Immaculately constructed, overflowing with creative set-pieces, and unmistakably heartfelt, I sincerely believe that it’s one of his best, as well as one of the greatest action-adventures of the 21st century. That being his hugely underrated remake of King Kong. However, if you want to see where Jackson properly let loose then you ought to revisit the flick that bridged the gap between his two Tolkien trilogies. The Fellowship of the Ring strays into gothic territory when the Nazgûl’ conduct a nocturnal raid on the Prancing Pony The Two Towers sees Frodo and Sam trudging through the ghoulish Dead Marshes and The Return of the King features an overgrown-arachnid named Shelob. Until such an opportunity arises, the nearest that Jackson has ventured into horror recently has been with moments of indulgence in his fantasy tent poles. He’s actually alluded to this possibility himself, confirming that he’d be ‘’very happy to be disgusting again if the right comes along.”
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After all, it’s been 25 years since he last made a full-blown splatter movie and it could be precisely the shot in the arm that he needs in order to reinvigorate his career. If he truly has grown weary of helming these prestige pictures, then maybe it’s time for him to revisit his humble genre roots. Which is a shame for someone who grew up in the noughties like myself, because Jackson’s offerings were really formative parts of my childhood.
Other than that, he’s been completely dormant.
As such, he took a conspicuous step back from directorial gigs after The Battle of the Five Armies, with his only subsequent credits being on the WW1 archival restoration, They Shall Not Grow Old, as well as an upcoming Beatles documentary. 2009’s The Lovely Bones was a mawkish misfire, whilst Jackson’s long-awaited return to Middle Earth (in the form of synthetic-looking and overstretched Hobbit prequels) failed to recapture that earlier sense of magic.īy all accounts, Jackson didn’t have the best experience working on those later projects either, remarking that he often felt hamstrung by obtrusive studio interference and unfeasible time pressures. It therefore shouldn’t come as a surprise that (after such a dramatic peak) things inevitably took a bit of a downward turn. Skyrocketing from a film wherein a cat performs fellatio on a walrus, to a franchise that is now held in such high esteem that all three of its entries can be found hovering around the IMDB top 20, is a pretty steep ascent. There’s just not been anything else quite like it, before or since.įor Jackson’s part, it also happened to be an incredibly tough act to follow. Even the pop-culture juggernauts of Star Wars and Marvel cannot compete with that kind of legacy. No other franchise has managed to be so financially lucrative whilst simultaneously receiving such fervent praise from critics. Leaning on his newfound industry status, he was then able to fund the gonzo supernatural comedy The Frighteners, before catapulting into the stratosphere with one of the most epic undertakings in cinema history.Įarning a cumulative gross of $3 billion, alongside 17 Oscar trophies, Jackson’s adaptation of Lord of the Rings is an unparalleled achievement. Having launched his career with unassuming splatter movies like Bad Taste and Braindead, the kiwi filmmaker eventually graduated into more reputable fare, kicking off this phase with the Academy Award nominated drama, Heavenly Creatures.
Few directors in Hollywood have charted as sharp and meteoric a rise as Peter Jackson did back in the 2000s.
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