Frodo, who carries the Ring, and Sam continue their journey towards Mordor, unaware that Gollum, now their guide, plans to betray them and take the Ring for himself. The trio witness the Witch-king of Angmar, lord of the nine Nazgûl, setting off towards Gondor with his army of Orcs. Gollum conspires to frame Sam for eating food supplies and desiring the Ring; influenced by the growing power of the Ring, Frodo is taken in by the deception, and orders Sam to go home. Gollum then tricks Frodo into venturing into the lair of the giant spider Shelob. Frodo narrowly escapes and confronts Gollum, who falls down a chasm after a scuffle. Shelob discovers, paralyzes, and binds Frodo, but is wounded and driven away by a returning Sam, who, mourning Frodo's apparent death, takes the Ring. Sam realizes his mistake when a group of Orcs takes Frodo captive, but manages to rescue Frodo as the Orcs fight among themselves. Now inside Mordor, the hobbits continue towards Mount Doom, their destination.
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Théoden arrives and leads his army against the Orcs. Despite initial success against Orcs in the ensuing battle, they are decimated by the Oliphaunt-riding Haradrim and the Witch-king mortally wounds Théoden; however, his niece Éowyn slays the Witch-king with Merry's help. Théoden dies in his niece's arms. Aragorn then arrives with his Army of the Dead, who overcome Sauron's forces. Legolas slays a Mûmakil and its guards, which Gimli denounces for "That still only counts as one!" and the battle is won. Their oath fulfilled, the Dead are released from their curse. Aragorn decides to march on Mordor to distract Sauron from Frodo, now extremely weak, and Sam; all of Sauron's remaining forces march to meet Aragorn's diversion, allowing the hobbits to reach Mount Doom. Gollum, who survived his earlier fall, attacks them, but Frodo still manages to enter the mountain. There, he succumbs to the Ring's power, putting it on his finger, but Gollum manages to bite off his finger and reclaim it. They struggle together and both fall off the ledge. Frodo clings to it with one hand as remorse and guilt flood his mind in the wake of his succumbing to the ring, when Sam's unwavering faith and belief in his friend convinces him to make one final reach for Sam's hand, saving Frodo's life. Gollum falls and dies; the Ring, which fell with him, disintegrates in the lava, causing Barad-dûr to crumble as The Eye of Sauron explodes, destroying the dark lord once and for all. Aragorn's army emerges victorious as its enemies and the lands of Mordor collapse into the earth, and Mount Doom erupts, with Frodo and Sam narrowly escaping the lava.
The music was composed by Howard Shore, who previously composed the first two parts of the trilogy. Shore watched the assembly cut of the film,[33] and had to write seven minutes of music per day to keep up with the schedule.[39] The score sees the full introduction of the Gondor theme, originally heard during Boromir's speeches at the Council of Elrond in The Fellowship of the Ring and at Osgiliath in The Two Towers' Extended Edition. Shore also used the Gondor theme with the new ascending coda (which is unique to this film) in his score for the trailer of the film.
Like its two predecessors, The Return of the King was released to universal critical acclaim. Alan Morrison of Empire gave the film a perfect score of five stars. In his review, he called the film "the resounding climax to a landmark in cinema history" and praised how Peter Jackson had "kept the momentum of the series rolling on and on through the traditionally 'difficult' middle part and 'weak' finale, delivering a climax to the story that's neater and more affecting than what Tolkien managed on the printed page." Morrison also mentioned how fans of the films "who have walked beside these heroes every step of the way on such a long journey deserve the emotional pay-off as well as the action peaks, and they will be genuinely touched as the final credits roll."[81] Elvis Mitchell for The New York Times lauded the acting, the craft of the technical crew, and Jackson's direction, describing The Return of the King as "a meticulous and prodigious vision made by a director who was not hamstrung by heavy use of computer special-effects imagery."[82] Roger Ebert of the Chicago Sun-Times gave the film three and a half stars out of four, saying that it is "such a crowning achievement, such a visionary use of all the tools of special effects, such a pure spectacle, that it can be enjoyed even by those who have not seen the first two films." Talking about the whole trilogy, Ebert said that he admired it "more as a whole than in its parts", and that The Return of the King certified The Lord of the Rings as "a work of bold ambition in a time of cinematic timidity".[83] In his review for The Times, James Christopher praised The Return of the King as "everything a Ring fan could possibly wish for, and much more", and described The Lord of the Rings as "the greatest film trilogy ever mounted, with some of the most amazing action sequences committed to celluloid".[84] Nev Pierce for the BBC gave the film five stars out of five, judging it to be the best chapter of the trilogy, since it combined "the 'ooh' factor of Fellowship with the zippy action of Towers". Pierce described The Return of the King as "Majestic, moving, and immense", and "an astonishing piece of storytelling."[85] Philip French, reviewing it for The Observer, lauded the narrative force, the battle scenes, the language, and the visual style of the film, which he related to "the swirling battle paintings of Albrecht Altdorfer" and "Claude Lorraine's elegiac paintings of maritime departures inspired by classical poets." French wrote about the whole trilogy "Jackson's Lord of the Rings is indeed a very fine achievement, moving, involving and, to many people, even inspiring. It redeems the debased cinematic notion of the epic."[86]
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