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MelanieTheresa (997 KP) created a video about A Perfect Getaway (2009) in Movies
Nov 8, 2019 (Updated Nov 9, 2019)
MelanieTheresa (997 KP) rated A Perfect Getaway (2009) in Movies
Nov 8, 2019
I adore this movie and will watch it any time I happen to come across it. The Hawaiian setting is absolutely gorgeous, and the cast is terrific. Timothy Olyphant (who I will watch in anything), Steve Zahn, Milla Jovovich, Kiele Sanchez (AMAZING here). Excellent performances from Chris Hemsworth and Marley Shelton as well ("You should have given us a ride, man.")
A great thriller with a fun, twisty plot. I definitely didn't figure out who the killers were in my first viewing. Subsequent viewings are even more fun once you know the ending, as you can pick out things you may have missed the first time around.
A great thriller with a fun, twisty plot. I definitely didn't figure out who the killers were in my first viewing. Subsequent viewings are even more fun once you know the ending, as you can pick out things you may have missed the first time around.
MelanieTheresa (997 KP) rated a video of A Perfect Getaway (2009) in Movies
Nov 8, 2019 (Updated Nov 9, 2019)
I adore this movie and will watch it any time I happen to come across it. The Hawaiian setting is absolutely gorgeous, and the cast is terrific. Timothy Olyphant (who I will watch in anything), Steve Zahn, Milla Jovovich, Kiele Sanchez (AMAZING here). Excellent performances from Chris Hemsworth and Marley Shelton as well ("You should have given us a ride, man.")
A great thriller with a fun, twisty plot. I definitely didn't figure out who the killers were in my first viewing. Subsequent viewings are even more fun once you know the ending, as you can pick out things you may have missed the first time around.
A great thriller with a fun, twisty plot. I definitely didn't figure out who the killers were in my first viewing. Subsequent viewings are even more fun once you know the ending, as you can pick out things you may have missed the first time around.
Gareth von Kallenbach (980 KP) rated A Perfect Getaway (2009) in Movies
Aug 9, 2019
If âSurvivormanâ hadnât given me enough reason to never spend time on a remote beach, âA Perfect Getawayâ has sealed my resolve. Cliff (Steve Zahn) and Cidney (Milla Jovovich) are newlyweds honeymooning on a remote Hawaiian Island when rumors of a murderous couple begin to circulate. Cliff and Cidney soon find themselves in a triangle of couples, any of which could be the killers.
The film is more akin to a blending of âThe Rundownâ and âIdle Handsâ, than the non-stop creep fest I had expected. Avoiding the exhausted remote Hawaiian island murder movie clichĂŠs, âA Perfect Getawayâ contains a funny attention-grabbing game of who-done it complete with movie terms worked directly into the plot.
This is a film all about well-crafted characters. All the leads are fun to watch and everyone is bound to have a favorite; from the self proclaimed âAmerican Jediâ Nick (Timothy Olyphant) to the bubbly newlywed Cindy. For me it was the standout performance of Kiele Sanchez as Gina that was the most dramatic and suspenseful.
While I was hesitant to see a film about another a remote island in Hawaii covered in killers, âA Perfect Getawayâ blasts past my sense of been there-done-that. The general feel of a mystery novel scattered through the lead characters creates a funny film reminiscent of my R. L. Stine years.
The location is beautiful and haunting, as is to be expected, and the camera is used in a way that truly puts viewers in the filmâs action. While âA Perfect Getawayâ does drag a little in the beginning staying into the real meat of the film is worth the wait. Additionally viewers will wonder why the filmâs characters continue to spend time on an island reported to house a set of murders, but if you can discard these obvious mistakes âA Perfect Getawayâ is a refreshing trip.
The film is more akin to a blending of âThe Rundownâ and âIdle Handsâ, than the non-stop creep fest I had expected. Avoiding the exhausted remote Hawaiian island murder movie clichĂŠs, âA Perfect Getawayâ contains a funny attention-grabbing game of who-done it complete with movie terms worked directly into the plot.
This is a film all about well-crafted characters. All the leads are fun to watch and everyone is bound to have a favorite; from the self proclaimed âAmerican Jediâ Nick (Timothy Olyphant) to the bubbly newlywed Cindy. For me it was the standout performance of Kiele Sanchez as Gina that was the most dramatic and suspenseful.
While I was hesitant to see a film about another a remote island in Hawaii covered in killers, âA Perfect Getawayâ blasts past my sense of been there-done-that. The general feel of a mystery novel scattered through the lead characters creates a funny film reminiscent of my R. L. Stine years.
The location is beautiful and haunting, as is to be expected, and the camera is used in a way that truly puts viewers in the filmâs action. While âA Perfect Getawayâ does drag a little in the beginning staying into the real meat of the film is worth the wait. Additionally viewers will wonder why the filmâs characters continue to spend time on an island reported to house a set of murders, but if you can discard these obvious mistakes âA Perfect Getawayâ is a refreshing trip.
Movie Metropolis (309 KP) rated War for the Planet of the Apes (2017) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
The Great Ape-scape
Six years ago, I didnât think Iâd be telling you that a remake of the classic Planet of the Apes and its sequel would go on to be one of the finest double acts since The Two Ronnies, but thatâs exactly what has happened.
Now, the final part of this incredible trilogy, War for the Planet of the Apes is out and ready to conclude an incredible half decade of cinema. But is it as good as its predecessors?
Caesar (Andy Serkis) and his band of loyal apes are forced into a deadly war with an army of humans led by a ruthless colonel (Woody Harrelson). After Caesarâs band of apes suffers unimaginable losses, he wrestles with his darker instincts and begins his own quest of revenge. As the journey finally brings the two rivals face-to-face, Caesar and the colonel are pitted against each other in an epic battle that will determine the fate of both of their species.
I have to say, I was a little concerned the finished product would be as tongue twisting as its frankly ridiculous title (a problem that has blighted the entire series), but it ends up being a stunning and heart-warming finale to a franchise filled to the brim with memorable moments.
The motion capture used on Andy Serkis to create Caesar has to be seen to be believed. If you thought predecessor Dawn was good, you havenât seen anything yet. His hair moves with subtle believability and his movements are so fluid, itâs easy to forget youâre watching a film and not a documentary.
But this incredible technology isnât used solely on our main protagonist. Fan favourite orangutan Maurice returns and newcomer âBad Apeâ captured by Steve Zahn provides the flick with a much-needed eccentric, shining a little light in one of the bleakest feature films of the last half decade.
The human characters, naturally donât fare so well. Woody Harrelson is his usual charismatic self but feels a little caricature like. His colonel just doesnât feel particularly believable. Likewise, Amiah Millerâs turn as Nova, whom Maurice adopts as his daughter, seems to be merely used as a plot device, though she does partake in some of the sweeter moments.
As with its predecessors, War is a slow burner with the action interweaved into the plot rather than the other way around. In principle it works well, though the pacing towards the middle of this 140-minute behemoth is a little off.
Nevertheless, the action is filmed beautifully. In fact, the whole film is stunning. Beautiful wooded landscapes and open deserts are juxtaposed with the dark concentration camps used in the latter half. One sequence in particular, behind a gorgeously realised waterfall, is one of the best action scenes of the entire year.
Masquerading as a blockbuster, this is a film with a much deeper message about messing with nature. Brutal and emotionally testing, War for the Planet of the Apes is brave in its choices and all the better for it.
Three films in, it would be easy for director Matt Reeves to rest on his laurels and rely on the positive reaction to its predecessors, but thankfully he has climaxed on a high. Itâs not perfect, and not an easy watch by any means, but for a threequel, you canât really get much better.
https://moviemetropolis.net/2017/07/12/war-for-the-planet-of-the-apes-review/
Now, the final part of this incredible trilogy, War for the Planet of the Apes is out and ready to conclude an incredible half decade of cinema. But is it as good as its predecessors?
Caesar (Andy Serkis) and his band of loyal apes are forced into a deadly war with an army of humans led by a ruthless colonel (Woody Harrelson). After Caesarâs band of apes suffers unimaginable losses, he wrestles with his darker instincts and begins his own quest of revenge. As the journey finally brings the two rivals face-to-face, Caesar and the colonel are pitted against each other in an epic battle that will determine the fate of both of their species.
I have to say, I was a little concerned the finished product would be as tongue twisting as its frankly ridiculous title (a problem that has blighted the entire series), but it ends up being a stunning and heart-warming finale to a franchise filled to the brim with memorable moments.
The motion capture used on Andy Serkis to create Caesar has to be seen to be believed. If you thought predecessor Dawn was good, you havenât seen anything yet. His hair moves with subtle believability and his movements are so fluid, itâs easy to forget youâre watching a film and not a documentary.
But this incredible technology isnât used solely on our main protagonist. Fan favourite orangutan Maurice returns and newcomer âBad Apeâ captured by Steve Zahn provides the flick with a much-needed eccentric, shining a little light in one of the bleakest feature films of the last half decade.
The human characters, naturally donât fare so well. Woody Harrelson is his usual charismatic self but feels a little caricature like. His colonel just doesnât feel particularly believable. Likewise, Amiah Millerâs turn as Nova, whom Maurice adopts as his daughter, seems to be merely used as a plot device, though she does partake in some of the sweeter moments.
As with its predecessors, War is a slow burner with the action interweaved into the plot rather than the other way around. In principle it works well, though the pacing towards the middle of this 140-minute behemoth is a little off.
Nevertheless, the action is filmed beautifully. In fact, the whole film is stunning. Beautiful wooded landscapes and open deserts are juxtaposed with the dark concentration camps used in the latter half. One sequence in particular, behind a gorgeously realised waterfall, is one of the best action scenes of the entire year.
Masquerading as a blockbuster, this is a film with a much deeper message about messing with nature. Brutal and emotionally testing, War for the Planet of the Apes is brave in its choices and all the better for it.
Three films in, it would be easy for director Matt Reeves to rest on his laurels and rely on the positive reaction to its predecessors, but thankfully he has climaxed on a high. Itâs not perfect, and not an easy watch by any means, but for a threequel, you canât really get much better.
https://moviemetropolis.net/2017/07/12/war-for-the-planet-of-the-apes-review/
BankofMarquis (1832 KP) rated 8-BIT CHRISTMAS (2021) in Movies
Dec 12, 2021
Charming, Nostalgic and HeartWarming
If I told you that I just watched a charming Holiday movie where the Narrator reminisced about a Christmas of his youth - when he was 10 or 11 - and the Narrator desperately wanted a special present brought to him by Santa - but said item is strictly forbidden in his household, so the Narrator heads off on an adventure to get this item, you would think I was talking about the classic Holiday perennial A CHRISTMAS STORY - and you would be wrong.
Iâm speaking about the HBO MAX Original Film 8-BIT CHRISTMAS starring Neil Patrick Harris as the Narrator of the story that reminisces about his life as a 10-11 year old around the Holidays in the late 1980âs.
And, darn it all, if it doesnât work well (despite my indignation that all they are doing is ripping off A CHRISTMAS STORY) for there is enough nostalgia and heart to melt the emotions of even the most miserly of Ebenezer Scroogeâs this holiday season.
Written by Kevin Jakubowski (based off his book) and Directed by Michael Dowse (the underrated comedy STUBER), 8-Bit Christmas tells the tale of 11 year old Jake Doyle who wants nothing more in this world than to receive the mother of all Christmas presents - a Nintendo 8 Bit system. Along with a âGooniesâ collection of friends, Jake sets off to find this hard to find item - and convince his parents to get it for him for Christmas.
In the hands of young actor Winslow Fegley (Disneyâs TIMMY FAILURE), young Jake is a pleasant enough protagonist to head off on this journey with. His ragtag group of friends are a group of generic nerds that pretty much check-off the ânerd friend groupâ list (and this is meant as a compliment). We spend quite a bit of time with these kids and they are a good enough group of kids to spend time with.
This film does hit a few of the same notes as A CHRISTMAS STORY, there is an obsessed, seemingly out of touch Dad, this time played by Steve Zahn (RESCUE DAWN) in a heart-warming portrayal and the coupon-cutting, cost saving Mom played by June Diane Raphael (FORGETTING SARAH MARSHALL) who is putting up with it all. This film even has a younger sibling, this time a sister Lizzy, who wants her own elusive gift - a Cabbage Patch kid.
A highlight for me was the performance of Kathy Greenwood as the teacher with the constant sniffles. I know many a teacher and they almost ALWAYS have colds given to them from their charges.
This film is a fine post card of Chicago in the late 1980s and skewers (and honors) the pop-fads of the time (complete with fashion and styling) and is an entertaining enough 2 hour escape during the Holidays.
Oh, and did I mention that at one point in this film, I had to dab at my eyes with a tissue? Yes, despite my skepticism, this film managed to touch my heart even though I fought like crazy to deny that.
If youâre looking for a fun family entertainment this Holiday season, 8-BIT CHRISTMAS can fill the bill nicely.
Letter Grade: B+
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Iâm speaking about the HBO MAX Original Film 8-BIT CHRISTMAS starring Neil Patrick Harris as the Narrator of the story that reminisces about his life as a 10-11 year old around the Holidays in the late 1980âs.
And, darn it all, if it doesnât work well (despite my indignation that all they are doing is ripping off A CHRISTMAS STORY) for there is enough nostalgia and heart to melt the emotions of even the most miserly of Ebenezer Scroogeâs this holiday season.
Written by Kevin Jakubowski (based off his book) and Directed by Michael Dowse (the underrated comedy STUBER), 8-Bit Christmas tells the tale of 11 year old Jake Doyle who wants nothing more in this world than to receive the mother of all Christmas presents - a Nintendo 8 Bit system. Along with a âGooniesâ collection of friends, Jake sets off to find this hard to find item - and convince his parents to get it for him for Christmas.
In the hands of young actor Winslow Fegley (Disneyâs TIMMY FAILURE), young Jake is a pleasant enough protagonist to head off on this journey with. His ragtag group of friends are a group of generic nerds that pretty much check-off the ânerd friend groupâ list (and this is meant as a compliment). We spend quite a bit of time with these kids and they are a good enough group of kids to spend time with.
This film does hit a few of the same notes as A CHRISTMAS STORY, there is an obsessed, seemingly out of touch Dad, this time played by Steve Zahn (RESCUE DAWN) in a heart-warming portrayal and the coupon-cutting, cost saving Mom played by June Diane Raphael (FORGETTING SARAH MARSHALL) who is putting up with it all. This film even has a younger sibling, this time a sister Lizzy, who wants her own elusive gift - a Cabbage Patch kid.
A highlight for me was the performance of Kathy Greenwood as the teacher with the constant sniffles. I know many a teacher and they almost ALWAYS have colds given to them from their charges.
This film is a fine post card of Chicago in the late 1980s and skewers (and honors) the pop-fads of the time (complete with fashion and styling) and is an entertaining enough 2 hour escape during the Holidays.
Oh, and did I mention that at one point in this film, I had to dab at my eyes with a tissue? Yes, despite my skepticism, this film managed to touch my heart even though I fought like crazy to deny that.
If youâre looking for a fun family entertainment this Holiday season, 8-BIT CHRISTMAS can fill the bill nicely.
Letter Grade: B+
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Andy Meakin (5 KP) rated War for the Planet of the Apes (2017) in Movies
Jan 8, 2018
Apes...together...strong!
The recent revival of the Apes franchise has managed to defy all expectations by not only being a worthy entry into the franchise, but also being strong films on their own merit. Working as a kind-of-prequel-reboot of the old franchise, and ignoring the Tim Burton film completely, it is strange to realise this is only the third film since the reboot. Lesser franchises would have churned out one every year or two, and be up to part five by now, but not the Apes films. It genuinely feels like they are taking time to ensure each film is worthy. Which is where another expectation is defied â the films donât seem to diminish in quality, nor feel repetitive. Each entry so far has had its own feel and worked to move the story along. War for the Planet of the Apes is no exception, and is one of the finest blockbuster films of this year.
It has been 15 years since the events of the first film, and the release of the Simian Flu virus that wiped out a large percentage of humanity. The events of the second film saw the start of conflict between the apes and humans, instigated by Koba who defied Caesarâs leadership. Now, humanity are hunting down the apes, with one Colonel (Woody Harrelson) in particular striving to wipe them out entirely. When that Colonel attacks Caesarâs tribe, killing those close to him, it sets the ape leader off on a personal revenge journey, with only a few of his most loyal followers supporting him on the way. However, along the way they encounter two new recruits, an ape hermit who has also developed speech, and a young human girl who is showing signs of a new strain of the Simian virus.
It is a testament to the motion captured performances and the quality of the CGI on offer that at no point during the film do you not believe that the apes on screen are real. Thereâs a line in the film where Harrelsonâs Colonel comments on how human looking Caesarâs eyes are, and whilst you could see that in the context of the film seriesâ arc (apes are becoming the new rulers, usurping humanity, and so are becoming more human), you can also see it as a nod to how the âuncanny valleyâ dead-eye stare that plagues CGI in film is entirely absent here. Indeed, given that every scene in this relatively moderate $150million budget film is an effect shot, as apes are present throughout, it is jaw dropping that it looks a far more polished film than, for example, the $265million budgeted Rogue One â a film which tried desperately with two key CGI characters and failed so hard in the brief screen time they had. Over all the Apes series has impressed with the effects work, but here it is pretty much flawless.
But it isnât all about the effects. In fact the action-packed film the trailers seemed to hint at is instead a thoughtful, character-driven revenge journey, with only short bursts of action. This is Caesarâs dark-journey of the soul, the end result of his attempts to live a peaceful co-existence with a humanity that fears him and his kind. Many comparisons can be drawn to films such as Apocalypse Now (something the film is aware of and manages to drop a reference to as a result), where a troubled individual, tired of war, seeks a crazed Colonel who is amassing his own army for an unknown purpose. The two core leads in their respective roles give their all. Serkis acting to a high degree, and giving genuine life to Caesar, and Harrelson gone completely Brando in his part, menacing without being overbearing.
The journey itself is a compelling story, and the support characters, some who we already know (Maurice, Luca and Rocket) acting as the conscience and the advisers to the troubled Caesar. The new additions, Amiah Millerâs war orphan who Maurice adopts on their journey, and Bad Ape (Steve Zahn) offer heart and comic relief respectively. The comic timing is perfectly placed, never feeling forced, and being deftly used to offer a glimmer of hope and joy in what is otherwise a very dark tale.
The film, overall, nicely rounds out the trilogy, whilst still leaving room for future films down the line. Matt Reevesâ direction makes effective use of his cast and settings, whilst the score by Michael Giacchino has grown more âape-inspiredâ since he scored the previous film, reflecting in its drums and pipes the more primate nature manner the world is taking as technology and humanity dwindles.
âApes together strong!â is Caesarâs mantra. Indeed, all three Apes films, when viewed together, can be seen as one impressive, strong story, with a genuine progression throughout. A third film in a franchise usually derails and loses the way. Not here as this is one of the finest examples of intelligent blockbuster that you will find.
It has been 15 years since the events of the first film, and the release of the Simian Flu virus that wiped out a large percentage of humanity. The events of the second film saw the start of conflict between the apes and humans, instigated by Koba who defied Caesarâs leadership. Now, humanity are hunting down the apes, with one Colonel (Woody Harrelson) in particular striving to wipe them out entirely. When that Colonel attacks Caesarâs tribe, killing those close to him, it sets the ape leader off on a personal revenge journey, with only a few of his most loyal followers supporting him on the way. However, along the way they encounter two new recruits, an ape hermit who has also developed speech, and a young human girl who is showing signs of a new strain of the Simian virus.
It is a testament to the motion captured performances and the quality of the CGI on offer that at no point during the film do you not believe that the apes on screen are real. Thereâs a line in the film where Harrelsonâs Colonel comments on how human looking Caesarâs eyes are, and whilst you could see that in the context of the film seriesâ arc (apes are becoming the new rulers, usurping humanity, and so are becoming more human), you can also see it as a nod to how the âuncanny valleyâ dead-eye stare that plagues CGI in film is entirely absent here. Indeed, given that every scene in this relatively moderate $150million budget film is an effect shot, as apes are present throughout, it is jaw dropping that it looks a far more polished film than, for example, the $265million budgeted Rogue One â a film which tried desperately with two key CGI characters and failed so hard in the brief screen time they had. Over all the Apes series has impressed with the effects work, but here it is pretty much flawless.
But it isnât all about the effects. In fact the action-packed film the trailers seemed to hint at is instead a thoughtful, character-driven revenge journey, with only short bursts of action. This is Caesarâs dark-journey of the soul, the end result of his attempts to live a peaceful co-existence with a humanity that fears him and his kind. Many comparisons can be drawn to films such as Apocalypse Now (something the film is aware of and manages to drop a reference to as a result), where a troubled individual, tired of war, seeks a crazed Colonel who is amassing his own army for an unknown purpose. The two core leads in their respective roles give their all. Serkis acting to a high degree, and giving genuine life to Caesar, and Harrelson gone completely Brando in his part, menacing without being overbearing.
The journey itself is a compelling story, and the support characters, some who we already know (Maurice, Luca and Rocket) acting as the conscience and the advisers to the troubled Caesar. The new additions, Amiah Millerâs war orphan who Maurice adopts on their journey, and Bad Ape (Steve Zahn) offer heart and comic relief respectively. The comic timing is perfectly placed, never feeling forced, and being deftly used to offer a glimmer of hope and joy in what is otherwise a very dark tale.
The film, overall, nicely rounds out the trilogy, whilst still leaving room for future films down the line. Matt Reevesâ direction makes effective use of his cast and settings, whilst the score by Michael Giacchino has grown more âape-inspiredâ since he scored the previous film, reflecting in its drums and pipes the more primate nature manner the world is taking as technology and humanity dwindles.
âApes together strong!â is Caesarâs mantra. Indeed, all three Apes films, when viewed together, can be seen as one impressive, strong story, with a genuine progression throughout. A third film in a franchise usually derails and loses the way. Not here as this is one of the finest examples of intelligent blockbuster that you will find.
Bob Mann (459 KP) rated War for the Planet of the Apes (2017) in Movies
Sep 29, 2021
Putting the âapeâ in âThe Great Esc-apeâ.
2011âs âRise of the Planet of the Apesâ was the one of the big movie surprises for me of that year. With staggeringly good mo-cap for the apes and a touching and memorable story it was (or would have been) a 5-Fad classic. 2014âs âDawn of the Planet of the Apesâ whilst also good took a slight backward step. With âWarâ, the form is back almost to top notch, and this is a summer release at last deserving of the suffix âblockbusterâ.
We have moved a number of years forwards from the events of âDawnâ and society as we know it has crumbled away still further: even the âHolidays are Comingâ Coke lorry is no longer in service, so things MUST be bad! We begin the film with the apes having a nice âCentre Parcsâ break when their reverie and cappuccinos are rudely interrupted by the attacking forces of âThe Colonelâ (Woody Harrelson, âTriple 9â, âZombielandâ). For The Colonel is intent on tracking down and killing ape-leader Caesar (Andy Serkis, âLOTRâ).
After things get decidedly personal, Caesar leaves his young son Cornelius (in a nice nod to the Roddy McDowell role in the original films) to find and kill The Colonel. So follows a âTrue Gritâ style pursuit/revenge chase, made more similar to this analogy by the picking up of a waif-like mute girl (the excellent Amiah Miller). I found this to be a really emotional plot line, with Caesar torn between the animal drive of his revenge and his role as a leader to his whole community.
The film analogies continue as we take in a âShiningâ-style winter hotel; a gritty Prisoner-of-War camp escape drama (âThe Great Esc-apeâ?); a barricades battle in the style of Helmâs Deep in âLOTR: The Two Towersâ; and a full-on Coppola-style helicopter-based war sequence (âApe-ocalypse nowâ, as graffiti in the film declares).
Once again, the mo-cap ability to express true emotions on the faces of the apes is mind-blowing, with Serkis again being outstanding as is Steve Zahn (âDallas Buyerâs Clubâ) adding some (very funny) comic relief as âBad Apeâ.
While Woody Harrelson is not everyoneâs cup of tea (including mine), here I found him to be actually very good (âSO EMOTIONALâ!) as the half crazed dictator forcing beings he sees as less worthy than his kind to build a wall. (Thatâs just SO familiar⌠think dammit⌠thinkâŚ.!). Thereâs a really cool plot twist in The Colonelâs character arc that I really didnât see coming. Just so cool.
Another star of the film for me was Michael Giacchinoâs music which is simply awesome. Starting with a superbly retro rendition of the 20th Century Fox theme (not top of my list: âThe Simpsonâs Movieâ still holds that spot for me!) Giacchino decorates every scene with great themes and like all great film music some of it you barely notice. A dramatic telling by the Colonel of his back-story is accompanied by sonorous music that is similar in its power to James Hornerâs classic âElectronic Battlefieldâ in âPatriot Gamesâ: only when the scene finishes and the music stops do you appreciate how central it was to the emotion of the scene. (As I sat through all of the end-titles for the music I can also confirm that â despite all the odds â there is no âmonkeyâ at the end!)
The script by âDawnâ collaborators Mark Bomback and (director) Matt Reeves is eventful and packs a dramatic punch particularly in the last half of the film. The talented Mr Reeves (who also directed âCloverfieldâ and âLet Me Inâ and is in assigned to the next Ben Affleck outing as âThe Batmanâ) directs with panache, never letting the foot come off the tension pedal.
On the downside, that âlast half of the filmâ is still 70 minutes away, and whilst I appreciate a leisurely pace for properly setting characters and motivations in place, getting to those simply brilliant scenes set at âthe borderâ is a bit of a slog that might have been tightened up and moved along a bit quicker. Also, while talking about editing, I would have personally ended the film about 90 seconds before they did.
I saw this in 3D, but the effects are subtle at best (although there is a nice binocular rangefinder view). In my opinion itâs not worth going out of your way to experience in 3D.
But overall I loved this movie. The film is chock full of visual delights for film lovers (one of my favourites being âBedtime for Bonzoâ â a nice historical film reference â written on the back of a soldierâs helmet). Itâs an epic action film with a strong emotional core to the story that genuinely moved me. There may be other spin-off Planet of the Apes films to follow. But if they left this here, as a near-perfect trilogy, that would be absolutely fine by me.
We have moved a number of years forwards from the events of âDawnâ and society as we know it has crumbled away still further: even the âHolidays are Comingâ Coke lorry is no longer in service, so things MUST be bad! We begin the film with the apes having a nice âCentre Parcsâ break when their reverie and cappuccinos are rudely interrupted by the attacking forces of âThe Colonelâ (Woody Harrelson, âTriple 9â, âZombielandâ). For The Colonel is intent on tracking down and killing ape-leader Caesar (Andy Serkis, âLOTRâ).
After things get decidedly personal, Caesar leaves his young son Cornelius (in a nice nod to the Roddy McDowell role in the original films) to find and kill The Colonel. So follows a âTrue Gritâ style pursuit/revenge chase, made more similar to this analogy by the picking up of a waif-like mute girl (the excellent Amiah Miller). I found this to be a really emotional plot line, with Caesar torn between the animal drive of his revenge and his role as a leader to his whole community.
The film analogies continue as we take in a âShiningâ-style winter hotel; a gritty Prisoner-of-War camp escape drama (âThe Great Esc-apeâ?); a barricades battle in the style of Helmâs Deep in âLOTR: The Two Towersâ; and a full-on Coppola-style helicopter-based war sequence (âApe-ocalypse nowâ, as graffiti in the film declares).
Once again, the mo-cap ability to express true emotions on the faces of the apes is mind-blowing, with Serkis again being outstanding as is Steve Zahn (âDallas Buyerâs Clubâ) adding some (very funny) comic relief as âBad Apeâ.
While Woody Harrelson is not everyoneâs cup of tea (including mine), here I found him to be actually very good (âSO EMOTIONALâ!) as the half crazed dictator forcing beings he sees as less worthy than his kind to build a wall. (Thatâs just SO familiar⌠think dammit⌠thinkâŚ.!). Thereâs a really cool plot twist in The Colonelâs character arc that I really didnât see coming. Just so cool.
Another star of the film for me was Michael Giacchinoâs music which is simply awesome. Starting with a superbly retro rendition of the 20th Century Fox theme (not top of my list: âThe Simpsonâs Movieâ still holds that spot for me!) Giacchino decorates every scene with great themes and like all great film music some of it you barely notice. A dramatic telling by the Colonel of his back-story is accompanied by sonorous music that is similar in its power to James Hornerâs classic âElectronic Battlefieldâ in âPatriot Gamesâ: only when the scene finishes and the music stops do you appreciate how central it was to the emotion of the scene. (As I sat through all of the end-titles for the music I can also confirm that â despite all the odds â there is no âmonkeyâ at the end!)
The script by âDawnâ collaborators Mark Bomback and (director) Matt Reeves is eventful and packs a dramatic punch particularly in the last half of the film. The talented Mr Reeves (who also directed âCloverfieldâ and âLet Me Inâ and is in assigned to the next Ben Affleck outing as âThe Batmanâ) directs with panache, never letting the foot come off the tension pedal.
On the downside, that âlast half of the filmâ is still 70 minutes away, and whilst I appreciate a leisurely pace for properly setting characters and motivations in place, getting to those simply brilliant scenes set at âthe borderâ is a bit of a slog that might have been tightened up and moved along a bit quicker. Also, while talking about editing, I would have personally ended the film about 90 seconds before they did.
I saw this in 3D, but the effects are subtle at best (although there is a nice binocular rangefinder view). In my opinion itâs not worth going out of your way to experience in 3D.
But overall I loved this movie. The film is chock full of visual delights for film lovers (one of my favourites being âBedtime for Bonzoâ â a nice historical film reference â written on the back of a soldierâs helmet). Itâs an epic action film with a strong emotional core to the story that genuinely moved me. There may be other spin-off Planet of the Apes films to follow. But if they left this here, as a near-perfect trilogy, that would be absolutely fine by me.