Lord of the Rings: Rings of Power ★★★★
Creators: JD Payne and Patrick McKay
Address: J.A. Bayonne
Distribution: Morfydd Clark, Robert Aramayo, Maxim Baldry, Nazanin Boniadi
Country: United States of America
Duration: Approximately 60 minutes (eight episodes; two viewed for review)
Year: 2022
Gender: Fancy
premiere: September 2, 2022 (Main Video)
Find the largest screen, raid a friend’s living room if necessary, before sitting down for the first time. ‘Lord of the Rings: ‘Rings of Power’with which authors JD Payne and Patrick McKay and director JA Bayona seem to pay homage to the lively opening minutes of Peter Jackson’s first trilogy based on Tolkien’s books.
Here the Stendhal syndrome gets even more serious: We are not talking about five minutes, but almost twenty minutes, to the greater splendor of the pleasure of narration. The iconic events of the First Age of the Sun are reviewed through the experiences and emotions of the young (several thousand years old) Galadriel: how he learned the value of distinguishing between light and darkness, being a ship instead of a stone, or after the death of his brother Finrod, the gleam in his eyes was clouded forever. (Will Fletcher) to the visible claws of Sauron, the servant of the vanquished Morgoth. In the most exciting part of the first twenty minutes, Galadriel (Morfidd Clark) runs through cliffs and caves as a commander blinded by a thirst for vengeance.
Welsh after shining as a nurse with Christ complex in ‘Saint Maud’ Clark remains, in any case, a beacon of wit and intuition, yet again evokes emotional admiration in this less sullenly calm role of Galadriel.. But not everyone seems to believe him when he claims that evil does not rest, it just waits, and that this seemingly peaceful era for Middle-earth is about to end. As Tolkien wrote in this season’s hallmark line from ‘The Lord of the Rings’: “After a defeat and a break, the Shadow takes another form and grows again.”
An introduction like this might justify comparisons/contests between ‘Rings of Power’ and new releases. ‘Dragon House‘fantasy prequels, both based on little-known pieces of totemic intellectual property; first, a big influence for the father of the second. But the differences are significant, especially at the tonal level. If the new extension of Martin’s universe reminds us of the cynicism of men and the pain of being a woman, often real and physical, this new visit to the world of Tolkien celebrates friendship, the longing for a full life, or in non-canon ways. characters, romantic understanding between races.
But ‘Rings of Power’ specifically justifies its existence through official deployment. The most visually rich series since ‘Foundation’: television clichés are left out of the equation. a widescreen image (CinemaScope to be precise) with a camera that places great emphasis on emotional landscaping and is moved with intent or best intuition. He moves less in certain passages because Bayona, like Jackson, knows that sometimes it’s helpful to slow down the pace and settle into the casual closeness of the characters.
Jackson’s influence inevitably plots, but it’s even easier to trace the connections between these first two chapters, the only chapter this paper has access to, and the rest of Bayona’s own work, also accompanied by the cinematographer. Oscar Faura and installers Bernat Vilaplana Y James Marti. Obviously, the ‘Impossible’ experience will assist the director in the storm sequence in Seas Dividing. There are opportunities to play with the pleasures of a ‘monster movie’, as in ‘A monster is coming to see me’ or ‘Jurassic World: Fallen Kingdom’. And the purest horror of ‘The Orphanage’ unfolds in a particular caving sequence, fueled perhaps by the indelible trauma of ‘The Landing’.
Source: Informacion
