Tag Archives: Caesar

War for the Planet of the Apes (2017)

If you follow this blog or know me personally, you’ll know War for the Planet of the Apes has been my most anticipated movie for three years, ever since the 2014 release of Dawn of the Planet of the Apes, my most anticipated movie since 2011’s Rise of the Planet of the Apes, the awesomeness that came out of nowhere to become my No. 1 film of that year. What can I say? I’m just obsessed with apes.

With expectations through the roof, I knew I was probably in for a disappointing experience, especially after the spectacular early critic reviews started rolling in a couple of weeks prior to the release (it’s currently 93% on Rotten Tomatoes). But I somehow managed to compose myself as I stepped into the cinema today, not too high and not too low, with as clean of a slate as I could bring.

And I was blown away.

Let’s just say War for the Planet of the Apes was as good as I expected, but—like its two predecessors—it also wasn’t what I was expecting. You know how you get an idea in your mind of how a movie is going to play out after you see a trailer or two? Well, War did not play out like how I thought it would. There are plot points I knew the film had to hit, and it does that, but the story was a little different, the progression was a little different, and there were some nice surprises thrown in for good measure. Kudos to the people who cut the trailer too because they didn’t show too much as I had feared.

Set two years after DawnWar pits ape leader Caesar (Andy Serkis) against a ruthless colonel played by Woody Harrelson in a war that will determine the fate of apes and humans. Despite being a film centred around apes, it’s a story full of humanity. It’s the reason why every entry in the trilogy works so well. Yes, there are the revolutionary special effects and the heart-thumping action, but the core of the films have always been about the humanity of the apes and the relationships between humans and apes and apes and apes.

The stakes are high and the feel of the film is epic, almost biblical. Indeed, there are various religious references as Caesar has shades of both Moses and Jesus. Matt Reeves, who helmed Dawn, returns again as director as well as co-writer of an excellent script along with Matt Bomback (who also wrote Dawn). As such, the look and feel of the film is closer to Dawn than Rise, with a sombre tone that has only a few lighter moments sprinkled throughout thanks to Steve Zahn’s new character, Bad Ape.

What really impressed me about Bomback and Reeves’ script is the way it pieces everything together, linking up not just the other films in the series but also the original 1968 adaptation with Charlton Heston. I also liked the allusions to other classics which I won’t spoil. There are a few small holes and plot points I would have liked to have seen simmer for a little longer before being resolved, but it’s otherwise virtually seamless.

Needless to say, the action sequences are fantastic. War is indeed a war movie, and even though a lot of the blood and violence is toned down or skillfully avoided for rating reasons, you do get a lot of carnage and a feel for the horrors of war. However, it is because the characters are so well-developed that the action actually means something and provides that emotional punch rather than just loud noises and explosions, something another movie I saw recently (ah hem, Transformers 5), failed at miserably.

And of course, the special effects. Weta Digital once again proves it is the best in the business and absolutely deserves an Academy Award for making Caesar and all the apes come to life once again. The amount of detail on the apes’ faces, especially the close-ups, is jaw-dropping and conveys as much emotion as any human performance. No other film CGI I’ve seen has been able to capture the soul in the eyes quite like this franchise has, not even Rogue One or The Jungle Book. The special effects are so good that you don’t really even think about them during the movie—you simply take it for granted.

Speaking of Oscars, it’s about damn time Andy Serkis gets at least a nomination for his portrayal of Caesar. This whole film, this entire franchise, has hinged on his performance capture, and Serkis once again hits it out of the park. The emotional depth he conveys with every facial expression, every look, every movement of his body, is just amazing. The other apes are also very good, but Serkis is what makes War the film that it is.

On the human side, Woody Harrelson is a splendid and perfectly cast villain who delivers both a terrifying madness but also enough humanity to make us understand his actions. A lesser actor would not have been able to pull it off, especially a couple of longer monologues of exposition that could have been dry without Harrelson’s intensity and charisma.

War for the Planet of the Apes is the finale I had been dreaming of, a finale that completes one of the best movie franchises of all time. Yes, I’m putting it in the same category as The Godfather trilogythe original Star Wars trilogy, the Lord of the Rings trilogy, and of course, the Harold and Kumar trilogy (just kidding). It really is that good, both in isolation and as part of the wider series. I don’t think it’s a stretch to call it a masterpiece.

5 stars out of 5

Movie Review: Dawn of the Planet of the Apes (2014)

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Those who have read an article or two on this blog might have noticed that I have what you might call a bit of a Planet of the Apes infatuation. I declared the franchise reboot, Rise of the Planet of the Apes, the best film of 2011. I declared its long awaited sequel, Dawn of the Planet of the Apes, my most anticipated movie of 2014. I’m not quite sure what it is, but there’s just something about the story, the franchise, that has me going all ape.

This time around, the story takes place about a decade after the end of the previous film, when the so-called Simian flu — the same virus that gave the apes their intelligence — has wiped out the vast majority of the human population. All that remains, as far as we know, is a group of naturally immune survivors living in San Francisco led by a man named Dreyfus (Gary Oldman). Desperate for a source of power, a band of humans led by Malcolm (Aussie Jason Clarke) venture into the woods, where they run into the protagonist of the Rise of the Planet of the Apes, Caesar (Andy Serkis), and his growing tribe of smart apes.

Just like its predecessor, the humans in Dawn take a back seat to the apes, who are far more interesting and dominate the narrative. It was a necessary decision to abandon the human cast from the first film, in particular James Franco’s Dr Will Rodman, the man responsible for creating the Simian flu in the first place (Franco is too busy posting nude photos of himself on the internet anyway). This is because, as an ape film, it’s important to see Caesar’s continued growth into the great revolutionary leader he’s destined to be. In Dawn, he has established societal order in his ape tribe, built a home, and started a family. He is compassionate, loyal and intelligent — but he can still be a total badass when he needs to be.

Key returning ape characters include Maurice (Karin Konoval), the big, clever orangutan who acts as third in command and the apes’ voice of reason, as well as Koba (Toby Kebbell), the tortured, mutilated ape Caesar liberated in the first film who understandably has trouble containing his distrust for humans and his violent temper. The most important new additions are Cornelia (Judy Greer), Caesar’s partner, and Blue Eyes (Nick Thurston), their rebellious son.

On the human side, the central character is Jason Clarke’s Malcolm, but apart from him everyone else is underdeveloped. There’s his second wife, Ellie (Kerri Russell), and his teenage son, Alexander (fellow Aussie Kodi Smit-McPhee), plus a stereotypical human a-hole named Carver (Kirk Acevedo from Fringe), but none of the supporting human characters get to do much, not even the legendary Gary Oldman.

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To be honest, I was pleasantly surprised by how much of the film is driven by the characters and their relationships. Apart from the bond between Caesar and Malcolm, which forms the heart of the film, there’s also well-executed conflicts between Caesar and his son Blue Eyes and with his second-in-command Koba. This could have very easily been a big, dumb action flick with lots of loud explosions, pointless violence and flashy effects (in the vein of Michael Bay), but director Matt Reeves (Cloverfield), who took over the reins from Rupert Wyatt, managed to keep his focus on the things that truly matter.

Dawn is not just a humans vs apes story — it’s a tale of survival that traverses universal themes such as ingrained discrimination, tribal loyalties, political complexities and familial bonds. It’s Reeves’ ability to craft these themes amid the chaos and action that enable the emotions to resonate, and it’s also what makes Dawn more memorable than your average sci-fi.

There were perhaps some missed opportunities to explore relationships on the human side (in particular Malcolm and his son), and some audiences might be disappointed with the lack of prominent female roles (Cornelia, in particular, felt like a wasted character), though on the whole I felt like the script by returning writers Amanda Silver, Rick Jaffa and new addition Mark Bomback (who has s chequered history with Die Hard 4 and the crap Total Recall remake but also the underrated Unstoppable and last year’s The Wolverine on his resume), was more than adequate.

Part of the reason the ape characters are so compelling to watch is because they come across as real people (even more so than the humans), but at the same time we are constantly reminded of how different they are and how dangerous they can be. All wonderful ape performances are again done by motion capture, and the technology is even more impressive than it was last time as the apes have a more expansive vocabulary and hence more facial movements and expressions. I’m sure real apes don’t look quite like the apes in the film, but what matters is that they look incredibly realistic, not only in their physical appearance but also in the way their bodies move and interact with their surroundings. There was not a second during the film when I thought anything looked unnatural or out of place, and full credit must go to the special effects team and the understated performance capture of the actors.

And it is thanks in large part to the special effects that Dawn contains some of the most epic battle sequences and fight scenes you’ll see this year. As the number of apes have increased dramatically, the scale of the action dwarfs that in Rise, with several sublimely choreographed scenes that had me staring in awe from the edge of my seat. Further, the violence was never without reason or purpose, so unlike some action flicks (cough, Michael Bay) I never felt like I was getting numb from it all. Apes against humans, humans against humans, apes against apes. It’s pure, satisfying, mindblowing entertainment.

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Having set myself up for disappointment by living in ape hype for the last three years, Dawn actually lived up to my unrealistic expectations. Yes, I admit I am partial to the franchise, but how rare does a blockbuster of this magnitude turn out to be as good as you predicted? While the film was different to what I thought it would be, it was still bloody freaking sensational. As tense, emotional and exciting as I had envisioned. As visually stunning as I had imagined. As epic as I had hoped. Sure, if you want to you can nitpick all day, about the weakness in the script, the lack of development of the human characters (especially the females), the Hollywood stereotypes and cliches, the too-obvious exposition in the dialogue, the untied loose ends, and so forth.

Ultimately, however, Dawn of the Planet of the Apes is about as close as you can get to the perfect summer blockbuster. This goes beyond just living up to its excellent predecessor — Dawn is to Rise what The Empire Strikes Back is to Star Wars, what The Godfather: Part II is to The Godfather. It might not be as intelligent as it wanted to be, but it’s still undeniably thought-provoking. It might not be as emotionally involving as it could have been, but it still tugs at the heart strings. There could have potentially been more action sequences earlier on or a more climatic ending, but you can hardly complain about what’s already there. When you factor in everything the film got right and the complete-package experience that it provides, Dawn of the Planet of the Apes is simply the most flat-out awesome movie of the year.

5 stars out of 5!

PS: Now it’s another 2-year wait until the next instalment in the series, currently scheduled for July 26, 2016 release date.