Dawn Of The Planet Of The Apes

Director: Matt Reeves

Stars: Andy Serkis, Toby Kebbell, Jason Clarke, Gary Oldman, Keri Russell, Kodi  Smit-McPhee

Released in UK: 17^th July

It’s praise indeed to say that this modern part-reboot is charting to be better than Charlton Heston’s adventures with the apes in the sixties. Rarely are ones expectations succeeded when it comes to sequels, especially when it’s the follow up to a smash hit action thriller that surprised all the critics when it burst onto screens in 2011.

What a joy it is then to find an intelligent and worthy action romp that not only succeeds where the first took off, but is leaps and bounds ahead in the technical department from all the other competitors for the crowning glory of best blockbuster this summer. Matt Reeves (Cloverfield), who took over from Rupert Wyatt has taken the difficult task of continuing a growing franchise opportunity and flourished with the task at hand, producing a beautiful and exciting film.

San Francisco. It’s been ten years since the events of Rise Of The Planet Of The Apes, and mankind has been all but completely wiped out by the deadly simian virus. During this decade electricity has gone and what little survivors are left immune from the virus have banded together in safety in the city centre, while the apes, led by the genetically altered super-chimp Caesar (Andy Serkis) have built a haven home in the woods. Relations between human and ape remains in tatters, both are mistrustful of each other.

When a small group of humans, led by Malcolm (Jason Clarke) venture into the apes territory in a bid to resuscitate the abandoned hydroelectric dam to restore power, the apes and humans are once again brought back into conflict. As tensions between the two sides continue to worsen, war is on the cusp.

DOTPOTA is an exceptionally brilliant and intelligent action sequel. From the damp and moody landscapes of the luscious forest, the raindrops on the apes fur to the ravaged and overgrown San Francisco the details are a visual delight.

The apes however are immaculate. Once again Andy Serkis proves he is the master of motion capture performance, as his Caesar has gown light years ahead of his counterpart from 2011. Caesar now has a mate and family, while he has also taken lead of the hundreds of apes who escaped captivity to live free. He is at his most powerful and strongest peak. A leader, protector, hunter, father and teacher he has established himself as the alpha ape in a strong haven community. While Serkis has established his Caesar, the star standout performance here is the brilliant Toby Kebbell as Koba. Mistrustful of humans after spending a lifetime caged as an experimental lab rat, he is tortured and bruised both physically and mentally, vengefully hateful of humans and with a passion for wiping them out all together. However Kebbell’s performance is not caricature villain, more sympathetic and tragic lost soul you feel sympathy for such a creature. Such was the importance of the role that they required not just stunt performers but an actor of depth and stature to take over the role of Koba from the original, and it shows in abundance.

Much praise to the WETA team for capturing these performances and blending them into the apes. The eyes, the mannerisms and the posture.

The ground basis for the way the apes live is also a mentionable thrill. It was a genius move to keep the sign language as the main form of contact between the apes. While a few have learnt to speak the odd English word, they use it rarely and only when necessary, almost as if it’s beneath them to use their enemies form of communication. Most notably Caesar’s son Blue Eyes, who refuses to speak, and when he final does (an absolutely beautifully acted little scene between Andy Serkis and Nick Thurston) he mutters only a few words that make his father smile.

The apes have evolved into a powerful species, and you can understand the life they have literally built for themselves is worth protecting and fighting for. They have founded schooling at their camp, teaching English (orang-utan Maurice is notably the wiser and more patient of the apes who takes a great interest in learning) while they have also learnt how to ride and use guns. The guns being used in the final battle scenes. Motion capture aside, the special effects themselves are on a top par. Explosions, fights and gunfire galore.

Two fab little scenes show just how intelligent Koba has become, firstly seeing a continuing scene where he outwits two bumbling humans with a comical turn only to turn deadly within a flash, while the other sees him jump into a moving tank, which then takes you on a 360-degree ride. It’s all thrilling fast moving and clever stuff.

Time and time gain, you forget you are watching CG and immerse yourself into the life of the apes, only being reminded at times that they are not real. The quality of the motion capture is astounding and certainly stunning.

There are a few moments where you are pulled out the fantasy. The baby chimp has not had quite as much detail or thought put in and looks quite fake, while it’s completely inconceivable to believe these apes would have learned to horseride into battle, let alone involving fire and flaming jumps at that.

Another weakness in context is the humans. While the apes are so beautifully constructed, the script department has forgotten to give any real scope to the humans. There’s wasted talent and a wasted opportunity, given that the apes are so fantastic you’re left rooting for them anyway.

The complete lack of female characters is a ridiculous oversight. The one woman (played perfectly adequately by Keri Russell doing her best in a poorly constructed role) is pretty pathetic and has to be the sweet, gentle, nurturing element. Why? The only other female in the entire film is Caesar’s mate Cornelia, played by Judy Greer, though it’s virtually impossible to tell any distinctive actor is actually playing the role. This is in no way Greer’s fault, just again another poorly constructed female role with nowhere to go.

The human men meanwhile are no better written either. Clarke is fine, as the kindly Malcolm but nothing special, while poor Gary Oldman is lumbered with a silly part and with nothing to do other than look clever. While there is a nice scene when he momentarily gets to see a picture of his lost family on a crushed ipad, but then the moment is gone in a flash. More details like that would have worked well to establish a more rounded character that we could actually care about. Why not a single human character from the first film was brought back is puzzling, (James Franco for example was out of the equation when Wyatt dropped out). It’s easy to suggest the virus killed them all, but the new human characters are just not worth caring about.

With the third in the franchise hopefully to be green lit, (continuing growing numbers at the box office, plus a very positive reception from the critics have all but guaranteed another), the apes will undoubtedly be returning before long. With the superb technological advancing of special effects (thanks to Peter Jackson’s WETA team) restoring faith in the idea of intelligent and well designed blockbusters, lets hope the script writers take more care with all their characters next time and deliver a perfect Apes film to surpass them all.  

VERDICT: * * * *

A powerfully charged, fun and brilliantly executed sequel. While the humans needed more attention, WETA have outdone themselves once again with motion capture is at it’s best, so good you forget it’s CG! Two stunning performances from the brilliant Andy Serkis while Toby Kebbell excels as the dangerous but sympathetic Koba.

Dawn Of The Planet Of The Apes was released in the UK in July and is still showing in cinemas nationwide. Rise Of The Planet Of The Apes is available on Blu-Ray and DVD.