By midlandsmovies, Nov 4 2017 05:25PM
War for the Planet of the Apes (2017) Dir. Matt Reeves
In this electrifying conclusion to Reeves’ ‘Apes’ reboot/prequel trilogy, the sci-fi action focuses even further on the drama between the simians led by Caesar and the remaining humans left on earth. Andy Serkis once again returns to play Caesar in a performance that, if not least equals Serkis’ turn as Gollum, comes pretty darn close and maintains his status as the premier motion capture actor working right now.
We pick up a few years later where a rogue paramilitary group (Alpha-Omega) led by Woody Harrelson’s intense Colonel, fight with the ape clan and after Caesar orders the release of some captured soldiers as a peace-offering, its unsurprising it falls on deaf human ears. Returning at night, the Colonel kills Caesar’s wife and eldest child and thus begins a journey of revenge by the elder chimp which conflicts with his call for pacifism shown in the previous movies.
Service apes called "donkeys", which previously followed Koba, are in the hands of Harrelson’s group – further complicating the dynamic – and it is this depth that sets the film far from many of the 2017 summer blockbusters. As Caesar and his advisor Maurice (an orangutan played brilliantly by Karin Konoval), and friends Luca (Michael Adamthwaite) and Rocket (Terry Notary) head to the military base, they pick up a mute human girl as well as another chimp named “Bad Ape”, rendered beautifully in a nuanced performance of humour and heart by Steve Zahn.
The ape clan are captured and imprisoned into forced labour to build a wall to stop an approaching army who plan to halt the madness of the Kurtz-like Colonel as Harrelson resorts to killing humans as it is revealed the Simian Flu virus has mutated. Reeves’ masterful control of simple camera set-ups allows the drama to be played out and it is this character building that ensures an audience can empathise with the CGI creations. And what CGI! I would go as far to say this film has some of the best, if not the best, animation of animals ever seen and the close-up shots are phenomenal as we capture every breath, curl of the lip and angered brow on the apes’ faces.
Reeves’ handling of the CGI is perfect and his themes of torture, slavery and eventually sympathy and regret, are all fantastically well-delivered. Personally, I thought it better than its predecessor and with an ending that had me wanting to know more of the clan’s journey in this world, the movie wraps up with a sense of sadness yet hope.
From monkey clowning to tearful tragedy, Reeves’ focus on emotion over spectacle ensures that when the action does arrive you care about those involved – even computer-generated ones. Is it time for the Oscars to reconsider that Best Performance Capture category? On the basis of this dazzling display, I surely hope so.
Midlands Movies Mike