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The Lord of the Rings: The Two Towers
Movie

The Lord of the Rings: The Two Towers

2002 • Adventure, Drama, Fantasy

Woke Score
1.6
out of 10

Plot

The continuing quest of Frodo and the Fellowship to destroy the One Ring. Frodo and Sam discover they are being followed by the mysterious Gollum. Aragorn, the Elf archer Legolas, and Gimli the Dwarf encounter the besieged Rohan kingdom, whose once great King Theoden has fallen under Saruman's deadly spell.

Overall Series Review

The Lord of the Rings: The Two Towers is the second installment of an epic high fantasy trilogy that grounds its narrative in universal themes of moral choice, loyalty, and the defense of civilization against clear, objective evil. The film strongly portrays a meritocracy where character is judged by deeds and fidelity to the quest, regardless of species or station, from the smallest hobbit to the returned wizard. The civilization of Rohan, despite its failings, is fought for and redeemed, affirming the value of inherited culture and home. Female characters, particularly Éowyn, express a desire for agency and glory typically reserved for men, but her struggle is framed within a world of complementary gender roles and is part of a larger, noble defense of her people. Deep male friendships, characterized by fierce loyalty and mutual sacrifice, are central to the emotional core of the film. The overarching conflict is a clear-cut struggle between light and darkness, underpinned by a transcendent moral law.

Categorical Breakdown

Identity Politics1/10

Characters are universally judged by their moral character and their commitment to the cause, which is the destruction of the Ring. The narrative features a universal meritocracy where the weakest, the hobbits, bear the greatest burden. The heroic races are consistently depicted as noble and brave, while the enemy forces are a monstrous, non-human army created by evil magic. There is no vilification of 'whiteness' and no use of race or immutable characteristics to determine moral standing or social hierarchy.

Oikophobia1/10

The central plot involves the desperate defense of the civilization and home of Rohan against overwhelming enemy forces. Institutions like the monarchy and the city's defenses are viewed as essential shields against chaos, and the fight is explicitly to save the heritage of Men. The film shows gratitude and respect for ancestors and traditions as sources of strength, not as things to be deconstructed or scorned.

Feminism3/10

The female characters, particularly Éowyn, are limited in screen time and are not part of the core adventuring Fellowship. Éowyn struggles against her traditional role, lamenting her feeling of being 'a cage' and desiring to ride to battle alongside the men. This struggle presents a challenge to the established complementarian structure but does not lead to a depiction of men as incompetent or toxic. Male characters like Aragorn and Gandalf are consistently depicted as protective, strong, and vital leaders.

LGBTQ+1/10

The story adheres to a normative structure where traditional male-female romantic pairings are the standard, though often in the background of the main quest. Sexual matters are not centered, and the intense, loyal male-male bonds (Frodo/Sam, Legolas/Gimli) are depicted as profound, non-sexual heroic friendships. The narrative contains no elements of gender ideology or explicit focus on alternative sexualities.

Anti-Theism2/10

The entire conflict rests upon the absolute, transcendent moral law of Good versus Evil. The good characters draw strength from loyalty, hope, and sacrifice, which function as faith in the face of spiritual darkness. The evil is personified by Saruman and Sauron, who embody moral relativism and the pursuit of raw power. While not explicitly Christian, the film’s moral and spiritual structure acknowledges Objective Truth and a higher order.