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!

Search and Destory: Review of Zero Dark Thirty

Zero Dark Thirty

Director: Kathryn Bigelow

By Alex Watson

So what really happened on 1^st May 2011 when US Navy SEALS finally hunted down and killed Osama Bin Laden? That’s the story that everyone would like to know and ever since the most wanted man on the planet was wiped out rumours have spread like wildfire regarding the circumstances surrounding it and there has been a persistent conflict on the eye witness accounts raised. Will we ever get the true story? Perhaps one day, but for now we turn to Kathryn Bigelow to give us the most recent version of events. After her Oscar winning suspense in The Hurt Locker, will Zero Dark Thirty continue her current rise or will this be a story told too soon?

When the September 11 attacks devastate the world, Osama Bin Laden becomes the most wanted target on every anti- terrorist agencies lists. CIA Officer Maya (Jessica Chastain) has devoted her entire 12 year career to this one target and gone through many dangers to get within striking distance of him, but after one particularly interesting lead regarding a courier she has been chasing- Maya firmly believes that Bin Laden is hiding in Pakistan and she will use all her willpower to bring him down!

Zero Dark Thirty is a thriller that grips us throughout, but very smartly from Bigelow this is a film that sheds any potential patriotism or politics and focuses solely on one person’s mission.  It is also blessed with an intelligent script by Mark Boal (who also joined forces with Bigelow for The Hurt Locker) that keep us thinking throughout and continually speculating as whether any of the leads that are produced will bring the results needed to bring down the man they all seek? But it’s the climax that will hold the main attention for many and as the Navy SEALS in their helicopters descend upon the alleged hideout of Bin Laden we hold our breaths as they search in the dark for their target.

The ride that Maya undertakes is a very difficult one and she to contend with such disasters as The London bombings as well as the 2008 Marriott Hotel Bombing in Islamabad among others, as well as the constant cynicism from her male colleagues regarding her persistence in chasing Bin Laden when all but one have considered this mission dead in the water for many years. But it’s the scraps of information that are continual provided that allow the break through to be reached and the tension bubbles furiously as each lead is played out because there is always a chance events could be fatal!

Maya is a character is a very smartly written but not necessarily one that holds our sympathies; from the moment she arrives we witness her continual haunted and blank expression. But none the less she brings moments of humanity – as she watches an Al Qaeda suspect being waterboarded by fellow agent Dan (Jason Clarke) she squirms in the corner. But her real strength is that she possesses is a brain which is continually ticking and has a vigour that is un-deniable. As a person she may seem like a blank slate but her role is one that drives Zero Dark Thirty.

Jessica Chastain is a revelation in Zero Dark Thirty and confirms that she is one of the most exciting talents on the planet presently! Her portrayal of Maya gives the film a more human soul and through her suppressed emotion she is quietly brilliant. Even though there are great supporting turns from Jennifer Ehle and Jason Clarke- this is very much Chastain’s show!

Kathryn Bigelow has confirmed her new status as A-List director and no one can say she has earned her shot. Together with Boal and Chastain she has crafted one of the bravest and most enthralling pieces of film this year. Zero Dark Thirty is a film which subject will be long debated, but its brilliance definitely won’t be and I can safely assume this will be high on my end of year list! Best not to have a hot drink with you though- because you may just spill it when you jump!

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.