Given that the Lord of the Rings films were all shot together and Fellowship had been such a success, it was natural that much of the praise levied at the first film would carry over - stunning production design and locations which bring Middle Earth to life in wonderful detail, another wonderful score from Shore and a cast that fit into their roles perfectly. However, there are some distinct changes as the story structure demands that the audience follow three distinct storyline, new characters are introduced and the nature of a middle film in a trilogy leaves The Two Towers with no beginning or ending. Consequently, after a barnstorming opening that remind the audience of events from Fellowship, the pace of the film suffers as Jackson struggles to seamlessly continue the disparate elements of the plot and reintroduce his characters as well as bring in new ones (indeed this is actually done more successfully in the theatrical version than the extended one which still contains wonderful extra scenes throughout but does affect the pace far more so than Fellowship). It is only a short lived issue however.

Jackson’s solution to the lack of a story ending, like with Fellowship, is to weave a thematic thread through his story that is brought to a head in the finale with a beautiful speech from Sean Astin and rather than leave the film on a cliffhanger, ends on a natural resting point in the story. Thus the melancholic feel of a world in decay and on the brink of change is much more to the fore here as the mood turns distinctly grim and war threatens. From Osgiliath to Rohan to the Dead Marshes, the filmmakers paint a picture of once proud and triumphant societies now in decline and ruin after years of stagnation. This permeates the characters as the filmmakers explore their fears and struggles to deal them. Gollum is rightly celebrated as a wonderful addition to the story, being far more than simply an impressive visual effect as the true nature of the One Ring’s corrosive influence is explored, but equally impressive is Bernard Hill as Theoden, riddled with doubt and uncertainly, but no less authoritative as a leader.

If this all sounds a little too depressing, it is to Jackson’s credit that it never feels like this. Humour and action help to punctuate the tone and the film builds up to stunning finale that remains hugely impressive. Return of the King’s action sequences may well up the ante in terms of scope, but Towers’ centrepiece battle for Helm’s Deep feels more grounded and gruelling for the characters, culminating in a beautifully realised last stand. Equally, the storyline involving Merry and Pippin had the potential for ridicule, but the filmmakers initially play up the comical aspects and win over the audience to Treebeard and the Ents, which allows Jackson to integrate the theme of nature fighting back much more successfully.

There are some missteps - as well as the pacing problems at the beginning, Frodo’s encounter with Faramir doesn’t always ring true. Wenham is perfectly cast as Boromir’s brother, but his character arc and development feels disjointed and rushed and whilst there is an improvement in the extended edition, the resolution to his arc here feels contrived simply to move the story on. The less said about Galadriel’s forced inclusion, the better!!

This is still stunning filmmaking though and whilst the flaws are not quite as easily overlooked as with Fellowship, they do little to impact what is another impressive entry to the Middle Earth saga.