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Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Tag Archives: Terry Notary

War for the Planet of the Apes (2017)

The War of the Rise of the Dawn of the Why Are These Titles So Long?

After their last battle with the humans, due to the actions of evil Koba, Caesar (Andy Serkis) and his apes are still fighting for their lives and are still forced into a deadly conflict with the humans, who see their extinction coming and coming very soon. That’s why the ruthless colonel (Woody Harrelson) wants Caesar and all of the apes gone, prompting the apes to suffer unimaginable losses. And as a result, Caesar sets out to find this colonel and take him down, once and for all. But on the trip, Caesar and his fellow band of trustees find something odd is happening – people are losing their ability to speak. How, or better yet, why? Caesar doesn’t know, or understand, but the further he adventures into this cold, dark and cruel world, the more answers he gets and the more he discovers about the possible end of the world, where the apes may take over, the humans may become extinct, and nothing will ever be the same again. It’s only a matter of time, though, and it’s a coin-toss of who is going to win this battle and continue to habitat the planet.

Comedic-relief? In the ape-apocalypse!??!

This new, rough, tough and re-vamped Apes franchise has been a pretty solid one, to say the least. I say “has” because apparently, it’s going to be the last. Well, at least, for now, and it’s odd because the movie seems like it still could continue on, getting better and better, and make more money for all of those involved. It’s one of the rare franchises that, if over, I’d be a little sad to see gone because, hey, these movies were actually pretty good and considering that the word “franchise” nowadays brings about gag-reflexes, it’s nice to have something that makes up for all of the marketing and tie-ins.

That said, War for the Planet of the Apes is still a fine movie that, whether or not it being the end, still works because it presents a pretty dark and disturbing future that the past two movies have tried to build-on. The only issue that I’ve had with these movies, and especially this one, is that they’re just so dour and mean at times, it almost feels like they’re trying way too hard. Director Matt Reeves knows exactly what he’s doing with this material for the second time around and it’s clear that he’s taking this premise, this world, and this idea incredibly seriously, without barely any jokes or goofiness thrown in there for good measure, but often times, it feels like he’s maybe trying to out-serious himself.

It’s basically the only summer blockbuster you’ll ever see that may depress you and mean to do so in the process.

And that isn’t to say that movies such as these can’t be ultra, super duper serious, because that’s fine; in this world, where the apes have taken over, the humans are struggling, and yet, for some reason, we’re still supposed to root for the more powerful species, things are allowed to be told to us without a punchline. But Reeves can also get a little sucked into this sadness and depression and because of that, the movie can often feel slow, plodding and above all else, a little boring. It’s too in-love with its own dourness that it’s almost too afraid to get its act together and start moving somewhere, hell, anywhere.

But as usual, once it does get going, War is quite the ride, mostly because, like I’ve stated before, Reeves knows what he’s doing with this tale. It’s actually quite interesting how the story plays-out – not by hitting the same sort of beats and conventions that we’re used to seeing with these kinds of stories, but keeping us, the audience, in the dark, for as much and as long as possible. Reeves always seems to have a little trick up his sleeve and because of that, the movie almost feels dangerous, as if anything bad, disastrous, or awful, could happen at literally any second.

“The horror.”

I know, it sounds all so simple and easy, but trust me, this is the kind of stuff that so many movies get wrong and/or can’t do, like at all.

But that’s why War, even despite it being the saddest thing since Trump’s Twitter, still works – it does get moving and can be fun, exciting, and hell, even a little scary. It’s the right kind of blockbuster and honestly, I’d say more about it, but basically, it does everything that the last movie just did, except also wants to provide some closure. And sure, that’s fine; possibly saying goodbye Andy Serkis’ Caesar is a bummer, because Serkis is always so good in the roles, as well as the fellow new apes along for the ride, like Steve Zahn’s possible comic-relief. But a possible ending also does provide a better hope and future for the state of franchise flicks, in that they don’t always have to be about the Easter-eggs, the tie-ins, the merchandise, the references, or even about the greater universe.

Honestly, all it needs to be about is telling a good story, with good characters, and a compelling arch that we want to see continue on, for many, many more movies. That’s what this franchise was able to do – even though, back in the day, it seemed like it was a dead brand – and it’s the hope that for the future franchises to come, they’ll take a lesson or two.

Let’s just hope they brighten up the damn rooms, though.

Consensus: Undeniably thrilling, emotional and exciting, War provides all of the action and adventure, as well as the darkness you’d expect from this ramped-up franchise by now.

8 / 10

And they’re not monkeying around! That works in this context, right?

Photos Courtesy of: Aceshowbiz

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Kong: Skull Island (2017)

If it’s not on Google Maps, chances are, you should stay away from it.

It’s 1973, the Vietnam War is close to an end, and Bill Randa (John Goodman) a senior official in a super secret government organization known as Monarch, finally sees his opportunity to capitalize on achieving one of his biggest missions yet: Going to the mysterious Skull Island and figuring out what sort of threat is out there. After much arm-twisting, the government finally gives Randa the tools and resources he needs to get there, which means that he gets the army, the weapons, as well as the experts to help guide him along on this possibly dangerous island. One person Randa seeks out and pays to help him is world-renowned traveler James Conrad (Tom Hiddleston), who doesn’t know what’s there on Skull Island, either, but doesn’t like the sounds of it, which is why he demands for his pay to be doubled. Meanwhile, on the mission, is anti-war photographer Mason Weaver (Brie Larson), who can’t wait to see what’s out there, and Lieutenant Colonel Preston Packard (Samuel L. Jackson), a member of the Army who isn’t too happy about what happened with the war and isn’t ready to let that go. Not even a gigantic, monstrous and incredibly violent ape known as Kong.

Kong best look out.

Kong: Skull Island is so entertaining, so quick, so visually impressive, and so fun that, even with all of its flaws, I’m willing and absolutely able to just let bygones be bygones and praise the film as it is. Because even though the script is silly, underwritten, and not at all up to the task of aiding and abetting this talented ensemble, the direction from Jordan Vogt-Roberts is so thrilling, it’s hard to care so much. After all, do you really go to a King Kong movie for the well-written, three-dimensional, and emotionally complex characters? Or, do you go to a King Kong movie for the vividly gigantic monsters beating the absolute hell out of one another and terrorizing any human that tries to stand in their ways?

Honestly, it’s not bad to have a little bit of both, but fine, Kong: Skull Island wants to stick with the later, so whatever.

Either way, Kong: Skull Island is still a very fun movie and a lot of that is credited to Vogt-Roberts because he takes what could have been a very soulless, almost boring job of rebooting the tale of Kong and instead, adds some life, flair (literally), and energy into it. One of the most notable and interesting aspects Vogt-Roberts adds here is that Kong: Skull Island is, on one hand, a monster movie, in which people run away and try to kill a monster, but on the other hand, it’s also a Vietnam War movie, in which some cold cut rock classics from the early-70’s blasts out from the speakers, everyone’s a little scared and paranoid, and yeah, the temperature is hot, sweaty and downright miserable. In a way, Vogt-Roberts wants to make the Apocalypse Now of monster movies and while he doesn’t quite reach those heights, he still shows us all something new and original can be done with the monster movie.

And because of this, there’s an energy to Skull Island that’s hard to resist and shove-off. Even though it’s absolutely clear from the get-go that the script is going to be shoddy, silly and downright stupid, there’s just something about the look and feel of this all that’s easy to ride along with and enjoy. Even those who want to see Kong in all of his finest form, will be pleased to know that he’s seen a whole bunch throughout and doing all the sorts of things that you’d expect him to do in a movie involving him; there’s smashing, crunching, chewing, roaring, pounding, beating, breaking, punching, kicking, throwing, eating, and oh yeah, crying. Kind of.

But not from these fools.

Regardless, those who complained about 2014 Godzilla not having enough of said title character, then sit down, shut up and feast your eyes on the creature that you’ve all been so desperately wanting to see.

That said though, like I’ve said before, the script is just, uhm, how should I say this? Lame. But it’s not terrible in that it’s hard to listen to, ruins the movie, and sucks all of the fun out of it; it’s more that it feels like a leftover script from the 90’s, right around the time Jurassic Park came out and all of a sudden, everyone wanted to make a big-budget, effects-heavy monster movie. Meaning, there’s a lot of cheesy one-liners; a lot of characters who have basically one personality-trait to them and it basically defines them; a lot of contrivances; a lot of scenes that need more explaining; and oh yeah, a lot of random bits of silliness that seem to literally come from out of nowhere.

And it’s weird, too, because the cast here is so well-done and impressive, that it’s a bit of a shame. No one’s bad here, honestly, but because the net has been cast so far and wide, no one true performance really gets to shine above the rest. The only ones I can truly think of doing this are probably John C. Reilly and Samuel L. Jackson, but that’s just because they get maybe two or three more sentences than the rest of the cast to explain themselves and allow us to get to know them a tad bit better. Others like Hiddleston, Larson, Goodman, Whigham, Corey Hawkins, Jason Mitchell, Toby Kebbell, John Ortiz, and an oddly miscast Thomas Mann, all fall by the waist side and it’s a sign that the movie may have cast a smaller net, or have been longer.

Still though, for a movie that clocks in just under two hours, it makes for a good time. Just don’t try and think too hard, like me.

Basically, don’t be me.

Consensus: Even with an awfully wacky script, Kong: Skull Island gets by solely on the pure energy and fun from its direction, as well as an interesting take on the monster movie genre itself.

7 / 10

Oh wait. Never mind. He can’t be stopped.

Photos Courtesy of: Aceshowbiz

Dawn Of The Planet Of The Apes (2014)

Apes on horses. That’s all I’ve got to say.

Set ten years after where the first one ended, in the wake of the ALZ-113 virus, practically all civilization on Earth has been wiped out. Now all that seems to be left is nature itself; most importantly, the apes themselves who live out in the wilderness where they belong, led by the one and only ape who should be leading them, Caesar (Andy Serkis). The apes have been living pretty comfortably there for quite some time, so when they discover that humans are still alive and living in the city, they get a little worried. However, Caesar does not want to start a war, so he keeps the peace so long as the humans stay on their side of the bridge, and they will do the same. However, the humans need some help that makes it difficult to stay out the apes’ way: There’s apparently a generator that can bring back all of the electricity to the city, that also happens to be located right underneath the major dam. Which, in case you couldn’t tell by now, is located directly in the woods. Caesar is not happy with this, but he’s able to connect with a human (Jason Clarke) that shows the two species can trust each other. That is, until one ape, Koba (Toby Kebbell), sees Caesar’s willingness to allow the humans on their turf as some sort of weakness and decides that it’s his time to shine and take things into his own hands.

Meaning one thing and one thing only…..WAR!!

So yeah, Rise was a pretty solid re-boot that showed not only was there some life left in this near-extinct franchise, but that there was plenty more opportunity to build from there. Because, if you think about it, you could make any story seem fresh or inventive, just so long as you have the apes involved. Take out the apes, and you have a pretty standard movie that we’ve seen a hundred times before. But with the apes, though, well there’s something special about that and I think that’s exactly why this movie works just as much, if not more than the first.

"What? Is it something on my face?"

“What? Is it something on my face?”

And I think the main element to what makes that such is the fact that Matt Reeves is director here and the guy’s got some chops. Say what you will about Cloverfield, but he’s probably the only guy who can easily say he’s made one of the best American horror-remake of the past decade, come from writing a such a sappy, melodramatic show like Felicity, and yet still be able to deliver on a big-budget, action spectacle such as this. But what makes Reeves’ direction so much more impressive is the fact that he has to do a whole lot here, without losing focus – he has to keep the action, the violence and the overall carnage up to keep people satisfied, while still be able to give us those spare emotional moments that have us feel something for these characters when all goes wrong. Because, as we all know, it certainly will.

And while it’s evident that Reeves sort of slips up on giving this movie more of a point than just, “Don’t be mean to others, guys!”, there’s still a whole lot more emotional baggage that I felt delivered in ways I wasn’t expecting. Sure, we’ve seen the story of Caesar before, but what about him now as a leader? An ape that has a lot more on his plate than before. Because not only is he the head ape of this whole clan, he’s possibly the head ape of his whole species and it’s all up to him to keep the peace amongst the group, make the right choices, and ensure that not all of it goes to waste because of a mess-up here, or a mess-up there.

In a way, too, Andy Serkis is a lot like Caesar; not only does Caesar himself play a way bigger role this time around, but Serkis’ name even gets top-billing as well. To me, Serkis will always be remembered for what he does in these motion-capture performances and rightfully so: He’s able to give a voice to these characters who seemingly have none. Though Caesar does do an awful lot of a Hulk-talk throughout this movie (“Human bad. Ape good.”), there are still many moments in which we just see Caesar either speaking to others in sign-language, or just by looking at someone, for some reason. However, the reason is never a mystery to us because with every stare, every glance that Caesar the character gives a fellow character, Serkis brings so much drama; so much so that we never exactly know whether Caesar is going to lose his shit, or just take a much-needed nap.

That said, it should definitely be noted that Serkis isn’t the only one donning the green spandex-suit and getting away with it, because there are quite a few other relatively big names that do splendid work as well. Though Koba is essentially a one-note bastard, Toby Kebbell does a great job at giving him enough reason behind the menace to make you understand why an ape like him would take absolute matters into his own hands, as risky as they may sometimes be. Judy Greer is also using mo-cap here as Caesar’s wife/baby-momma and is fine, although it is unfortunate that we don’t actually get to see her in this movie, because what a pleasure that would have been.

Oh well, I guess these annoying-ass Sprint Family Plan commercials will have to do for now. Ugh.

Anyway, mostly everything I said about the ape characters, can be said for the human characters, although they’re filled with more recognizable faces and names. Jason Clarke is practically filling in for Franco as a peacekeeper named Malcolm. We never really get to know much about his character other than that he lost some of those close to him when the virus swept the nation, as well as that he’s able to at least communicate and stay calm with the apes, but with Clarke, that’s enough as is. The dude’s a solid actor and always makes it seem like he’s a genuinely nice guy, who just wants what’s best for his people, so long so as nobody has to get hurt. And as for Franco, well, much has been made about him apparently showing up in this movie, and I have to say, without saying all that much, he does. And unsurprisingly, it’s the most emotionally-wrenching scene of the whole movie.

Damn that Franco. The dude isn’t even credited as being in the movie, yet, somehow leaves the biggest impression.

Typical Franco-fashion.

As for the rest of the human characters, they’re fine, though not as deep as Clarke’s Malcolm in the middle – Keri Russell plays his gal-pal who also happens to be a doctor at the most opportune times; Kodi Smit-McPhee plays the teenage son who draws pictures and reads Charles Burns’ Black Hole (highly recommended read from yours truly), which already gives you the impression that this kid has seen some messed-up stuff and is trying to express himself in any creative way to block it all out, or just that he’s a messed-up kid in general; Kirk Acevedo plays, yet again, a spineless dick that has some truth to what he says, but is so aggressive about it, you sort of just want to give him a Benadryl; and Gary Oldman does what he can with his limited-role as the leader of these humans by digging deep into what makes this human, well, human.

"Come on, bro. You're an ape, I'm an ape, let's just be ape for one another."

“Come on, bro. You’re an ape, I’m an ape, let’s just be ape for one another.”

Typical Oldman-fashion. So suck on that, Franco!

However, I’ve realized that I’ve gotten further and further away from the point of this movie, and that’s that it’s a pretty solid summer blockbuster if I’ve ever seen one. Reeves doesn’t back down when he has to allow his movie to get a tad bit insane (apes on horses, that’s all I’m saying), but he finds a neat balance in allowing there to be these small, quiet humane scenes of drama that feel honest, rather than thrown-in to give this story some more of a purpose. Many blockbusters nowadays are guilty of this, but somehow, Reeves is smarter than that; he knows his story is about apes and humans trying to get along, but somehow just can’t. Yet, he isn’t afraid to go a step further and show us that the fear isn’t with these apes coming over to our land and taking over, but how most of us humans would react. Some would run and hide, while others would probably stay and fight for what they believe in.

Whatever your choice is, it doesn’t matter. Because these apes, they’re kicking ass, taking names and, occasionally, being nice to those humans who realize there’s more to them than just a bunch of hairy specimens. They have souls, feelings and all sorts of emotions. That’s not to say that they’re like you or me, but hey, they come pretty close.

Got your back, Darwin.

Consensus: While it’s not nearly as deep as it clearly wants to be, Dawn of the Planet of the Apes still messes around with plenty ideas, while simultaneously giving us enough action, spectacle, fun, and emotion to make this story, as well as these characters, human or not, feel worth getting invested in.

8.5 / 10 = Matinee!!

"Caesar here!"

“Caesar here!”

Photo’s Credit to: Goggle Images