Tag: Dawn of the Planet of the Apes

One could argue the significance of the events that take place in THE EMPIRE STRIKES BACK. It’s widely considered the finest STAR WARS film made to date but an argument could be made as to whether anything actually happens in the film. Yes, there is one major revelation that goes without saying, but isn’t the film merely just a stepping-stone to the next chapter? The film essentially is one long Saturday morning serial entry that practically ends with a voice-over announcing, “stay tuned next week Jedi; same Star time… same Star channel.” That feeling of seeing only the first part in a larger story can be said for the recent entry in the APES reboot series. DAWN OF THE PLANET OF THE APES leaves a lasting impression based on the impressive special effects, rich visual landscapes, and moving character interactions (kind of like the other entry in the sci-fi series I just mentioned). However, by the end of it you get a slight feeling that you are leaving the situation in the same way we found it. Well… at least Matt Reeves, with some help from talents like Andy Serkis, take us on an emotional and symbolic journey even if it isn’t a necessarily a physical journey.

After a prologue catching those unfamiliar with RISE OF THE PLANET OF THE APES and the flu virus that spread across the world, we zero-in on the eyes of our intimidating hero – Caesar. As we learned from the previous film, although this virus is deadly to most humans, it actually increased the intelligence and communicative skills of apes. The apes have created their own organized and efficient community nestled deep in the Redwood Forest. From there they have lived a simple life under the guidance of their leader Caesar. They even believed that the human population had all but died off until Caesar’s son and friend Ash go for a walk one day and walk into a traveling human. His fear of the walking apes immediately consumes him and results in him shooting Ash before any real exchange takes place (the similarities between this and an unfortunate confrontation that resulted in a death in Florida is not the only time this film seems inspired by current events). We soon learn that the wanderer isn’t the only human but that he is part of a much larger group of humans that are living on the California coast led by Dreyfus (Gary Oldman). They have been stockpiling weapons and supplies but are running out of electrical energy to maintain their living environment. Dreyfus sends Malcolm (Jason Clarke), his partner Ellie (Keri Russell), and the rest of their team into ape country to survey if they can use the power from the vacated dam that sits adjacent to the ape’s home. But just as some of the humans don’t trust the apes, Caesar’s second-in-command Koba expresses doubt for trusting the humans, which triggers a flame that causes tension to finally boil over into an all out war between the two sides.

DAWN OF THE PLANET OF THE APES never ceases to amaze the eyes. Much like what was achieved by the previous entry, WETA creates an astonishing reality where you truly believe Caesar is a real ape that walks and talks just like any of the other actors on screen. The CGI textures and hair of the apes is on a whole new level of what we’ve witnessed on film before. Outside of just the magnificent creature design, the attention to believable sets and environments adds another level to the world building that DAWN magically creates. Of course veteran actors like Gary Oldman, Jason Clarke, and Keri Russell all are fantastic, but this is an ape film and they are the ones performing the tricks that we’re here to see. It’s a testament to Andy Serkis and the rest of the motion-capture actors that you care for the apes as much as their human counterparts.

It’s no mistake that I use the word “counterpart” to describe the relationship between the humans and the apes. Similarities between the two factions abound to the point that the screenwriters frequently shine a mirror at our real-world culture to show that the moral dilemma on-screen isn’t simply a work of science fiction. It’s amazing how political DAWN gets for a Hollywood movie. At its heart the film may just be about working together and finding a common ground of understanding between inner species, and yet it unashamedly includes messages regarding the ineffectiveness of war and the danger of guns in our society. The political undertones felt very much in the same vein as a George Romero zombie film. I typically don’t mind a little social awareness with my popcorn films but at times I do feel that this story relies a little too heavily on it -especially in the first half of the film. The fact that the humans in DAWN have to go over into foreign territory because they’re running out of energy on their own territory sounds rather similar to US political motivations in the Middle East and it’s obviously not a coincidence. That being said, I would prefer this over an empty-headed brainless ape-fest; much like what some of the surviving humans in DAWN think of their “enemy.”

The story bounces back-and-forth between the two enemies: the ape culture, living in their homemade shelters in the forest, and the last group of humans attempting to survive in their multi-story former corporate high-rise (once again, not very subtle). From there the obvious conflicts arise when the two societies attempt to form a union through trust. But just as Cesar mentions quite often in the film, the idea of trust or who not to trust – possibly even in your own inner circle – is also what tears the two groups apart. The civil unrest finally comes to a head in an all out battle that is quite spectacular and carefully directed by Matt Reeves. He stages a knuckle dragging, bullet soaring war that feels chaotic and yet very much understandable for the viewer even if you were seeing the film in the darkened 3-D format; which I wouldn’t necessarily recommend since I never felt the impact of the added “dimension.” Reeves stages a large-scale set piece midway through the film that never lets the viewer lose focus on some of the players whose lives are at stake. Caesar’s son is frequently cut back to as we see the death and devastation around him reflect in his fearful and naïve eyes. We also see his counter-point in war leader Koba, who rides into battle like Attila the Hun – all passion and energy and without fear. In Reeves’ previous overlooked film, LET ME IN, he orchestrated a circus act of a camera-shot by placing the camera inside a tumbling car; forcing the viewer to watch from the same perspective the devastation build inside the car as it rolls down a snowy hill. A similar feat is performed here when Koba takes control of a tank. The camera stays mounted to the turret of the tank as it rotates around the battle giving the viewer an immersive 360 degree experience.

Without getting into it too much for fear of heading into spoiler territory, the last ¼ of the film sets up a narrative that could very well have been the start to the next entry in the series. It makes sense in the context of DAWN’s story to have it included here, but I do also feel that the screenwriters (Mark Bomback, Rick Jaffa and Amanda Silver) could have taken their time to develop Koba’s goal and slowly bring in what some of the other Apes desire. A launching point for the next blockbuster entry is achieved, but not without feeling that some of the story-arcs are rushed.

Michael Giacchino’s score mixes in modern ambient sounds with occasional bells and other percussion rhythms. There are even moments where Giacchino pays homage to Jerry Goldsmith’s original score like in the scene when Koba and a few of his followers sneak into San Francisco to see what the humans are up to. It’s moments like these that fans going back to the original 1968 APES film will no doubt cherish. The rebooted series has been extremely successful in maintaining many of the themes from the earlier films while still feeling more than just fan service. Much like what the original films symbolized, DAWN OF THE PLANET OF THE APES shows the consequences of miscommunication. It shows us how dangerous acting on fear can be without listening. It shows how we sometimes choose to have an enemy because we feel we have to. Most importantly, as we learn through the eyes of Caesar’s son, DAWN shows us that it isn’t until we are taught hate that we choose to embrace violence. As we see earlier in the film written on a cave wall by the orangutan Maurice – “Ape does not kill ape.” This same sentiment can be said for man’s desire to kill those weaker than him just because we can.

DAWN OF THE PLANET OF THE APES is a sequel that carries a lot of baggage and raises questions that you may not expect from your typical Hollywood film. Our day to day reality, where gun violence has become increasingly prevalent; xenophobia has forced citizens to hate their next door neighbors; and our reliance on foreign power (oil) has reached an all time high; these are all subjects explored in a summer tent-pole film. Really, it’s quite shocking. That audacity to venture into what may be seen as controversial territory should be commended. DAWN OF THE PLANET OF THE APES may get swept up a little too much in its own politics and message, but not without developing some characters you truly care about and want to explore in future installments.

4 out of 5

DAWN OF THE PLANETS OF THE APES opens in theaters everywhere on July 11.