Jackson has also chosen to shoot the film at 48 frames per second rather than the industry standard of 24. The intention is to make the digital special effects and swoopy landscape shots look smoother, which they do. The unintended side effect is that the extra visual detail gives the entire film a sickly sheen of fakeness: the props look embarrassingly proppy and the rubber noses look a great deal more rubbery than nosey. I was reminded of the BBC’s 1988 production of The Lion, the Witch and the Wardrobe, and not in a good way.