It’s been nearly ten years since Middle Earth unfurled across the screen, and in that time, the Lord of the Rings films have cemented their place in cinematic history. The actors have aged, technology has evolved, and the influence of Peter Jackson’s trilogy is evidenced in all the three-plus-hour epics we’ve seen over the past decade.

Jackson slips back into this world seamlessly, elevating the grandeur but also reigning it in; instead of army battles and global chaos pitting kings against wizards and demons, this is a merrier tale of Bilbo Baggins, Gandalf, and a band of dwarves hunting a lost treasure guarded by the fierce dragon Smaug.

Smaug, we’re told (and cleverly not shown until the very end) attacked the thriving dwarf city of Erebor years ago, evicting dwarven kind from their homeland (writing that I’m starting to wonder if there’s a parable here, big noses and all…) and forcing them to have it out with every other race in Middle Earth, from the orcs at Moria (the chief of whom kills the leader dwarf, Thorin’s, grandfather and becomes the main antagonist) to the elves at, uh, Elvania (the elves chose not to help the dwarves in the battle against Smaug).

Happy New Year and welcome to another year of your favorite films here at Monday Picks. This week’s feature to ring in the New Year is the 1972 Spanish horror classic Horror Express a.k.a. Panic on the Trans-Siberian Express. The film stars both Hammer Films greats Peter Cushing and Christopher Lee who battle an alien life form which has existed on Earth for millions of years.

The film opens in 1906 Manchuria where English naturalist and explorer Alexander Saxton (Lee) has discovered an ape-like creature that has been frozen for thousands of years. Convinced he has found the missing link, Saxton and his party crate up the fossil and prepare to transport the cargo by train to Moscow, Russia.

While in Shanghai, Saxton encounters his fellow Royal Society member Doctor Wells (Cushing) who also plans to board the train bound for Moscow. While under guard, Saxton’s crate is picked by a thief who turns up dead on the station platform, his eyes turned white. A crazed monk and spiritual advisor to a Polish Count believes Saxton’s cargo is unholy. Saxton dismisses the monk’s ranting as spiritual nonsense.

I tend to think of Scorsese as a master of genre films—he’s done gangster films (Goodfellas, Casino), comedy (After Hours, The King of Comedy), police drama (The Departed), psychological thriller (Shutter Island), boxing (Raging Bull), biopic (Kundun, The Aviator, No Direction Home), concert (Shine a Light), historical (Gangs of New York), literary classic (The Age of Innocence), even a remake Cape Fear) and a sequel (The Color of Money)—but he tends to bring such a distinct touch to the films, they don’t quite feel like genre films.

So when I heard he was taking a stab at a kiddie flick, Hugo immediately shot to my most anticipated Scorsese film to date (outside, of course, of the fictional film he was making with Larry David as the money-hurling mob boss in Curb Your Enthusiasm)—added to that who wouldn’t be interested in Scorsese’s take on 3D?

And Hugo doesn’t disappoint. It’s not the most compelling story, but for all its two-hour-seven-minute running time, I wasn’t bored once. There’s a lot more going on, and I’ll get to that in a moment, but first the rundown.

Hugo Cabret (Asa Butterfield) is an urchin who haunts a Paris railway station in the early 1930s, repairing its clocks and stealing various cogs and sprockets to rebuild the homunculus he and his father (Jude Law) were working on right up to his death. While Hugo tends to remain out of the sight and mind of the station Inspector (Sacha Baron Cohen), he’s less successful evading the eye of the toymaker he robs (Ben Kingsley). Caught trying to thieve a wind-up mouse, he’s forced to give up his father’s notebook, which includes all the instructions on repairing the mechanical man and provokes a strange reaction from the toymaker.

Up yours, Snow White! Fans of dwarves and fantasy alike will be pleased to see the latest photo from Peter Jackson The Hobbit, featuring all 13 dwarves doin’ their dwarf thing.

From the left, they’re Jed Brophy as “Nori,” Dean O’Gorman as “Fili,” Mark Hadlow as “Dori,” James Nesbitt as “Bofur,” Peter Hambleton as “Gloin,” Graham McTavish as “Dwalin,” Richard Armitage as “Thorin Oakenshield,” Ken Stott as “Balin,” John Callen as “Oin,” Stephen Hunter as “Bombur,” William Kircher as “Bifur,” Adam Brown as “Ori,” and Aidan Turner as “Kili.” [Not pictured: Wilford Brimley as “Groin,” Brian Cox as “Drunky,” and Rip Torn as “Farty.”]

Reprising their roles from the Peter Jackson’s Lord of the Rings trilogy are Ian McKellen, Andy Serkis, Hugo Weaving, Cate Blanchett, Christopher Lee, Ian Holm, Elijah Wood, and Orlando Bloom. Martin Freeman (The Hitchhiker’s Guide to the Galaxy) will star as Bilbo Baggins.

The Hobbit: An Unexpected Journey is scheduled for release December 14^th, 2012; The Hobbit: There and Back Again December 13^th, 2013.

Click through for a larger version of the pic.

This week’s pick is the 1979 least known and only comedy from director Steven Spielberg, 1941 which stars Saturday Night Live originals Dan Aykroyd (Sgt. Frank Tree), and the incomparable John Belushi (Capt. “Wild” Bill Kelso, U.S. Army Air Corp.) Other supporting actors include Bobby Di Cicco (Wally Stephens), Ned Beatty (Ward Douglas), Lorraine Gary (Joan Douglas), Murray Hamilton (Claude Crumm), Christopher Lee (Capt. Wolfgang von Kleinschmidt), Tim Matheson (Capt. Loomis Berkhead) and Toshiro Mifune (Cmd. Akiro Mitamura).

Also on hand are Warren Oates (Col. Maddox), Robert Stack (Maj. Gen. Joseph W. Stillwell), Treat Williams (Cpl. Chuck “Stretch” Sitarski), Nancy Allen (Donna Stratton), John Candy (Pvt. Foley), Slim Pickens (Hollis P. Wood), and Count Floyd himself, Joe Flaherty (Raoul Lipschitz).

The opening of the film informs the audience about the infamous Japanese attack on Pearl Harbor on December 7, 1941 which hurtled an unsuspecting America into World War II. The West Coast of the United States was fearful that the Japanese would attack California next. These were actual fears that were quickly realized by its citizens, and that extreme caution and observation was needed to thwart any attempt which made invasion possible. The film is set just six days after the Pearl Harbor attack.

In the first few opening minutes of the film, Spielberg, and writers Bob Gale, John Milius, and future director Robert Zemeckis (Back to the Future trilogy) fantastically lampoon Spielberg’s Jaws opening by using the very same actress to re-create her skinny dip scene in the early morning hours. Veteran Spielberg composer John Williams even re-creates his famous theme music. The female swimmer is instantly caught on the periscope of a Japanese submarine which is prowling the California coastline for a worthy military target.