Directed by:
Matt ReevesCinematography:
Michael SeresinComposer:
Michael GiacchinoCast:
Andy Serkis, Jason Clarke, Gary Oldman, Keri Russell, Toby Kebbell, Kodi Smit-McPhee, Kirk Acevedo, Judy Greer, Nick Thurston, Terry Notary, Jon Eyez (more)VOD (3)
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A growing nation of genetically evolved apes led by Caesar is threatened by a band of human survivors of the devastating virus unleashed a decade earlier. They reach a fragile peace, but it proves short-lived, as both sides are brought to the brink of a war that will determine who will emerge as Earth's dominant species. (official distributor synopsis)
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Reviews (13)
I’m enjoying the development that the trilogy is going through so far, both in form and content. From an emotional human blockbuster with a distinctive auteur story to a bleak post-apocalyptic vision shrouded in dark colours and an insistent sense of impending conflict. The story itself is admittedly more or less generic and, with its clearly defined ideas and roughly sketched characters, it’s accessible even to the least perceptive patient of a Polio ward, but the experience stemming from the unearthly CGI and the gradual escalation of the seemingly controllable situation is nevertheless extremely engaging and, thanks to the atmospheric charge, this time the considerably more violent action scenes are as intense (albeit in a different, cheaper sense) as in the first film. Evil and good may have been clearly defined since from the moment they enter the stage, but their motivations remain so strong, logical and fateful that they far outweigh the unsurprising consequences of their actions... The visuals are truly fantastic, there are lots over-the-top sequences, and the scene of the year.. An incredibly very strong 4*.
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Dense, emotionally very rich, layered, fun and charming work with effects and "inhuman" protagonists, who take most of the space from their counterparts made of flesh and bones, which we simply don’t get to see that much (a slightly "sketched" Oldman, for example). Reeves has a more distinctive style than Wyatt, and it must be said that the use of long steady cam rides or a static camera in a few larger action sets is very refreshing, while giving the world of Planet of the Apes a prudence that goes beyond frenetic blockbusters. The tricks do not act as a self-serving tool for arousing astonishment, but rather as a deft means of characterizing characters with limited ability to express themselves verbally. In the same way, the action forms part of a compact and intertwined whole, which is characterized by surprisingly sensitive work with a detail of a monkey's face (not only a symbolically mirrored introduction and conclusion), but the film is brought down a bit by some partial clumsiness in the narrative. The film does not focus on simply entertaining, but truly strives to create a functioning universe, the possibilities of which deepen with each film. Also exciting is the way in which it "distributes" sympathy for "non-people" and makes them the bearers of our own historical dilemmas and failures (Caesar and Koba - sic! - as two faces of the revolution and the effort to create a functioning community). That's why Planet of the Apes is currently the most interesting "running" blockbuster series and Dawn of the Planet of the Apes is a film that stands out enough in this year's fierce competition to call it the best high-budget affair thus far. For me, it’s even a bit more convincing than the first film. [90%]
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Ape not kill ape. The stunning impression from Rise of the Planet of the Apes remains unmatched, but the sequel does not embarrass the apes, quite the opposite. It is only the world of Dawn of the Planet of the Apes, where heroes and flawed characters exist on both sides of the barricade, that feels very real and convincingly enough that instead of offering an action-packed and dramatic spectacle, it provides a rather depressing spectacle. However, there is still plenty of room for superbly executed intense moments, which once again unsurprisingly belong to the majestic Caesar. I am slowly losing confidence in how many installments this saga can withstand, but if it really continues under the helm of Matt Reeves, my concerns will quickly disappear.
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Ten winters have passed since the events in part one and apes haven’t seen humans for a good few years. But the idyll that Caesar build in the jungle away from the city is to come to an end when man enters his territory. Slow building of relationships and introduction of heroes prove to be worth it in the more warring second half. When Koba gets to work with his gun. The ape gang led by Andy Serkis comes across more realistically than last time and so we should say a few words about the excellent acting performances. Kebbell’s Koba is awesome. The human rabble is concentrated around Clarke’s family and even though they fade a little beside their ape brothers, they are still really fine. I was surprised about Gary Oldman’s appearance. He isn’t given much room. Excellent narration from Reeves on a conversational level, but he’s also at home in warring situations. The attacks by the apes and one-to-one combat are original and powerful (especially the scene with the armored transporter and the rotating turmoil of battle) with precise special effect sequences. The ruins of San Francisco is a feast for the eyes too. I’m happy. Apes do not kill apes.
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People. Apes. Hominids. Mammals. Scum. Everybody. Speak. Lots. CGI. Lots. Blockbuster. Thought. Seemingly. Superficial. Black and white. Too simple. Half-assed. First. Better. Suspense. Subliminal. Silence. Storm. Sequel. Different. Very. Overtone. Current. Inevitability. Pretend. Worse. No. Better. Different... And as a bonus to the short-spoken speech of animals, you get the origin of the shrew legal loophole in the apish lawbook committed on Rambo the Ape.
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Gallery (113)
Photo © Twentieth Century Fox Film Corporation.
![Dawn of the Planet of the Apes - Photos](http://image.pmgstatic.com/cache/resized/w663/files/images/film/photos/158/525/158525979_d839aa.jpg)
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