The New World: Review of Dawn of the Planet of the Apes

Dawn of the Planet of the Apes

Director: Matt Reeves

By Alex Watson

 

Planet of the Apes was considered long dead ever since Tim Burton’s disastrous (albeit wonderfully designed) attempt back in 2000. By after Rupert Wyatt’s well received re-boot effort ‘Rise of the Planet of the Apes’ back in 2011, it appears that this franchise has a new lease of life! This week our ape friends come hurtling back onto our screens again and they are gearing close to world domination in Cloverfield director, Matt Reeves’ film Dawn of the Planet of the Apes.

Set 10 years after the ALZ-113 virus has all but wiped out the worlds human population, Caesar (Andy Serkis) and his other ape companions live a contented existence in the forest of San Francisco, where they hope to be alone. But any hopes for peace between the two races are quickly shattered by mistrust and violence. Family man Malcolm (Jason Clarke) works in vain to prevent an onslaught, but his boss Dreyfus (Gary Oldman) has other ideas.

After Rupert Wyatt’s unfortunate departure, Reeves skillfully picks up the torch and delivers a great sequel and Dawn of the Planet of the Apes is both thrilling and very emotionally real. The world we see if a very different one and San Francisco has been ravaged by war and humanity is barely holding on. The tone of this movie is somewhat more serious than previously and human/ape relations are continually on a knife edge due the previous violent and this provides the movie with a tense atmosphere.

Family is a major theme of this movie and Malcolm and Caesar are both equals. They are both family men striving for peace and to keep their families safe, but are continually thwarted by the people around them. Their bonding is the heart of the movie and an uneasy friendship is gradually born amongst all hell breaking hell loose. Caesar is the predominate feature of Reeves movie as he is a jaded warrior who although is willing to fight to protect his people, also wants the blood shed to cease which has caused friction among the ranks.

The main problems comes from human hating ape Koba (Toby Kebbell) whose slowly disintegrating respect for his leader takes his people into dangerous and more violent new territory. Dreyfus on the other hand is emotionally scarred man who wants rebuild the old world and sets about rallying the remaining survivors by telling war is necessary, despite Malcolm’s plea that the apes should be left alone, he disregards this advice with devastating results.

Matt Reeves shows great adaptability as a director and he easily slips into the role of blockbuster maker and brings us a visual stunning world. His greatest triumph on Dawn of the Planet of the Apes comes in a thrilling show down as the apes storm the human compound. One stunning revolving shot shows Koba capturing a tank and through the 360 degree chaos shown- humanities hopes hang by a thread as he nears their door! But its the end sequence that will have the most impact as we feel a new world looming, but may not be one of unity.

Andy Serkis is a long last beginning to get the credit he deserves for his motion capture work and as Caesar he gives a performances that is phenomenal! His is given a troubled persona as a conflicted leader, but Serkis succeeds in bringing this out on screen and his perfomance is incredibly moving and he shows a depth of emotion rarely seen in an animated character.

The always consistent Jason Clarke is a great choice as lead human Malcolm, after years of succeeding films such as Zero Dark Thirty, Lawless and TV’s Brotherhood, Clarke finally gets to show his leading credentials and he passes with flying colours. Malcolm isn’t the most interesting character that the series will show, but Clarke gives him a likeability that makes us want him to get through to Caesar and avoid the potential war. 

Although some may view this merely as a filler before the next installment, Dawn of the Planet of the Apes is by far this years best sequel and gives more light to the fact that this series is back- and it sure means business! Caesar you’re welcome back any time!

Top Five Great Alfred Molina Performances

The London born actor Alfred Molina is a man who deserves far better respect than he currently receives. No matter what role he plays, he has the uncanny ability to raise any movie that he features in. Just look at his appearences in movies such as the Sorcorer’s Apprentice where his cocky menace made him a very compelling villian, without breaking a sweat! As tribute to this man, I have compiled a list of his five finest on screen appearences

1. Frida

As Frida Kahlo’s permanently unfaithful husband Diego Rivera, Molina rang in a career high performance. His Riviera is a man whose painting talents are hindered by his refusal to hinder his communist vision! Through Molina, he brings an explosive quality to the screen and even though Diego has a moral compass facing completely the wrong way, we still pray for him and Frida to patch things up because his steadfastness to his cause is truly rousing! This role was the perfect showcase for Molina’s ability and succeeded in bringing him to the attention of a wider audience!

2. Prick up your Ears

In an early role, Molina made a strong impression of his later talents as the long suffering and ignored Kenneth Halliwell alongside Gary Oldman’s Joe Orton. His sad sack and almost loser quality gives the film its emotional core and thanks to Molina’s fantastic and emotionally repressed performance, we feel the animosity grow between the pair which will bring about a violence climax! But impressively, during his many self indulgent rants, Molina provides some of the movies most unexpected comedic moments “Have a wank? Would be easier to raise the Titanic!”

3. Spiderman 2

This part will probably be the closest we see this man to mainstream success, but his lone Spidey outing was one to remember and his Doc Ock character has still yet to be matched in the villian stakes in this film series! But rather go for the ham factor that we so often see in superhero movies, Molina rises above it and gives a great sense of inner conflict and Otto Octavius jostles with completing his work or ignoring the mechanical arms attached to him!

4. An Education

In a more stripped down part, Molina excels as Jack Mellor, the uptight father of Carey Mulligan’s school girl Jenny. Always worried or concerned and refusing to go out, Jack is the type of father we so often have seen in surburban homes and the frequent squabbles between man and wife are a constant source of laughs. But in his quieter moments, Molina is mesmerising, particular during his confession scene to his daughter he reveals the true reason for his stiff character and that he was only trying to protect her- though slightly failed by letting her hook up with Peter Sarsgaard!

5. Raiders of the Lost Ark

His first ever role on screen, Molina played a part in one of the most famous opening sequences of all time as Indiana Jones’ crooked assistant Satipo. Limited to only a few minutes screen time, he conjures up a lurking sense of danger as he wills Indy forward, only to leave him to die when the going gets rough callously retorting “Adios Amigo!” This was but a taste of what was to come from this great man and lord only knows what he has in store for us next?

Family Ties: Review of Lawless

Lawless

Director: John Hillcoat

By Alex Watson

Prohibition and the bootlegging of alcohol has been a hot topic in Hollywood over the years, in particular Brian De Palma’s The Untouchables set in Al Capone’s Chicago and Martin Scorsese critically acclaimed HBO drama Boardwalk Empire, which deals with Atlantic City. But what of the Deep South and the prosperous business that was there? Australian director John Hillcoat brings to the screen a tale of three notorious brothers in Virginia, whose exploits have become the thing of legend in his picture, Lawless.

This film focuses on the Bondurant brothers, who were three famous bootleggers in Virginia in the 1920’s, led by middle brother Forrest (Tom Hardy), drunken older brother Howard (Jason Clarke) and weak young brother Jack (Shia LaBeouf). They run their business like clockwork and have become very successful. But very soon they come across a major problem in the form of Chicago cop Charlie Rakes (Guy Pearce) who wants to cut down their operation. Family ties will be tested and violent methods will raise their head as the family tries to stay ahead.

Lawless is a film which seems very un-decided, one the hand we have a well made picture which demonstrates the strength of brotherhood, no matter what obstacles come across us.  But at times the film descends un-necessarily into more violence territory. This film feels like a companion of Hillcoat’s previous outback drama The Proposition which mixed brotherly love with extreme violence.

Hillcoat brings us a beautiful shot film in the shadow of the Appalachian Mountains and there is a wonderful collection of good old Southern songs to accompany it. But even with this beauty, the violence in it leaves a nasty after taste to it. In particular Rakes’ savage beating on Jack simply because he can do it! When Jack threatens that Forrest will hurt him, Rakes snidely replies “Well that’s not going to help you now is it?” cue a flurry of punches that even Muhammad Ali envy!

When we first meet the Bondurant boys, we know that Forrest among the locals is thought to be immortal and throughout the film this theory is tested. But Rakes makes his appearance, we can sense in the air that a bad change is imminent! On the surface he may appear foppish due to his slender black gloves and expensive suit. But underneath the well dressed manner there lies a sadistic undertone which will become their burden.

But when it fires Lawless can be impressive, the bond of brotherhood is what really holds this picture together. Through Forrest’s stern but loving demeanour we feel the strength of Bounderant family. They are presented as a bunch of dumb hicks who got lucky, but as men before their time with a great sense for business and had they been in today’s society they would probably have made a killing.

This film could well have been one of the pictures of the year and it had all the criteria to fit it. But overall it feels like a missed opportunity to delve deeply in a truly great story. Hillcoat’s familiar style is there for all to see, but that is the main problem with the picture is his insistence of on bringing us the ugly truth rather than telling us the story.

Mr consistent Tom Hardy gives another strong performance as Forrest, his brilliant physical presence gives the film its heart and we feel throughout that this isn’t a man to be trifled with. Shia LaBeouf is equally impressive as Jack, the young man with more ideas than guts, his eventually rise to becoming successful is one of the films more impressive elements.

As Charlie Rakes, Guy Pearce feels like a pantomime villain with his acidic tones and slicked back hair, Rakes has presence, but Pearce lacks the bite that is needs for this role. Gary Oldman is disappointingly underused as gangster Floyd Banner, despite a great early entrance; he seems to just disappear without trace! More of his inclusion could really have boosted this picture.

John Hillcoat has the potential to become a great director, The Proposition and The Road have demonstrated his ability. Lawless is not a bad picture by any means, but it is not a great one either. It is a shame that Hillcoat has not made more with his top draw cast because this film had the story to really carry them. No doubt next time around, this man will be back on form.

Curtain Call: Review of The Dark Knight Rises

The Dark Knight Rises

Director: Christopher Nolan

By Alex Watson

When Batman was rebooted back in 2005, few held out any hopes of it being as good as Tim Burton’s creations in the early 1990’s. Many were still cursing Joel Schumacher for his camp takes on the caped crusader in Batman Forever and Batman & Robin where Arnie’s gleeful ham aside was frankly a disaster! But from the shadows came Christopher Nolan, the new rising star of the directing world. Through his unique perception his gave Batman and grit and intensity and so have has given us the greatest take on his superhero saga. Fans have been counting down the moments until this date- but after the hysteria that greeted The Dark Knight, will the final chapter The Dark Knight Rises give Batman his greatest hour?

The story picks up eight years after Harvey Dent (Aaron Eckhart) has died, Gotham is safe from crime and Bruce Wayne (Christian Bale) has become a recluse. But masked super-villain Bane (Tom Hardy) has come to bring Gotham to an end and now Batman is also faced with dealing with master thief Catwoman (Anne Hathaway). The Dark Knight must rise once more and protect not only Gotham but the ones he cares for deeply.

The good news is film fans is The Dark Knight Rises delivers the goods on a big scale!  Nolan puts his all into delivering the fitting end that his superb trilogy has deserved. From the very outset the tension is slow boiling; and at first all seems calm on the surface of Gotham City. But the cities clean crime stats are based on a lie set about by Dent’s demise and even the steadfast Commissioner Jim Gordon (Gary Oldman) is having his doubts about keeping it running. From afar Wayne watches from his mansion, convinced he can hide his troubles from behind a brick wall!

The vibe of the film changes from the very moment Bane is introduced to our screens! Here our stomachs begin to churn and we get the vibe that this man means war! Bane is a very different kind of villain than Heath Ledger’s Joker, but he is a very worthy successor! Bane doesn’t just want to ‘watch the world burn’ he wants to own it and he will use all of his brute force to do it! But he isn’t just muscle, his very presence strikes fear, and for the first time we genuinely fear for Batman’s safety! During the final showdown, you feel like cheering aloud two the heavy weights go head to head!

But where The Dark Knight Rises succeeds most is in its more emotional moments, its predecessor had its brief sections where tears were shed, but here the feeling is increased to maximum. Wayne pining for his lost love Rachel, but at the same time is finally wondering what it will be to have a life outside what he really is, while his long time butler/ father figure Alfred (Michael Caine) is filled with concerned for his companion. In one beautifully acted scene, Caine talks about his dream that one day he will see his master happily fulfilled!

But all emotion is thrown out the window in a stunning final act, Gotham has lived under oppression for too long and when Batman returns from exile, its citizens stand firm behind it! You will hard press to find a more exciting final act than this in 2012! As usual the twists and turns come thick and fast, all the while ticking down to a dramatic conclusion! Be careful you grip the arm rest too hard- it might just break!

Christian Bale signs off in perfect style as Batman, from the beginning we see a man utterly broken by life and is wondering what the point of going on is! Through Bale he once again gives Wayne a great human touch and when he dons his mask again, we know he’ll go what it takes. Although many people have complained about Tom Hardy’s muffled voice, his presence alone makes up for it! Bane is not only hard as nails, but Hardy brings a suave edge to the character and gives a new definition of a man with a plan!

Anne Hathaway gives us a very different and more humane version of Cat Woman, although Michelle Phieffer’s take may stick long in the memory, Hathaway makes the character her own. Here we see a woman who may steal to survive but like Wayne she simply wants a new start and a new identity in life! In time we will see if this reaches the same iconic status.

So finally we have the end of trilogy that doesn’t drop the ball! Not since Return of the King nearly a decade ago have seen such a thrilling climax! Nolan gives everything in his final show (including some forgotten friends!) and ensures this will probably be remembered as Batman’s greatest outing! Chris buddy- thanks for the memories, and a note to the next person who re-boots this- you’ve got one hell of a job mate!

Spy Hard: Tinker, Tailor Soldier, Spy Review

New Cult Classic

Tinker, Tailor, Soldier, Spy

Director: Tomas Alfredson

By Alex Watson

When people think of John Le Carre’s novel Tinker, Tailor, Soldier, Spy, we tend to think back the old BBC adaptation starring Alec Guinness as George Smiley. Overall it was an excellent adaptation and for many set the benchmark for the entire series that followed. The novel itself was considered a classic example of the spy espionage thriller. But when it was announced that Swedish director Tomas Alfredson was due to take on a cinematic re-make, many people had mixed feelings. But it appears that it was a gamble that was worth taking and in doing so we got a very different kind of spy thriller and the stand out British film of 2011.

Staying faithful to Le Carre’s story Tinker, Tailor, Soldier, Spy is set in London in the 1970’s and tells the story of George Smiley (Gary Oldman), a former agent in the Circus- a secret British Intelligence operation. Smiley and his counterpart Control (John Hurt) were sacked following an undercover operation that went wrong in Hungary. Smiley is soon recalled to active duty because it appears that there is a mole high up in the Circus personnel who is leaking information to the Soviets. Smiley is tasked with search for the mole which could be anyone of his former colleagues (Colin Firth, Toby Jones and Ciaran Hinds).

The principle strength of Tinker, Tailor, Soldier, Spy is that it has an intelligence story which keeps us guessing all the way through. The film doesn’t rely on big chase sequences, gun fights or stunning women. The plot is allowed to drive itself forward as Smiley searches in vain for who the villain could be. The film is distinctly unglamorous to the eye and through Tomas Alfredson, we see a drab and grey world filled with craggy and tired old spies. With this shine taken away, the film is given a gritty edge to it and Alfredson was the perfect choice to bring this feeling across. In his previous film, Let the Right One In, we saw a real talent to cinema making his mark and in Tinker, Tailor Soldier, Spy he solidifies his new reputation.

The characterisation also stays in the same vein as Le Carre’s novel. Smiley in a lot of ways is a sad sack of a man; he is in a failing marriage to his wife Ann and has an obsession with his tricky soviet counterpart Karla. But his mind is one of true brilliance and in his quiet moments we see him carefully gluing the pieces of the mystery together. Karla looms heavily in the mind of Smiley, and through one brilliantly acted monologue by Oldman he recants his first meeting with his nemesis in Delhi and his fascination with the man his methods. Here we see the ghosts of Smileys past and his willingness to stop any more occurring.

Every aspect of the 1970’s is precisely presented in this Tinker, Tailor, Soldier, Spy from a phone-box to cars and shirts of that era. Also the spirit of the cold war is ever present here it brings a frost chill to proceedings. Within the walls of The Circus everyone is a suspect and they we feel the sense that Smiley and co are working against the clock to find a spy who doesn’t to be found. The other higher ranking members of the circus are all presented with skeletons in their closets and in their own way are guilty of crimes. But whether any of them could be a traitor remains ambiguous throughout.

The film also boasts a stellar cast and is led by Gary Oldman in a spectacular performance. Through Oldman he brings Smileys quiet yet brilliant nature to life. His understanding of Smileys body simple gestures elevates his performance further and we hear the gears of Smiley mind working!  For this performance he was finally reward with an Oscar nod for Best Actor. He is joined in the acting ranks by Colin Firth as the arrogant Bill Haydon; Firth perfectly portrays his slimy nature and his willingness to get ahead by any means at all. There are also fine supporting turns by rising stars Benedict Cumberbatch as Peter Guillam and Tom Hardy as troubled agent Ricky Tarr. The two men even in their most troubled moments,  keep their heads and bring the task to its resolution.

Tinker, Tailor, Soldier, Spy is one the best thrillers to hit our screens in recent years. It might feel low key and slow boiling to the un-trained eye, but those who watch this will be reward with a nail biting story that will keep you asking questions until the film frame. Even after that more question will come to as you consider what has just been. Gary Oldman and Tomas Alfredson bring this piece to life and I hope they work together again soon.