In 2012, as a fan of fantasy stories, my excitement was through the roof knowing that The Lord of the Rings was getting a live-action movie adaptation. The idea of seeing Middle-earth brought to life on the big screen, with its epic battles, mythical creatures and deep lore was nothing short of a dream come true. I had imagined these legendary scenes unfolding for so long, and now it was finally happening. The prospect of witnessing Gandalf, Aragorn, Frodo and the rest of the Fellowship in a grand cinematic spectacle had me eagerly counting down the days.
The scale, the adventure and the promise of a faithful adaptation of J.R.R. Tolkien’s masterpiece made this an unmissable moment for any fantasy fan. And it did not disappoint! That trilogy became an unforgettable part of my life, forever etched into my mind. To this day, I honor March 25th — the date the One Ring was destroyed in Tolkien’s lore — by rewatching the films, reliving the magic that made them so special.
Now, more than a decade later, the latest entry in the Tolkienverse, The Lord of the Rings: The War of the Rohirrim, has arrived on the streaming service, Max. But does it ignite the same level of excitement? Let’s dive in.
The War of the Rohirrim is an animated epic set roughly 200 years before the events of The Hobbit. The story follows Héra (voiced by Gaia Wise), daughter of King Helm Hammerhand (Brian Cox). When Lord Freca (Shaun Dooley) visits Rohan, a confrontation erupts when Héra refuses to marry Wulf (Luke Pasqualino), Freca’s son. In the ensuing clash, Freca is slain, driving Wulf to vow revenge.
Years later, now the High Lord of the Dunlendings, Wulf returns to capture Héra, only for her to escape with the help of her cousin, Fréaláf (Laurence Ubong Williams) and her aunt, Olwyn (Lorraine Ashbourne). Undeterred, Wulf launches a devastating assault on Rohan, determined to strip King Helm and his people of everything they hold dear.
From the moment the film begins, so does the wave of nostalgia. The opening notes of the musical score immediately transport the audience back to Middle-earth, evoking the grandeur and emotion of Peter Jackson’s Lord of the Rings trilogy. While Howard Shore, himself, did not compose the score, Stephen Gallagher masterfully crafts a soundtrack that feels like a natural extension of the iconic themes, ensuring a seamless auditory connection to the beloved films.
Then, as if to further cement the film’s place within the larger Tolkienverse, Miranda Otto returns to narrate as Éowyn, her familiar voice guiding the audience through the rich history leading up to the events of The War of the Rohirrim. Her narration serves not just as exposition but as a bridge, tying this new tale to the established lore.
Visually, the film stuns from the very first frames. The animation, polished to perfection, showcases breathtaking landscapes, fluid action sequences and character designs that honor the aesthetics of Middle-earth while embracing the expressive capabilities of the medium. Director Kenji Kamiyama knew exactly what longtime fans would crave: a film that respects the legacy of the franchise while boldly carving out its own identity. He does not hold back, delivering an experience that feels both familiar and refreshingly new.
The characters, unfortunately, fall into the all-too-familiar fantasy archetypes, making them feel predictable rather than compelling. Hèra embodies the quintessential heroine princess — strong-willed, fearless and unwavering in her convictions. She is stubborn to a fault, overly confident in her abilities and driven by an intense desire to protect her people. While these qualities are admirable, they also make her feel like a character we’ve seen many times before. She charges headfirst into battle without hesitation, a trait that often puts her at a disadvantage, but there’s little about her personality that sets her apart from countless other warrior princesses in fantasy storytelling.
Then there’s Wulf, the vengeful and cunning antagonist. He falls into the well-worn trope of the charismatic villain who lets personal grievances — being refused in marriage and the accidental death of his father — consume him entirely. While his madness is palpable, his motivations and methods are standard fare, making him more of a stock villain than a truly memorable one. He certainly has presence, but nothing about him feels particularly fresh or layered beyond his thirst for revenge.
Archetypes aren’t necessarily a bad thing; they provide a foundation for compelling storytelling when used creatively. But here, the characters lack the extra spark that would make them stand out. Even classic figures like Princess Peach and Bowser, who fit into well-defined roles, have evolved unique traits and quirks that make them distinct. The War of the Rohirrim could have benefited from deeper characterization, adding nuance or subverting expectations to make its leads more than just recognizable fantasy templates.
The Lord of the Rings: The War of the Rohirrim earns a solid four out of five stars. While the characters and their development leave something to be desired, the film excels in nearly every other aspect. The breathtaking animation, immersive world-building and a musical score that effortlessly rekindles the magic of Middle-earth make for a captivating experience. The action sequences are intense and beautifully choreographed and the film’s respect for Tolkien’s lore is evident in every frame.
So, did The War of the Rohirrim spark excitement for this fantasy fan? In the immortal words of Samwise Gamgee, “There is some good in this world, and it’s worth fighting for.” Despite its flaws, the film delivers an adventure that feels worthy of the Lord of the Rings legacy, proving that Middle-earth still has plenty of stories left to tell.