also no   longevity.

TL;DR: Black Panther contains a lot of material we've seen before, but it's presented with a vision that we certainly haven't.

Rating: 8/10

Word Count: 1767
Reviews In This Series
Captain America: Civil War (Russo & Russo, 2016)
Black Panther (Coogler, 2018)
Avengers: Infinity War (Russo & Russo, 2018)
Ant-Man and the Wasp (Reed, 2018)

I Have A Good Feeling About This

Year: 2015

Director: J. J. Abrams

Cast: Daisy Ridley, John Boyega, Oscar Isaac

Run Time: 2 hours 15 minutes

MPAA Rating: PG-13

Whether or not I liked Star Wars: The Force Awakens is beside the point. The film is well on its way to making enough money to buy its own solar system, so people are clearly seeing it. The question really should be whether or not it’s good enough to deserve the record-obliterating box office it will loudly amass over the course of the next few months. That’s pretty unequivocally a no, considering that nothing short of a film directed by God himself could truly be worthy of that kind of money. But as a three decades later sequel to the single most culturally important film trilogy ever created (prequels? Never heard of ‘em.), it’s still pretty damn terrific.

As the first sequel in forward continuity since 1983, the first Star Wars not to be directed by the increasingly dubious producer/despot George Lucas since 1983, and the first appearance of Harrison Ford, Carrie Fisher, Mark Hamill, and Peter Mayhew (among others) in their original roles since 1983, The Force Awakens is pretty much doomed to thwart the Mount Everest of expectations riding on it. However, when compared to the likes of delayed sequels like Indiana Jones and the Crystal Skull, Terminator: Genisys, and even Jurassic World, The Force Awakens is a magnum opus of revival cinema, nestling snugly into the universe of its own franchise and always feeling like an organic next step to the story.

Our fridges are safe from nuking.

And now, a bare bones plot summary that attempts to avoid any and all spoilers. What fun this shall be. We start with our three torch-passees, the new blood that will become the backbone of this new trilogy (plus the books, cartoons, multimedia gaming experiences, live shows, and shared universe spin-offs that Disney will inevitably wring from this property): Rey (Daisy Ridley), a tough scavenger who is awaiting her long-departed family on the desert planet Jakku; Fin (John Boyega), a mutinous storm trooper attempting to escape the clutches of the evil First Order; and Poe (Oscar Isaac, freshly shaved after Ex Machina), a Resistance pilot with a cocky attitude and an adorable droid best friend called BB-8, whose merchandise you will have pre-ordered by the time the credits roll.

For a variety of reasons, both willingly and unwillingly, they become a part of the Resistance attack on the First Order, the shadowy eeevil complex that has replaced the Empire. They will have to get past the wicked and ginger General Hux (Domhnall Glesson) and the masked Jedi Kylo Ren (Adam Driver), who are both under the thumb of Supreme Leader Snoke (mocapper extraordinaire Andy Serkis). Who will win? Will these inexperienced youngsters ever become true heroes?

Will I ever be able to pay off those BB-8 related purchases on my credit card bill?

I would like to open by saying that I’ve never been a fanboy for Star Wars. I appreciate the films for what they are, but I’m certainly no ride-or-die, midnight screening, AT-AT pronunciation debating obsessive. I in no way felt obligated to like The Force Awakens, so you can imagine my surprise when I kind of loved it. It has its share of deficiencies, and we’ll get to that, but for the time being let’s bask in the triumph of this seventh Star Wars entry easily settling into the consensus-approved third best slot in the franchise.

One of the best things about The Force Awakens is that, while it is absolutely a nostalgia trip, it remains entirely modern and individualized. It engages with the original story, characters, and technology, but it’s not a clip show. We don’t see our heroes jetting off to pick up MacGuffins on Hoth or Tatooine, and you certainly don’t see them paying a visit to the Ewoks on Endor or sifting through Trade Federation file cabinets on Naboo. Some planets might be more than a little reminiscent of previous locales, but The Force Awakens keeps its gaze firmly forward. The returning characters do have some catching up to do, but their plot lines revolve around the present consequences of their past lives, not sitting around looking at scrapbooks of the good ol’ days. That was a long time ago.

In a galaxy far, far away.

In fact, the new characters and material are frequently where the film works best. The dialogue is a little more winking and modern than some fans will appreciate, but the character dynamics they build are tremendously effective. Oscar Isaac’s Poe is easily the most charismatic star-making performance, but Ridley and Boyega miraculously hold their own in an arena a million times more epic than their entire filmographies combined, each developing meaningful relationships with old and new cast members alike.

Also, major kudos to the villain casting department. I never in my wildest peyote dreams would have suggested the douche from Girls and the wimpy ginger from Ex Machina as sneering baddies, but it undeniably works. They don’t get to flex their muscles fully here, presumably reserving the First Order’s bigger firepower for the sequels, but both get their moment in the sun, Gleeson in a deliciously terrifying more-than-a-little Nazi-esque speech, and driver in a few scenes of vulnerable intensity that even overpower the script’s tritest nuggets, all of which seem to get dumped over his lusciously-locked head. The only bum note is Andy Serkis’ Stoke, who embodies a woefully blah brand of Disney villainy.

Even Thanos must be a little embarrassed for him.

Speaking of Guardians of the Galaxy, The Force Awakens is actually extremely similar to that Marvel-Disney triumph. It makes a name for itself with colorful characters, playful dialogue, and rip-roarin’ action sequences, all of which are thickly plastered over one of the most thinly generic plots a couple hundred million dollars can buy. I mean, really? [Medium Spoilers Another, slightly larger Death Star? Color me unsurprised.] Dumb and Dumber To had a more complex throughline. Now, I’m not saying that a typical plot sinks this movie, but the story is just a heap of radio serial boilerplate and is certainly not one of the many numbers of reasons to see The Force Awakens.

Between the tissue paper-thin story structure and a couple stunted character arcs that are clearly looking to unfold in the long term but give nothing to the current film, I can confidently conclude that The Force Awakens is not a masterpiece. However, if things go well, I can completely see this as the dazzling but inferior A New Hope to Episode VIII’s triumphantly gigantic Empire Strikes Back. Obviously I don’t know what’s in store for us on that front, but this is a great film with room for huge improvement. I honestly think that’s the best place for the franchise to land at this point.

At any rate, Star Wars is back! I didn’t know it was possible, but we’ve finally returned to that grand, adventurous space opera in style. With all the grubby detail and cosmic swashbuckling of the original films, hitched on to a totally current slate of character diversity, adrenalized banter, universe expansion, and cute as hell droidsmanship, the franchise is finally back on solid ground after decades of aimlessly drifting through the inky void.

TL;DR: Star Wars: The Force Awakens is a simple but inviting story that returns to the Star Wars universe with style.
Rating: 8/10
Word Count: 1246
Reviews In This Series
Star Wars (Lucas, 1977)
Star Wars Episode V: The Empire Strikes Back (Kershner, 1980)
Star Wars Episode VI: Return of the Jedi (Marquand, 1983)
Star Wars Episode VII: The Force Awakens (Abrams, 2015)
Rogue One: A Star Wars Story (Edwards, 2016)
Star Wars Episode VIII: The Last Jedi (Johnson, 2017)
Solo: A Star Wars Story (Howard, 2018)

Et Tu, Monkey?

Year: 2011
Director: Rupert Wyatt
Cast: James Franco, Andy Serkis, Freida Pinto
Run Time: 1 hour 45 minutes
MPAA Rating: PG-13

Full disclosure. Before watching Rise of the Planet of the Apes, I had seen no other films in the illustrious Planet of the Apes franchise. But I'm sufficiently well-versed in pop culture to understand the significance of, say, the main character playing with a Statue of Liberty toy or subtle, discerning homages like the line "Take your stinking paws off me, you damn dirty ape!" So let's just say I'm not exactly in the dark.

But enough monkeying around. We've got a prequel reboot requel(?) to review!

What? Like it's my fault your movie's pedigree is so confusing.

Rise of the Planet of the Apes, however it chooses to define itself, tells the story of Will Rodman (James Franco), a scientist working for an Evil Science Corporation testing experimental drugs on apes. During his experiments, he often lets his emotions get the best of him. Like the time he used his experimental Alzheimer's drug on his father (John Lithgow). Or the time he stole a baby monkey named Caesar (Andy Serkis covered in green balls) from the laboratory after his parents were killed following the cancellation of the testing and let him grow up in his well-appointed San Francisco home alongside his ailing parent. He brought a genetically mutated monkey home to hang out with his sick elderly dad. He's basically the worst movie scientist I've ever seen and I recently sat through some 50's sci-fi movies in which the only solution to any problem was to call in the troops and ask them to please bring the big tanks this time.

After the drug successfully eradicates his father's Alzheimer's for a couple years, Will's boss - Lord Business AKA Steven Jacobs (David Oyelowo) decides to allow further tests to continue. Soon afterward, a mishap with an angry neighbor causes the now-grown Caesar to violently act out and be sent away to an animal shelter run by John Landon (Brian Cox) and his petulant son Dodge (Tom Felton). There he meets dozens of mistreated chimpanzees, orangutans, and various other species of his kin. He sneaks them the new drug, which causes hyper-intelligence in apes, but festers dangerous disease in humans. And oh look, but a coworker has been infected and begins sneezing blood on just about anyone who asks.

Oh, also, Will gets a girlfriend, veterinarian Caroline (Freida Pinto), but she has no purpose in the plot, falls for him in under 30 seconds, and is never given a chance to use her skills with animals for any means. She's less important to this movie than James Franco's belly button.

Oh, also there's no good screenshots of her. Feminism!

The thing about RotPotA is that, despite having every possible warning sign, it's actually kinda good. Mind you, it's about as generic as a Hollywood thriller could possibly get and is filled to the brim with La La Land's typical brand of plot holes and quick-and-dirty conveniences (the Alzheimer's vaccine works in one day; nobody thinks to call a doctor when they start dramatically expelling blood from their nostrils), but it's charming for it. And in a franchise as strapped for quality entries as Planet of the Apes, it's hard not to sing the film's praises, though it does suffer from a bit of prequel disease, rendering its entire plot largely pointless because we know exactly what's going to happen.

The two strongest original elements the film brings to the table are its bright, polished aesthetic and its central theme (of growing up and leaving the past behind as you find the place where you belong; also man's hubris will destroy us all, yada yada yada), which hearkens back to the original film's intent without directly copying its message.

The filmmaking is smooth and precise, lending the movie with some beautiful sequences of great craft, including a wonderfully memorable aerial shot as well as several gliding Steadicam moments that guide the viewer through the film's spaces with a magisterial and skilled air. The story itself may be ruthlessly generic and the gore that aches to be in place during some of the more intense sequences is withheld by the PG-13 rating, but it's a well-made shiny diversion and we can't fault it for that.

That's right dad, hug the monkey. Hug the super sanitary, non-health code-violating monkey.

One enormous chink in the film's armor is the special effects. Andy Serkis is a genius in the craft of motion capture performance, so his Caesar is more than capable of carrying a movie on his shoulders. But the apes here are certainly no Gollum, or even King Kong circa 2005. The CGI monkeys seem to exist in a realm slightly to the left of our own in which everything is a little fuzzy around the edges and objects don't really respond to the weight of one's touch. It's decent enough to get the story across, but the animation keeps the film firmly out of reality. It's not like Planet of the Apes is supposed to be a hard-hitting, gritty neorealist drama, but you know what I mean.

Really, there's a lot to complain about with Rise of the Planet of the Apes, but it's all ultimately inconsequential. When you have fun with a movie, why bother shouting into the hurricane? The plot is engaging, Caesar is a well-developed, earnest character, and there are enough nods to the horror genre (28 Days Later would be a more or less perfect double feature with this) to keep the darker side of the film intact. It didn't get snubbed in the 2012 Oscars for no reason, but it's a popcorn movie worth remembering. Here's hoping that Dawn of the Rise of the Planet of the Apes is just as refreshing.

TL;DR: Rise of the Planet of the Apes is a generic Hollywood blockbuster, but it's well-made enough to be a fun, slick time at the movies.
Rating: 7/10
Word Count: 1004

Archive: December 24, 2012

The Hobbit: An Unexpected Journey

Year: 2012
Director: Peter Jackson
Cast: Martin Freeman, Ian McKellen, Richard Armitage
Run Time: 2 hours, 49 minutes
MPAA Rating: PG-13

Sorry I haven’t been posting a lot recently, I’ve been super busy with finals and extremely important Netflix commitments. Not that you can complain, this is free and I don’t owe you nothing.

(The first thing they teach you in Blogging 101 is to alienate your audience within the first paragraph. Let’s see how this goes.)

However, now that I am on winter break, the boredom of no longer living in the city has led me to spend more time on two pursuits: namely, watching movies, and using the computer. Both of which are conducive to writing blog posts.

Now it’s time to tackle what is undoubtedly the pillar movie of this holiday season, The Hobbit. And don’t question me on that. I work at a movie theater and I’ve cleaned up enough BP-level popcorn spills in Hobbit theaters to prove that beyond all reasonable doubt.

Contrary to popular belief, that’s a broom in his hand.

For those of you unversed in cinematography, it is worth pointing out that Jackson (and select theaters near you) has made the choice to film the movie at a rate of 48 frames per second. The standard in modern cinema is 24 frames per second because, quite frankly, that’s pretty much all the eye can handle. The Hobbit holds the distinction for being the first movie to ever use this new and improved frame rate. It’s all part of Jackson’s innovative filmmaking experimentation (see: gimmickry).

The effect of exposing the eye to twice as many frames at a time creates a sort of hyperreality in which characters seem to be moving on fast forward while at the same time carrying on at a normal pace. It is about as disconcerting to watch as it is to write. Luckily, it’s pretty easy to get used to, and it is to tell the truth an incredible thing to watch.

In addition, the high frame rate has the effect of making the actors and sets seem much more immediate and real, in essence converting the film to have somewhat of the feel of a stage play, with the actors right there in the room with the audience. It is an absolutely intriguing technique but it out and out has no place in The Hobbit.

The Middle-earth of Jackson’s Lord of the Rings is all about spectacle, epic wonder, and the sheer scope of the land. However, the hyperrealism of the high frame rate allows a make-up spot here, a visible contact lens there, and some thoroughly unconvincing CGI everywhere to take the audience out of the fantasy.

Look at that. Just embarrassing, isn’t it?

On to the plot, insofar as it exists.

The film follows Bilbo Baggins (Martin Freeman), a homebody hobbit from Bag End who is reluctantly dragged on an adventure across Middle-earth by the wizard Gandalf (Ian McKellen) to help some dwarves reclaim their captured kingdom.

That’s it. They don’t even make it. That’s for the next movie to cover.

With so little real meat to work with, the grotesquely bloated run time seeks to compensate for lack of material with an overabundance of antagonists. Two of which, the Necromancer, and the dragon Smaug are only briefly touched upon due to their commitments to the sequels. Even with those threats to deal with, our intrepid gang still has quite a task on their hands. Among the ranks of their enemies include a Goblin King and his army, the Pale Orc and his minions, a horde of trolls, massive rock giants, and the inimitable Gollum.

With such a group to face, the plot follows a “meet-defeat-on to the next one” pattern that is more suited for a video game than an actual narrative.

So, yes, this film has its flaws. But what Jackson Lord of the Rings film doesn’t?

The Hobbit offers enough action-packed sequences and canned movie wisdom to keep the audience entertained and enough knowledge of the Middle-earth universe to appease the hardcore Tolkien fans.

It also features a cameo appearance by Lee Pace, one of my favorite people ever, as the elf king Thranduil. The sight of his unsurpassable eyebrows appeased me, as did his comically over-the-top elf wig.

Also worth mentioning is Bilbo Baggins’ encounter with Gollum, by far the most entertaining, suspenseful, and well-composed scene of the film and that which makes the entire price of the ticket worthwhile. Is it bad that I think Gollum’s adorable?

Look at those big ‘ol eyes.

Andy Serkis surpasses himself with a pitch perfect rendition of one of the most beloved scenes in the novel. The man can do no wrong. Please, even if you are asleep until his scene and leave right after, at least come see the film for him.

TL;DR  The Hobbit is overlong, bloated, and features some unbelievably tacky CGI effects, but is redeemed by some strong actiony moments and Andy Serkis’s superb reprisal of the role of Gollum.

Rating: 6/10

Should I spend money on this? Yes, if only for the novel experience of the 48 fps and having Gollum blow you away. Did I mention Gollum?

Word Count: 896

Reviews In This Series

The Hobbit: An Unexpected Journey (Jackson, 2012)

The Hobbit: The Desolation of Smaug (Jackson, 2013)
The Hobbit: The Battle of the Five Armies (Jackson, 2014)