The Lord of the Rings: The War of the Rohirrim

In the first few minutes of The War of the Rohirrim, the score sets the tone for what’s to come. Howard Shore’s iconic Lord of the Rings themes, familiar and powerful, are rendered by a smaller, synthetic-sounding orchestra that feels more like an amateur imitation than a continuation of greatness. Immediately after, we’re introduced to a new theme for the film’s protagonist, which lacks the gravitas or memorability of its predecessors. This contrast encapsulates the film itself: while it’s a treat to revisit Middle-earth and see its lore expanded, The War of the Rohirrim is but a shadow of the landmark trilogy that preceded it. And as the film itself reminds us, shadows don’t accomplish much.

It’s hard to fault a film for not meeting the impossibly high bar set by Peter Jackson’s trilogy, but some franchises demand more reverence. Would we accept a half-hearted spinoff of The Godfather? The War of the Rohirrim doesn’t quite stoop to that level, but it often feels like a rushed project designed to retain adaptation rights rather than a passionate addition to Tolkien’s cinematic legacy. On its own, it tells a decent story, one buoyed by the richness of Middle-earth, but its inability to escape comparisons weighs it down.

The animation exemplifies this unevenness. The backgrounds and landscapes are stunning, beautifully capturing the grandeur of Middle-earth, while the 2D anime-style character designs are vibrant and expressive when viewed independently. However, the decision to combine these styles creates a jarring visual dissonance that disrupts immersion. This disjointedness is further exacerbated by some odd conceptual choices, like dressing the protagonist’s daughter in a sleek, modern outfit better suited to Black Widow in The Avengers than a character in Tolkien’s world. While these choices don’t entirely ruin the experience, they serve as constant reminders of creative decisions that feel out of step with Middle-earth’s established aesthetic.

Thankfully, Helm Hammerhand fares better. Voiced by the commanding Brian Cox, Helm exudes a powerful presence that anchors much of the story. Cox’s rich, gravelly tone brings gravitas to the character, making him the film’s most compelling figure. Unfortunately, the supporting cast doesn’t fare as well. Wulf, the primary antagonist, fails to establish himself as a credible threat, lacking the depth or menace needed to make a lasting impression. Meanwhile, the remaining characters feel flat or overly clichéd, their lack of development making it difficult to invest in the story’s stakes.

The plot itself starts strong, setting up an intriguing first act, but it quickly settles into predictable territory. Its formulaic execution is further hindered by settings and scenarios that constantly evoke The Two Towers. Rather than carving out its own identity, The War of the Rohirrim often feels like a lesser echo of far superior stories from Middle-earth’s past (or future). The tonal inconsistencies don’t help either. While the film aspires to the seriousness of a Lord of the Rings entry with its extended runtime (140 minutes), it undercuts itself with jokes aimed at younger audiences, like a character quipping, “I never told you it was a good plan!” during a supposedly high-stakes moment.

Much like The Hobbit trilogy, The War of the Rohirrim leans heavily on nostalgia, with unnecessary cameos and name-drops of legacy characters that feel more obligatory than meaningful. While animation offers incredible potential for storytelling, and, as I’ve said in my Arcane review, it could rival or even surpass live-action filmmaking if done right, it still requires strong characters and a compelling narrative to truly resonate.

There are undoubtedly great stories left to tell in Middle-earth, but they need to prioritize depth, complexity, and originality rather than relying on familiar beats. The War of the Rohirrim is an admirable effort that ultimately feels like a missed opportunity. Hopefully, future entries will focus on crafting daring stories, rich characters, and a reason to return to Middle-earth beyond nostalgia.

At a glance

2/5

Mixed

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