It’s been a decade since the last time we got a theatrical release set in the world of Middle-earth in the form of The Hobbit: The Battle of the Five Armies. You’d think that if they were to ever release another film set in this beloved universe full of fantastical characters and settings, that it would be for a good reason. Sadly, The Lord of the Rings: The War of the Rohirrim feels like a gigantic waste of time and a massively disappointing revisit to this world that we all know and love. The anime approach seemed incredible on paper, but falls flat in execution.

Kenji Kamiyama’s The Lord of the Rings: The War of the Rohirrim ambitiously seeks to expand Tolkien’s universe with an anime interpretation, exploring the legendary King Helm Hammerhand of Rohan. While the film attempts to meld Middle-earth’s rich lore with the distinct stylings of Japanese animation, it struggles under the weight of its disjointed storytelling, uneven character development, and uninspired visuals, ultimately resulting in a lackluster addition to the cinematic legacy of Tolkien’s world.

A Promising Concept, Squandered Potential:

Set 183 years before the events of The Lord of the Rings, the film recounts the tale of Helm Hammerhand (voiced by Brian Cox) and his daughter Héra (Gaia Wise), as they face an invasion by Dunlending rebels led by Wulf (Luke Pasqualino). Despite its narrative focus on the rich history of Rohan, The War of the Rohirrim struggles to balance its political intrigue, personal drama, and large-scale battles, resulting in an overstuffed script that fails to give any one aspect the attention it deserves.

The screenplay, penned by Jeffrey Addiss, Will Matthews, Phoebe Gittins, and Arty Papageorgiou, brims with ambition, attempting to deepen the lore and deliver a compelling character-driven story. Unfortunately, the dialogue often feels expository and clunky, sacrificing emotional depth for the sake of lore-heavy exposition. Key relationships, such as Helm’s bond with Héra or Wulf’s complex motivations, are left underdeveloped, robbing the story of the emotional resonance necessary to anchor its epic scale.

Visuals That Falter in the Shadow of Greatness:

Given its anime format, the film had the potential to visually distinguish itself within Middle-earth. Yet, the animation—produced by Sola Entertainment—lacks the fluidity and creativity expected of the medium. Character designs are generic, and while the sweeping landscapes of Rohan offer occasional glimpses of grandeur, they pale in comparison to Peter Jackson’s awe-inspiring cinematography. The action sequences, a cornerstone of anime, feel clunky and underwhelming, with poorly choreographed battles that fail to capture the kinetic energy or emotional stakes of the conflicts.

This lack of visual innovation is especially glaring when juxtaposed against the vivid imagery Tolkien’s works inspire. The siege of Helm’s Deep in The Two Towers remains an iconic cinematic moment, and The War of the Rohirrim’s depiction of similar events feels disappointingly lifeless in comparison.

Performances and Characterization:

Brian Cox lends gravitas to Helm Hammerhand, delivering a performance imbued with stoic authority and a touch of vulnerability. However, the material he is given does little to explore Helm’s inner complexities, leaving the character feeling one-dimensional despite Cox’s efforts.

Gaia Wise as Héra offers a spirited performance, but her character is saddled with a predictable arc that fails to rise above tired tropes. Luke Pasqualino’s Wulf, the antagonist, begins with potential as a layered character, but his descent into a clichéd villain robs the narrative of its initial intrigue. Miranda Otto’s return as Éowyn’s narrator brings a sense of continuity, but her voiceover often feels like a crutch to fill narrative gaps rather than a cohesive storytelling device.

A Lack of Cohesion:

Perhaps the film’s greatest flaw is its inability to find a consistent tone. It oscillates between gritty realism, mythic grandeur, and anime-inspired stylization without fully committing to any, leaving the audience unsure of what it is trying to achieve. Moments of potential emotional impact are undercut by clumsy pacing or unnecessary melodrama, and the film’s attempts at humor feel out of place within its otherwise somber narrative.

Missed Opportunities:

Middle-earth is a realm ripe with stories that can explore universal themes of courage, sacrifice, and the struggle between good and evil. The War of the Rohirrim hints at these themes but fails to delve into them meaningfully. Héra’s journey, which could have been a compelling exploration of agency and heroism, is reduced to a series of predictable beats. The political dynamics between Rohan and the Dunlendings offer intriguing commentary on colonialism and revenge but remain surface-level in execution.

Overall:

Despite its ambitious premise and the rich source material at its disposal, The War of the Rohirrim is an underwhelming entry into the Middle-earth saga. Its muddled storytelling, uninspired visuals, and inconsistent tone fail to capture the magic that defines Tolkien’s world. While it may hold some appeal for diehard fans eager to revisit Rohan, it ultimately feels more like a missed opportunity than a worthy expansion of the lore.