This October, I’m going to be doing something a little bit different with my contribution to 4 Shots From 4 Films. I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.
Today, we begin the 2010s!
4 Shots From 4 Horror Films
The Wolfman (2010, dir by Joe Johnston)
Insidious (2010, dir by James Wan)
Let Me In (2011, dir by Matt Reeves)
The Cabin In The Woods (2012, dir by Drew Goddard)
This October, I’m going to be doing something a little bit different with my contribution to 4 Shots From 4 Films. I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.
Today, we complete to the aughts!
4 Shots From 4 Horror Films
Halloween (2007, dir by Rob Zombie)
Paranormal Activity (2007, dir by Oren Peli)
Cloverfield (2008, dir by Matt Reeves)
The House of the Devil (2009, dir by Ti West)
Let’s just be honest, here. In many ways, 2008’s Cloverfield is a remarkably stupid film.
I mean, don’t get me wrong. It’s an entertaining film. It’s a fun film. It’s a film that I’ve seen a few times and I usually enjoy it whenever I see it. But it’s still a film about someone who refuses to stop filming, even in the middle of an alien invasion. It makes sense, of course, that Hud Platt (T.J. Miller) would want to film the going away party that’s being held for his friend Rob (Michael Stahl-David). But why would Hud keep holding onto that camcorder even after the aliens invade and New York starts to explode all around him? There are several moments in the film where it’s obvious that the camera is slowing Hud and his friends down. The easiest thing to do would be to drop the camcorder and run to safety. I mean, it’s not like the destruction of New York by aliens is going to be lost to history if Hud doesn’t film it. But instead, Hud not only keeps filming but, for all the shaky cam effects and the heaving breathing of people running for their lives, Hud still somehow manages to capture every important event on camera.
In many ways, the film epitomizes everything that tends to drive people crazy about the found footage genre but Cloverfield is an undeniably fun movie. I mean, there’s a scene where the head of the Statue of Liberty is literally tossed into the middle of the street. It’s such an over-the-top moment that it’s impossible not to love it and, to be honest, the fact that Hud manages to hold the camera still enough to perfectly capture the image of Lady Liberty’s head crashing to the ground is kind of cool. The film follows a group of friends as they try to make their way across New York City to try to rescue Rob’s girlfriend Beth (Odette Yustman) before then evacuating the city and there’s something rather exciting about the sight of this small group of people continually moving in the opposite direction of the crowd around them. While everyone else runs away from danger, our heroes move straight into it, even though none of them are exactly action heroes. They’re nerdy hipsters on a mission and, even though you know from the start that they’re all doomed, it’s hard not to kind of love them. The film’s final moments carry more an emotional punch than you might normally expect from a found footage alien invasion film.
That said, if the aliens do come and they are literally tearing apart the Statue of Liberty before your very eyes, there’s no shame in putting down the camera and running. In fact, if there’s any lesson to be learned from Cloverfield, it’s that sometimes, it’s best just to run for it.
Previous Guilty Pleasures
Without further ado, here are my top 30 films of 2022!
(Why 30? Because Lisa doesn’t do odd numbers! Also, be sure to check out my picks for 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, and 2021! Wow, I’ve been doing this for a while!)
30. Marcel The Shell With Shoes On (dir by Dean Fleischer Camp)
An animated film with heart, Marcel The Shell With Shoes On would probably be ranked higher if Marcel’s favorite news show had been something other than 60 Minutes. Still, questionable viewing habits aside, Marcel and Nana Connie and all the other shells were amazing characters and the end of the movie brought tears to my mismatched eyes. With this film and I Want You Back, Jenny Slate had quite a year.
Released in February of this year, this film about Ted Kaczyski and his descent into madness was unfairly overlooked. Sharlto Copley was perfectly cast as Ted K. This is a film that probably won’t make Ted’s supporters happy but, at the same time, it also avoids painting him as just being a straight-out madman. It’s refusal to simplify makes the film far more than just another true crime biopic.
28. Dashcam (dir by Rob Savage)
Starring Annie Hardy as herself, this low-budget horror film is a scathing satire of life during the age of COVID and performative “wokeness.” After the past few years, there’s something rather cathartic about Hardy’s refusal to obey.
27. The Batman (dir by Matt Reeves)
At this point, I’m fairly cynical about comic book movies in general and Batman films in specific. I mean, how many Batmen have we had over the past ten years? (Actually, I think only four but it feels like a lot more!) That said, I enjoyed The Batman, for both its noirish atmosphere and it’s willingness to embrace the melodrama. You have to love the fact that the villain was basically a nerdy podcaster.
26. Operation Mincemeat (dir by John Madden)
Based on a true story, this film was a throwback to the earnest World War II films of the past. Colin Firth, Kelly MacDonald, Matthew McFayden, and Johnny Flynn were all well-cast and did their part to bring this moment of WWII history to life.
25. Father Stu (dir by Rosalind Ross)
You don’t have to be from a Catholic background to appreciate Father Stu but it probably helps. This was one of those roles that only Mark Wahlberg could have pulled off.
24. See How They Run (dir by Tom George)
This stylized murder mystery was terrifically entertaining and witty. Sam Rockwell and Saoirse Ronan are both treasures.
23. I Want You Back (dir by Jason Orley)
Two friends conspire to win back their respective romantic partners and end up falling in love with each other instead. This was an enjoyable comedy, one that was blessed with an outstanding cast that included Jenny Slate, Charlie Day, Scott Eastwood, and Gina Rodriguez. The scene in which Jenny Slate sings Suddenly Seymour is a classic.
22. Ambulance (dir by Michael Bay)
This was the film that Michael Bay was born to direct. For once, Bay’s hyperkinetic style was perfectly matched by the story being told. It also helped that the ambulance was a real ambulance and not a robot pretending to be an ambulance.
21.Send Me (dir by Nick Palmisciano)
This is a heart-breaking documentary about the efforts of 12 veterans to evacuate as many allies as they could during the disastrous withdraw from Afghanistan. This film deserved more attention than it got.
20. The Bombardment (dir by Ole Bornedal)
Based on a true story, this Danish film deals with the accidental bombing of a school during World War II. It’s been overshadowed a bit by All Quiet On The Western Front but, in its quieter way, The Bombardment is also a strong look at the horrors of war.
19. Goodnight Oppy (dir by Ryan White)
This is a poignant documentary about Opportunity, the NASA exploration rover that spent 15 years exploring Mars. This movie proves that a robot can make you cry.
18. Dark Glasses (dir by Dario Argento)
Don’t listen to the critics. This enjoyably over-the-top giallo was an entertaining return-to-form for Dario Argento.
17. Wildcat (dir by Melissa Lesh and Trevor Fost)
This poignant documentary follows a depressed veteran as he finds purpose helping to raise a baby ocelot in Peru. Be prepared to cry.
16. Apollo 10 1/2 (dir by Richard Linklater)
Richard Linklater’s animated film was well-received by critics but it’s still hard not to feel that it’s been a bit overlooked. Narrated by Jack Black, the film details the 1969 moon landing from the perspective of a child with a very active imagination. Nostalgic, sweet-natured, and ultimately rather moving, Apollo 10 1/2 is a film that celebrates life.
15. Three Minutes: A Lengthening (dir by Bianca Stigner)
This haunting and moving documentary, which is narrated by Helena Bonham Cater, examines a three-minute snippet of 16mm film that was shot in a Jewish town in Poland in 1938, shortly before the Nazis invaded. By examining every aspect of those three minutes, this documentary becomes both a memorial for the inhabitants of that town and a much-needed reminder of the horrors and reality of the Holocaust. With anti-Semitism and Holocaust denial on the rise, this is an important documentary.
14. The Northman (dir by Robert Eggers)
The Northman is occasionally thrilling and occasionally ludicrous but it’s always watchable. Robert Eggers finds moments of humor and odd beauty in this Viking epic. Nicole Kidman embraces the melodrama and goes all out. I just hope Valhalla was actually worth all the trouble.
13. Puss In Boots: The Last Wish (dir by Joel Crawford)
Yeah, you knew this film was going to show up on my list. To be honest, the film could have been about just about anything. I’d watch Puss In Boots read the phone book as long as Antonio Banderas returned to do his voice. The fact that the film itself was cute and even touching was an added bonus.
12. Guillermo del Toro’s Pinocchio (dir by Guillermo del Toro and Mark Gustafson)
Yes, a puppet can make you cry.
11. Babylon (dir by Damien Chazelle)
Was it flawed? You bet. Did it run a little bit too long? Yes, it did. Could I have done without the scene with the elephant? You better believe it. That said, this film was so gloriously excessive and over-the-top that it was easy for me to forgive its flaws. The critics may not have liked it but Babylon is a film that will be rediscovered.
10. The Fabelmans (dir by Steven Spielberg)
I went back and forth over whether to put The Fabelmans or Babylon in the number ten spot. In a way, they’re kind of similar in that they have their flaws but they’re both saved by their director’s obvious love of cinema. In the end, David Lynch’s role as John Ford moved The Fabelmans into the 10th spot.
9. Everything Everywhere All At Once (dir by the Daniels)
To be honest, I think some people are going a little bit overboard in their praise for this film. Yes, it’s one of the year’s best but 2022 wasn’t that strong of a year and Everything is one of those probable Best Picture winners that, like Nomadland and CODA, will probably not be quite as celebrated after it actually wins. That said, Michelle Yeoh and especially Ke Huy Quan deserve all the praise that they’ve received and I appreciated that the film featured the destruction of an IRS office. It’s not as perfect as some say but, due largely to the cast, it still deserves to be in my top ten.
8. Nitram (dir by Justin Kurzel)
This is another unfairly overlooked film, this time from Australia. Caleb Landry Jones gives a powerful and disturbing performance as a troubled young man named Nitram who commits an act of shocking violence. Anthony LaPaglia and Judy Davis play Nitram’s parents, who are both troubled in their own individual ways. Essie Davis plays the older woman who falls in love with Nitram, despite the fact that Nitram is incapable of loving anyone.
7. Emily the Criminal (dir by John Patton Ford)
Aubrey Plaza plays Emily, who discovers that not only does crime pay but, in the gig economy, it’s one of those few ways to get ahead. Part thriller and part satire, Emily the Criminal reminds us that Plaza is one of the most interesting actresses working today.
6. All Quiet On The Western Front (dir by Edward Berger)
This German anti-war epic stays true to the themes of its source material while updating the plot for the modern era. The contrast between the generals and the diplomats planning battles and the soldiers dying in them is a powerful one.
5. Elvis (dir by Baz Luhrmann)
This wonderfully excessive biopic features good music, a great performance from Austin Butler, and a wonderfully eccentric one from Tom Hanks. Luhrmann is hardly a subtle director but Butler’s performance keeps the film from spiraling out of control.
4. Vengeance (dir by B.J. Novak)
This whip-smart satire of both true crime podcasts and the red state/blue state divide deserved far more attention than it received. Ashton Kutcher has actually become a surprisingly dependable character actor. Director and screenwriter Novak tells the story with sensitivity and a sharp eye for the absurd.
3. The Banshees of Inisherin (dir by Martin McDonagh)
In his best film yet, Martin McDonagh examines friendship, art, violence, and anger in Ireland. Brendan Gleeson no longer wants to be Colin Farrell’s friend. Farrell’s attempts to discover why leads to all sorts of surprising and macabre developments. Gleeson and Farrell have never been better. Kerry Condon and Barry Keoghan offer up poignant support.
2. Tar (dir by Todd Field)
Lydia Tar is a brilliant artist. Does it matter that she also might be a terrible human being? Todd Field’s return to filmmaking meditates on the meaning of art, morality, and the consequences of hubris. Cate Blanchett is perfectly cast. The scene where Tar talks to a student who objects to playing music by a white male is a real litmus test. Do you think Tar is a bully or do you think the student is being too sensitive? For all the talk about how Lydia dismisses the student’s claims, many also fail to note that the student is the one who calls her a “bitch” and runs out of the room. Much as in Field’s previous film, no one is as perfect or as justified or as blameless as they may believe.
And, finally, my top film of 2022 is….
After 2 years of lockdowns and pessimism, Top Gun: Maverick was finally released and it reminded audiences of what they loved about movies in the first place. Top Gun: Maverick was the movie that we needed in 2022.
Well, that concludes my late look back at 2022! Now, let’s focus on 2023!
Lisa Marie’s 2022 In Review:
I slept on it before writing this, to let the euphoria pass.
Matt Reeves’ The Batman surprised me in a number of ways, some of which can’t be mentioned without throwing spoilers. I’ll perhaps write a second piece on this, but for now, understand that this film has effectively pushed The Dark Knight to the side as my favorite live-action Batman film (The Lego Batman Movie stands on a pedestal all it’s own above all the rest). My favorite Batman stories are the detective tales. Gotham by Gaslight. The Long Halloween. Hush.
On film, the Caped Crusader has moments of investigation, but they often took a backseat either to the action or the resolution came as quickly as a Batcomputer search. For me, The Batman had closer ties to films like David Fincher’s Seven, Alan J. Pakula’s Klute, Bruce Malmuth’s Nighthawks, and even Shane Black’s The Nice Guys to some degree. It does all this legwork while finding a way to avoid giving us the same clip of the Monarch Shooting of the Waynes. That alone is worth it for me. This is Batman. After more than 9 films, you’d be hard pressed to find anyone on the planet younger than maybe six who doesn’t know how he got that way.
Living in NYC, I can relate to Gotham City. On the surface, it’s beautiful. For those who can afford it, there are tons of amenities available to its citizens. Peel back that layer, though, and you’ll always have Crime in a city holding 9 million people. It’s a constant as rain. Gotham City is on the verge of breakdown. Looking at the torn poster filled streets and I was reminded of a cross between Walter Hill’s Streets of Fire and Alex Proyas’ The Crow .and the way most of Manhattan looks now with it’s closed down stores. The city almost serves as a character itself in The Batman. It’s a throwback to some of the classic black and white detective movies my parents grew up on like 1947’s Kiss of Death. For all his gadgets and resources, there’s an argument suggesting the Batman can never really save his beloved city, though we love his efforts.
“Forget it, Bruce. It’s Gotham.” one might as well say.
Visually, the movie is a little dark, but that makes sense given the tone of the film. Cinematographer Greig Fraser (Dune, Zero Dark Thirty) is somewhat new to me, but I’m liking his work, which felt a little like Janusz Kaminski’s Lost Souls. It wasn’t dark to the point where I couldn’t make out elements (and I was sitting in the front row, far left side in my theatre), I’ll say that much. I’ll keep an eye on him in the future.
The Batman takes place in our hero’s second to third year, according to an early narration (much like Blade Runner). Batman has a good rapport with Lt. James Gordon (Jeffrey Wright, No Time to Die) and his butler, Alfred (Andy Serkis, reuniting with Reeves since Dawn of the Planet of the Apes), for the most part, there are some results. Criminals flee when the bat symbol shines in the night sky, because no one really knows where The Dark Knight will strike. A new murder brings both Gordon and the Batman into play, as his opponent leaves various riddles for them to solve. The mystery brings Batman into various circles, including those of Selina Kyle (Zoe Kravitz, Kimi), crime boss Carmine Falcone (John Turturro, The Big Lebowski) and Oz (Colin Farrell, The Gentlemen). They all bring in great performances, including Peter Sarsgaard (Green Lantern), but it’s Paul Dano (Ruby Sparks, There Will Be Blood) who really runs away with things as The Riddler. I’ve never considered The Riddler to be a creepy villain, but this was quite dark, even for DC’s standards. I can’t imagine how it would have turned out if this was a Rated R film. I’m really curious to know.
Bruce Wayne has never been an easy character to handle on screen.
There are whole books written on the Psychology of the Batman. Here you have an individual who witnessed his parents being murdered as a kid and grows up in a near empty mansion with butlers and maids. The individual decides to dedicate his life (and vast resources) to studying criminal investigation techniques, martial arts and even Ninjitsu for a singular focus: To rid Gotham City of Crime. Add to this the concept of instilling fear in one’s enemies, and dressing up like a Bat to pummel thugs with fists and gadgets just adds to Wayne’s madness. Pattinson honed in on this and turns Bruce Wayne into a pretty isolated and brooding individual. For someone with nearly unlimited resources, he doesn’t seem happy with any of it at all. At least Keaton pretended to party and Clooney’s Wayne truly did party. Bale’s Wayne let Fox focus on research and development. Hell, even Affleck’s Wayne recognized he was rich and flaunted it like a superpower all its own. Pattinson’s Batman is lean and really looks like the kind of guy you might find stepping out of the shadows just past Wall Street late at night. No offense to Affleck’s Batman, who for some is the pinnacle of what the character should be, but I’ve always associated that look with the older, fresh out of retirement Batman of Frank Miller’s The Dark Knight Returns.
Together, Pattinson and Kravitz’ chemistry was really nice on screen. I’ll admit, I enjoyed the romance between the two. Both characters accept tha they’re Creatures of the Night, and there’s this sweet give and take between the two as they nudge each other. Selina doesn’t have to do crime, and Batman doesn’t have to be the spirit of Vengeance, but they’re caught up in what works best for them. I enjoyed that aspect.
At first listen (about a week ago), I thought Michael Giacchino’s theme needed something outside of the four note motif it had. Hearing the music with the movie is a different beast, and I have to say, it works really well here. In some places, it’s as minimalistic as Hans Zimmer’s Nolan scores.
Now, a little Devil’s Advocate. The main problem I had with The Batman was the same I had with Spider-Man: No Way Home. I understand DC & Warner Bros. want to draw people into the theatre, but in this age where every element of a trailer is scanned and studied, I’d argue that 40% of the action you watched on screen were already somewhat spoiled by the trailer (or trailers, if you watched every one the Warners released). I’m not saying one should refrain from watching trailers – I only watched the teaser and the main trailer – but I would have liked if they held some scenes back. One might also argue The Batman was lighter on action than the other films, but it’s the detective work and the character performances that make up for it.
There’s also a lot of rain. Almost too much. Remember the sequence in Jurassic Park with the first appearance of the T-Rex? I would say that most of The Batman is set under somewhat similar conditions. It felt like it either just rained, was about to, or you were in the middle of a downpour. Then again, so did The Crow. Perhaps that’s just a nitpick on my part.
Also, clocking in at 2 hours and 56 minutes, it’s a long film. You might not really notice it, but I’d go so far to say that the time didn’t feel wasted. I noticed 3 or 4 people who left for the restroom in my showing, if that’s any indication.
Overall, The Batman was a wonderful surprise from the DC side of things, and I’m liking the direction it’s going. It might not be a completely connected universe like Marvel’s lineup, but they’re proving they can still weave some amazing stories with the characters they have.
This October, I’m going to be doing something a little bit different with my contribution to 4 Shots From 4 Films. I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.
Today, we begin our current decade!
4 Shots From 4 Films
The Wolfman (2010, dir by Joe Johnston)
Insidious (2010, dir by James Wan)
Let Me In (2011, dir by Matt Reeves)
The Cabin In The Woods (2012, dir by Drew Goddard)
This October, I’m going to be doing something a little bit different with my contribution to 4 Shots From 4 Films. I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.
Today, we complete to the aughts!
4 Shots From 4 Films
Halloween (2007, dir by Rob Zombie)
Paranormal Activity (2007, dir by Oren Peli)
Cloverfield (2008, dir by Matt Reeves)
The House of the Devil (2009, dir by Ti West)
This is gonna be one easy review to write because it all boils down to this : you really can believe all the hype, Dawn Of The Planet Of The Apes is flat-out fucking awesome, and you need to go out and see this flick immediately.
My job is done, I’m finished, goodnight.
But I guess I do have at least a little bit more to say —
I wasn’t a big fan of Cloverfield by any means, but I’m turning into a big fan of Matt Reeves. I know it’s heresy to some, but I thought that Let Me In was every bit as good as its Swedish progenitor, and with this latest — and, frankly, best — installment in the venerable Apes franchise, Reeves has shown himself to be a director who is fully hitting his stride. The bigger and bolder the project, the more he seems to rise to the occasion. I frankly don’t even know how you go about eliciting good performances from actors who are only there for the purpose of having a bunch of hair overlaid onto their faces via computer, but he did it here. Andy Serkis, as ape leader Caesar, and Toby Kebbell, as his primary (and creepily duplicitous) rival, Koba, both turn in Oscar-caliber work on the basis of their facial expressions alone. They’re gonna wow you, folks, no lie.
As for the human actors playing — well, human parts, Jason Clarke is solid as stand-up guy Malcolm, apparent real-life asshole in the extreme Gary Oldman does typically competent (if, to be perfectly fair, unspectacular) work as survivalist head honcho Dreyfus, and Kodi Smit-McPhee is extremely convincing as Malcolm’s teenage son, Alexander (plus, he can be seen reading Charles Burns’ Black Hole, so bonus points for that). About the only weak link comes by way of nominal love interest Keri Russell, whose “concerned as shit” look at all times begins to grate pretty early on. But when you consider the fact that all these people spent pretty much the entire time in front of a blue (or maybe it was green) screen, getting only one subpar performance from the bunch is pretty good. And who knows? Maybe Russell simply can’t help coming off as worried 24/7.
My only other minor quibble here is with the title — when a film called Rise Of The Planet Of The Apes is followed by one called Dawn Of The Planet Of The Apes, you gotta wonder when the buildup is going to stop and we’re finally gonna get down to the shit. Or maybe we’re looking at a 20-part story here and we’ve still got plenty of stage-setting to go, in which case we’ll be treated to Prelude To The Planet Of The Apes and We’re Still Getting To The Planet Of The Apes next.
Hey, I did say it was a minor quibble, did I not?
Apart from that, this has everything you’d want in a big-budget summer blockbuster, and quite a bit more than you’d honestly expect : there’s pathos, melodrama, palace (if your palace is a tree) intrigue, cheap scares, high-octane thrills, elaborately-staged battle sequences, and a genuine sense of urgency to the proceedings. Events — and tension — gradually build to the point of inevitability, and the film’s third act actually delivers in terms of its promised payoff. And for those of you who are tired of James Franco’s ever-evolving shtick — whatever it is — rest assured that he doesn’t even pop up in a flashback sequence.
Ya know what? Let’s not even do Dawn Of The Planet Of The Apes the disservice of comparing it to other summer popcorn flicks — this leaves typical blockbuster fare like The Avengers or Star Trek so far back in the dust it’s not even funny. What Reeves has made here is one of the very best films you’ll see all year, even if big-budget sci-fi grandiosity is not your thing. This is eloquent, spectacular, undeniably powerful drama of the highest order. It’s everything and the kitchen sink plus one of those nifty fancy programmable faucets all attached to a fancy-ass 300-pound granite countertop.
Okay, I’m finished with the italics, promise. If you don’t like this, you don’t like movies. My job here really is done.
When ‘Rise of the Planet of the Apes’ came out, I wasn’t excited; I didn’t even see it in theaters. I am a fan of the original franchise (one and three mainly), and still had the bad taste of the terrible Burton remake in my mouth. So the idea of a prequel/reboot was one of the last things I wanted at the time. Still, I gave it a chance when it was released on home video, and it blew me away. I, like so many, was surprised by just how good it was. So good in fact, that I desperately wanted a sequel. Luckily the film was a success (both financially and critically) and that inevitable, albeit desired, sequel was made. Having now just seen it, the question now becomes whether it lives up to both that first film and the enormous expectations I had built up between films (especially more recently with the “prequel” shorts). The answer, thank god, is a resounding “Hell yes!”
It was so good in fact that I’d go so far as to say that this franchise has become my favorite since Nolan’s ‘Batman’ films. This is why the easiest way for me to describe how this compares to the first film is to say that ‘Dawn’ is to ‘Rise’ as ‘The Dark Knight’ was to ‘Batman Begins’. ‘Rise’, like ‘Begins’, was an exceptional origins tale; but it was a story that felt rushed or overshadowed in place for the development and establishment of only the central character. ‘Rise’ still had an emotional resonance, and the final twenty minutes are incredibly thrilling, but it ultimately felt incomplete. With ‘Dawn’, like with ‘The Dark Knight’, the film makers were free to use what was already established with their new hero to tell a much more complete, more complex and emotional story on a much grander scale.
‘Dawn of the Planet of the Apes’ takes place ten years after the events of the first film. The world has been devastated by the Simian Flu. Humans have spent the last decade fighting the virus and themselves. They live in a post-apocalyptic world, struggling to survive, but are making progress. Caesar (Andy Serkis) and his troop on the other hand have built themselves a community, a tranquil home in the Muir Woods that is thriving according to their needs. That peace is interrupted when a group of humans enter their territory. They are led by Malcolm (Jason Clarke), who is trying to find and fix a hydroelectric plant that could help bring power back to San Francisco. The actions of one in that group lead Caesar and his family to have little trust in their intentions, but allows them to proceed because they are clearly desperate. Caesar is one of the few apes that has seen the good in human’s and also knows cooperation could keep the peace.
As the bond between human and ape grows there is still one among Caesar’s troop that does not believe that peace is possible. That ape is Koba (Toby Kebbell), who was beaten, tortured and used for medical testing his entire life. Koba’s distrust only grows when he learns that the humans, led by a man named Dreyfus (Gary Oldman), have access to military stock piles and are willing to take control of the area surrounding the dam by force if it were to become necessary. Thinking Caesar is weak and too loyal to humans, Koba decides to take it upon himself to protect the apes, and his actions set off a chain of events that could only lead to only one thing…war.
When the film ended and I walked out of the theater I felt completely satisfied with what I had just seen. My expectations for the film were already incredibly high, but I would be lying if I said this didn’t actually exceed them. What makes the film such a resounding success for me is the way in which the story puts everyone on equal grounds. There are no true villains here, and even those that assume that role do so for reasons that were easy for me to empathize with. Dreyfus may want to kill the apes, but he does so because he is a man who has lost everyone he ever loved and will do anything to protect the remaining humans that have put their trust in him. Koba, as selfish as some of his actions may be, is someone who was physically and mentally abused his entire life. His revenge might seem cruel, but one could hardly blame him for wanting it. Everyone is fighting for the survival of those that they love and the homes they established. I couldn’t help but want everyone to succeed. Unfortunately, as the story progresses, it becomes clear that the pain and damage under the surface of both man and ape make the idea of peace between the two impossible. Some differences are irreparable. There is definitely an allegory here of war that reflects current and past conflicts.
Luckily those themes of warfare, family and survival are all expressed effortlessly through the actions of its characters. It manages to be intelligent and complex without being thematically overbearing, while maintaing an intanacy. That is mainly because the film is handled with exceptional craftsmanship by Matt Reeves. The direction and cinematography, especially within Caesar’s settlement, is wonderful. It is never flashy, and is often much darker and moodier than one might expect. The editing and pacing is near perfect, which is rarely the case with these sorts of films. It only ever slows when it needs to, but the story is always moving forward. Every scene matters, even the quieter moments, for which there are many; again, something one might not expect, especially given the action heavy trailers. The score is perhaps the best Michael Giacchino has done since ‘Up’, adding to the moody atmosphere, and I LOVED his little nob to ‘2001: A Space Odyssey’ in the opening sequence. Everything here is done with purpose and execution of it all is nearly flawless.
Lastly, I would be remiss to end this review without mentioning the performances, which were the soul of the film. Even with the way everything else was handled, I am not sure ‘Dawn of the Planet of the Apes’ would have worked without these specific performances. The human cast of Clarke, Oldman and Russell were all fantastic. The film’s only real flaw was that there actually wasn’t enough focus on them. I understand that the heart of the story is Caesar and his apes, but the human characters could easily have been developed more. Still, what development and emotional connection we did get was due mainly because of the actors portraying them. They make us care for these people, making the inevitable conflict even harder to bear as the film approached its climax.
The motion capture for the apes was mind blowing. Andy Serkis is in a class of his own. The visuals and animation here are some of the best I think I have seen; but it is the emotion and talent of the actors behind all that CGI that makes those ape characters feel so real. Serkis plays Caesar as someone filled with grief and the weight of the responsibility of caring for his troop bleeds through. Toby Kebbell plays Koba with a ferociousness that is equally terrifying and mesmerizing; and I also really loved Nick Thurston, who played Caesar’s eldest son Blue Eyes, and how he managed to expressed so much in just his gaze. I mentioned early in this review how this film compares on some level to ‘The Dark Knight’ for me. That film was speculated to be in the run for an Oscar nomination for Best Picture but it never happened. The backlash was so strong that some think it was the reason the Academy increased the number of films that could be nominated. I truly hope that Serkis will receive some form of recognition for his work here; and if not, I hope all of us praising him so greatly now will be vocal enough when the time come that maybe the Academy will make another change to who and what it nominates.
I am not sure where I would place this film among others I have seen in 2014 but I know I’d put it somewhere near the top. This isn’t just another intelligent summer blockbuster; it is really an exceptionally crafted epic, a thrilling action-drama with an emotional and thematic resonance that future films should make a note of. And, as I felt when I first watched ‘Rise of the Planet of the Apes’, I eagerly await the next installment – which will thankfully be directed again by Matt Reeves.
One of my most-anticipated films this summer of 2014 has released it’s latest trailer and it shows the central conflict which will drive this sequel to 2011’s Rise of the Planet of the Apes.
It’s been many years since the pandemic from the “simian flu” tore through the planet as shown during the end credits of the first film. Now the surviving humans must now contend with the growing population of hyper-intelligent apes led by Caesar from the first film.
While the first film showed the rise of Caesar as a revolutionary leader it looks like this sequel will now put him in the role of war leader as his apes must now gear up for a war with the surviving humans that can’t seem to be avoided.
Plus, all I can say is this: Apes on horses with assault rifles.
Dawn of the Planet of the Apes is set for a July 11, 2014 release date.
Through the Shattered Lens 