These Are The Best Parts Of Dawn Of The Planet Of The Apes This Is An Anti-Gun Blockbuster Matt Reeves Dawn of the Planet of the Apes is the latest 2014 blockbuster the critical community has embraced with both hands. Dawn has a 94-percent Fresh rating on Rotten Tomatoes, putting the sequel in league with Edge of Tomorrow (90 percent), X-Men: Days of Future Past (92 percent), How to Train Your Dragon 2 (92 percent), 22 Jump Street (85 percent) and Captain America: The Winter Soldier (89 percent). Toss in other well-reviewed films such as The Fault In Our Stars, Godzilla and Neighbors, and this years mainstream offerings have delighted even the most curmudgeonly critics. According to some reviewers, though, Dawn is the best one yet: VanityFair critic Richard Lawson called it a high point of this, or any other, summer season. Thats hyperbole, but its not completely unwarranted: Edge of Tomorrow and Neighbors still rate higher in our book, but Dawn of the Planet of the Apes is right near the top of this summers heap, standing alongside Godzilla as the years best Steven Spielberg movie not directed by Steven Spielberg. Ahead, the four most effect parts of Dawn of the Planet of the Apes. Much has been made of Andy Serkis performance in Dawn of the Planet of the Apes, and with good reason. Hes fantastic. But hes always fantastic: From Gollum to Caesar, Serkis is the king of motion capture work, and he has been an incredible ambassador for the technology both onscreen and off. Where Dawn of the Planet of the Apes breaks new ground, however, is in its motion-capture ensemble. Serkis is the lead of the film, but dont sleep on Toby Kebbell (playing Koba, the antagonist ape), Nick Thurston (as Serkis onscreen son) or even Judy Greer (as Serkis onscreen wife). Rich and layered performances all, these actors are every bit as good as Serkis. Motion-capture acting may never receive recognition from awards voters, but more group outings like this one will go a long way to legitimizing digitally enhanced performances. Dawn of the Planet of the Apes doesnt come right out and state that guns are bad, but it also kind of does. The films ultimate tragedy kickstarts with a scared human shooting an ape, an event that leads to an all-out war. The moral of this film, then, could be read as follows: no guns, no war. Unlike unflinching war movies like Saving Private Ryan, there’s no glory in this fight, or overarching moral ambition, or even a clear victory, wrote Katey Rich for VanityFair, as the site continued to own the Apes beat. There is just confusion and death, all because a gun was introduced when, as the audience is painfully aware, it wasn’t really necessary. There Arent Any Bad guys... Internet culture loves breaking things down to good guys and bad guys, but Dawn of the Planet of the Apes has no room in its script for those distinctions. This is a movie where there are just apes and humans, and modifiers like good and bad simply dont exist. Koba, the antagonist ape, hates humans because of what they did to him in captivity; Dreyfus (Gary Oldman), the antagonist human, hates apes because they led to the death of his family. That these males are angry, confused and outraged is understandable, and it doesnt make rooting against either one very easy. Which is just how Reeves wanted things to go: I wanted the movie to have empathy for every character, Reeves told ScreenCrush. You understood where their world views came from. Actually, Everything Is Pretty Good
Posted on: Sat, 12 Jul 2014 01:27:25 +0000
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