Dawn of the Planet of the Apes Review

Dawn of the Planet of the Apes Review

What was surprising about director Rupert Wyatt's Rise of the Planet of the Apes was not that it was extremely successful, rather that it was excellent. A smart, thrilling and fast-paced action movie, utilising incredible motion capture technology to create jaw-dropping ape effects. The main surprise in Matt Reeves' sequel is that it improves on it's predecessor in every way...

Dawn follows a growing nation of genetically evolved apes led by Caesar is threatened by a band of human survivors (led by Jason Clarke's Malcom and Gary Oldman's Dreyfus) 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. Unlike Rise, and what ultimately gives Dawn the upper hand, there is no clear cut villain. There are flawed individuals on both sides but all with understandable motivations behind there inevitable actions. War is treated as an inevitability, a horrifying end to the means of this story. 

The performance capture work has vastly improved, almost to the point of photorealism. Andy Serkis leads the apes as Caesar, an Ocar-nomination worthy performance of surpressed rage and wisdom. Toby Kebbel is truly threatening as bad-egg-ape (?) Koba, whose scars present themselves both physically and emotionally. Jason Clarke and Gary Oldman both provide strong support, but this is ultimately the apes' story.

The Planet of the Apes franchise has always prided itself on social commentary, often focusing on racism, religion, the legal system and the environment. For Dawn, however, writers Mark Bomback, Rick Jaffa and Amanda Silver, make a brave, inevitably controversial plea for gun control. Almost all of the conflict in the movie are, directly or otherwise, caused by the excessive use and trust of guns in modern America. It's a strange move, sure, but one that instantly sets the film apart from all other blockbusters, especially the military recruitment video that was Transformers 4. There is even some Holocaust imagery towards the final act, a terrifying reference to the power all-consuming hate can have over people. 

Along with the ground breaking performance capture work, Reeves has curated stunning technical aspects. From Michael Giacchino's primal, thrilling score to Michael Seresin's starkly beautiful cinematography, every aspect works to create a larger, greater whole. Special mention must also go to James Chinlund's fantastic production design, whose blend of modern technology and organic structures is a sight to behold.

If there is a fault, it is inherent in the material. We all know how this ends, so there is a sense of predictability that occasionally robs the film of its full potential. An over reliance on coincidence and convenience is often noticeable, especially in one of the worst character decisions this year. A few human characters are given short shrift, especially Malcom's wife and son (with decent work from Keri Russell and Kodi Smit-McPhee).

Dawn of the Planet of the Apes, despite undeniable flaws, is an intelligent, complex and incredibly satisfying blockbuster and one of the best films of the year. With the inevitable third chapter already in development, this franchise is one of few I'm happy will stick around. Just as long as it doesn't revolt...

Five-Word Verdict: Far better than the title

Score: 4/5

Transformers: Age of Extinction Review

Transformers: Age of Extinction Review

To write a full review of Transformers: Age of Extinction would be to give it far more credit than it deserves, so I'll give the worst film of the year this:

This movie made me hate Stanley Tucci.

Seriously.

Five-Word Verdict: An intolerable exercise in ennui

Score: ½/5

How To Train Your Dragon 2 Review (w/ Fault In Our Stars + Edge of Tomorrow)

How To Train Your Dragon 2 Review

I'm making up for two spectacularly delayed reviews with an early one. You're welcome, I guess? Anyway, here are my mini-reviews for Edge of Tomorrow and The Fault In Our Stars

Edge Of Tomorrow: A wickedly inventive and utterly engrossing blockbuster, boosted by excellent performances from Tom Cruise, Emily Blunt and Bill Paxton. Whilst it crawls up into the foetal position in the final act, this feels like a complete rebirth for summer cinema. 4/5

The Fault In Our Stars: Shailene Woodley and Ansel Elgort recover from the abysmal Divergent to provide stand-out performances in this melodramatic but effective teen romance. 3/5

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Dreamworks Animation have been on something resembling fire as of late. In Kung Fu Panda 1/2, Monsters vs Aliens, How To Train Your Dragon and Megamind, they have created some of the greatest CG animated features of the century. Now, with the follow-up to their 2010 masterpiece, they have produced a sequel worthy of a Night Fury. And your kids, just mind the fire!

The sequel takes place five years since Hiccup and Toothless successfully united dragons and vikings on the island of Berk. The now inseparable pair journey through the skies, charting unmapped territories and exploring new worlds. When one of their adventures leads to the discovery of a secret ice cave that is home to hundreds of new wild dragons and the mysterious Dragon Rider, the two friends find themselves at the centre of a battle to protect the peace. The conflict puts pressure not only on Hiccup (a Jay Baruchel) and his father Stoick (Gerard Butler - whose opposing views add an impressive thematic depth), but Toothless also. When a new threat comes in a disfigured from of Drago Bloodfist (Djimon Hounsou)

Director Dean DeBlois has assembled a fantastic ensemble cast to give life to his rich, layered characters. Jay Baruchel is at his likable best as the newly grown-up Hiccup, as well as selling the emotional scenes with aplomb. Gerard Butler discovers emotion and manages to inflect it into his voice (a bizarre concept, I know). Hiccup's team of dragon riders, including Jonah Hill and Christopher Mintz-Plasse, all do their best with somewhat underwritten roles. Djimon Honsou and Kit Harington provide great support as suprisingly complex villains. The standout, however, is Cate Blanchett as a Princess Mononoke-style environmentalist dragon rider with a shocking (if you haven't seen the trailers) past. 

The animation, as you might expect, is truly breathtaking. DeBlois and his artists have crafted jaw-dropping vistas and intricate character designs with expert skill. The care taken on the art is just as evident in DeBlois' screenplay. He develops each character with such aplomb and grace, the lack of an Oscar nomination would be sinful. Most impressive is his handling of Hiccup and Toothless' relationship, with one hell of a second-act hammerblow. Whilst the cause of the twist is a little too convenient, the places it takes both characters is not only brave, but unheard of in a family movie.

As is the nature of the flying beast, not everything works. A subplot of Fishlegs and Snotlout vying for Tuffnut's affections. It's as unnecessary as the RoboCop reboot, it's exactly as interesting. As in, not. As mentioned earlier, the villains are very one note.Whilst Drago gets by on being the strangest animated character since Jack Skellington, Eret crumbles under the weight of uselessness.

How To Train Your Dragon 2 is one of the most pleasant and surprising pleasant surprises in recent memory. With beautiful animation, fascinating characters and a thematically deep narrative, Dreamworks have created an incredible animation that truly *ahem* soars...

Five-Word Review: How To Make A Sequel

Rating: 4/5

X-Men: Days of Future Past Review

X-Men: Days of Future Past Review

Before we start the review, I think it's important to address the super-powered elephant in the room. Yes, the sexual assault allegations made against director Brian Singer are heinous. No, they in no way affect my opinion on his new film. 

I love X-Men. I've grown up on the first two and they mean a lot to me. X2, along with Star Wars, is the movie that got me interested in the art of film. Which is why I'm glad to announce that X-Men: Days of Future Past is not only one of the best films of the year, but one of the best comic book movies of all time. It's no Dark Knight, more Hellboy II...

The film, based on the Chris Claremont comic of the same name, follows The X-Men, as they send Wolverine to the past in a desperate effort to change history and prevent an event that results in doom for both humans and mutants. If the film was in the hands of, say, Brett Ratner (the worst human being in the history of terrible human beings) we could have ended up with an unfocused and rushed disappointment. Luckily, Singer holds a clear artistic vision and his experience with and passion for the material is evident in every frame. What we're left with is a morally complex and thematically rich film, one that truly transcends its genre.

Singer has assembled what is perhaps the greatest ensemble cast in a comic-book movie. Seriously, this film's like The Expendables of, you know, good actors. From the future, old favourites such as Patrick Stewart's Xavier, Ian McKellan's Magneto, Halle Berry's Storm and Hugh Jackman's ultimate bad-arse Wolverine return with franchise-best performances from all. The revelations, however, are the First Class returners. James McAvoy gives a genuinely Oscar-worthy performance as the broken, self-destructive Xavier. Michael Fassbender is at his usual best as the conflicted Magneto. Nicholas Hoult clearly discovered the art of expression between First Class and DOFP, as he gives an impressive turn as Beast. It is Jennifer Lawrence as Mystique who is the standout, and not just because I'm in love with her. She provides a jaw-dropping performance to rival that of Heath Ledger's Joker. If there was anyone yet unconvinced of her talents, they will be easily swayed by the finale. Game of Thrones' Peter Dinklage is also superb as the somewhat underwritten Bolivar Trask, a mutant-fearing businessman looking to capitalise on post-Vietnam paranoia. 

Other characters, such as Shawn Ashmore's Iceman and Ellen Page's Shadowcat, are slightly left by the wayside, but still do the best with what they're given. The new mutants, too, fail to make much of an impression. I'm still no wiser as to what Bishop's powers actually are. Something about being awesome, I guess? The only newcomers to register are Evan Peters' Quicksilver and Fan Bing Bing I-Would-Kill-For-That-Name's Blink. Quicksilver gets the films standout action scene, a sequence of such stylistic invention and creative ingenuity, it would be a sin to spoil it. Blink also gets some incredible Portal-style set pieces.

The X-Men series (the good ones at least) have always prided themselves on social commentary and allegory. Here, Singer seems to focus on 1930s Germany and, in the opening future scenes, the Holocaust. In terms of visual metaphors, the opening shot of mutants being herded and piles of dead bodies serve as chilling reminders of man's capacity for villainy. In terms of morality, Singer and scriptwriter Simon Kinberg draw on ideas of addiction, redemption, hope and forgiveness. These ideas culminate in an astonishingly moving confrontation between the young Xavier, Magneto and Mystique, featuring one hell of a Nixon. 

Days of Future Past is perhaps the most ambitious comic-book film since The Dark Knight, willing to completely reverse the franchise's previous continuity, finishing with a mind-blowing final scene worthy of the moniker "game-changing". Without giving anything away: Kelsey Grammar! 

Whilst X-Men: Days of Future Past still suffers from the franchise's Kryptonite: too many characters, it makes for hugely satisfying and deliriously entertaining viewing. One can only wish for Singer to stay on to lead the franchise into the brighter future promised here. If nothing else, he has left a fantastic blockbuster, one that will be treasured for years to come. Let's just hope those years don't entail giant robots killing everyone...

Five Word Verdict: Back To The Promising Future!

Score: 4½/5

Godzilla (2014) Review

Godzilla (2014) Review

Gareth Edwards' debut film, Monsters, is an incredible piece of filmmaking. A smart, character driven and allegorical subversion of the classic monster movie. It currently ranks as my 8th favourite film of all time, ahead of The Godfather. So, when I heard Edwards would be directing the big-screen return of Godzilla, I was over the fire-blazen moon. I was, perhaps mistakenly, expecting a masterpiece.After seeing the finished product, I am disappointed. Don't get me wrong, Godzilla is no Les(hit) Miserables. It's more... God(damn good) Zilla.

Godzilla (2014) follows the world's most famous monster as he's pitted against malevolent creatures who, bolstered by humanity's scientific arrogance, threaten our very existence. We follow Joe and Ford Brody (a balls-to-the-nuclear-safe-zone-wall Bryan Cranston and crushingly dull Aaron Taylor-Johnson), a father and son pairing, left estranged by a family tradegy 15 years prior. After another family tragedy (these guys can not catch a break), Ford must leave his wife and child (Elisabeth Olsen, a bizarre mix of apathetic and likable) to join the fight and save San Francisco. Sounds like the set-up for a fun, Pacific Rim-alike action flick, doesn't it? Unsuprisingly, Edwards has higher ideas in mind (where else?)...

The original 1954 Gojira was intended as an allegory of the Hiroshima and Nagasaki bombings, with the titular monster representing "the bomb". Edwards' reboot follows in the original's massive footsteps, this time creating images and scenes reminiscent of the Fukushima disaster in 2011. One scene in particular seems a direct nod to the accident, and is perhaps one of the most heart-wrenching and emotionally ambitious scenes in any modern blockbuster. If you don't cry, you're either lacking a heart or a giant lizard. Another key touchstone is, inevitably the 9/11 attack. I saw you rolling your eyes! Yes, it's you I'm looking at! Don't give me that excuse! Ahem, excuse me. In any other blockbuster, your groans would be justified, but for a franchise that prides itself on allegory the images are a perfect fit. 

A common complaint leveled at Monsters is "there's not enough action and explosions because I'm too dumb to watch anything not produced by Michael Bay, duh". Luckily, for the less demanding audience member, there are some truly excellent action scenes. Edwards has a keen eye for scale and this may be the first time that Godzilla has felt like a force of nature. The creature design is also a highlight, with some incredible detail and many delightful touches. 

Edwards chooses to tease the audience with brief glimpses of the monsters, before the big reveal an hour in. He has cited Jaws as a key influence for this technique (which also explains the surname Brody) Steven Spielberg expertly used the power of suggestion to build tension and anticipation for the shark. It worked marvelously and is a key reason Jaws is remembered as a classic to this day. What made Jaws so special was that, even with Bruce out of the picture, it is a seriously engaging movie. The audience is still riveted by the character dynamics, island politics and numerous subplots. Unfortunately, Edwards fails to create quite the same effect. The problem here is the script by newcomer Max Bortenstein.

Bortenstein's script fails at making most of his characters engaging. Bryan Cranston's Joe gets the best backstory and emotional core, but is exits early on. The only other highlight is Ken Watanabe as Dr Serizawa, a Japanese scientist inflected with Watanabe's usual grace and power. The two main characters, Taylor-Johnson's Ford and Olsen's Elle, are as interesting as wet tissues. Olsen scrapes by on natural charisma, but Ford is so uninteresting, Taylor-Johnson has no hope of redemption. Given Edwards' desire to stage the colossal events from a human perspective, his film falls foul to the underwritten nature of his characters. What we're left with is a somewhat cold and distant movie.

What the film lacks in character depth, it makes up for in themes and messages. The key idea behind Godzilla (2014) is encapsulated by Serizawa's line "The arrogance of man is thinking nature is in our control, and not the other way around". Godzilla isn't a monster, he's nature's way of restoring balance. Sadly, this is reversed in the truly terrible closing moments in which (without giving too much away), the tititular character is presented as something of a hero. Not only is this ridiculous in it's own right, it completely negates the overarching theme of the movie.

Overall, Godzilla is a smart, effective blockbuster that suffers from an amatuerish, occasionally laughable script. But, Edwards' keen eye for direction and the excellent turns from Cranston and Watanabe make it an intriguing and entertaining movie with some smart ideas. It's not quite on the same level as Monsters, but neither is The Godfather...

Five Word Verdict: The disappointing, yet impressive, sibling

Score: 3½/5

The Wind Rises Review

The Wind Rises Review

To call a movie released in May "film of the year" is a somewhat risky move. However, given that The Wind Rises currently sits as my favourite movie of the ten-nies (?), it's a fair assumption. Make no mistake, The Wind Rises is a masterpiece. A movie that comes along once every five years (or so) that changes the way we look at movies and, well, life in general. It takes a lot to achieve that level of power and majesty. As it turns out, it takes Hayao Miyazaki...

The Wind Rises is a highly fictionalised tribute to the life of Jiro Horikoshi, the man who designed Japanese fighter planes during World War II. Miyazaki also draws heavily from the works of Tatsuo Hori, whose prose inspired the title and serves as a prelude to the story. Along the way, Jiro experiences the Kanto earthquake, economic depression, the tuberculosis epidemic, the breakout of WW2 and the tragic reality of first love. So, no lovable woodland creatures this time...

The first thing I must mention is that fans of Miyazaki's earlier work may be put off by the serious, meditative tone he brings to his final film. When soot gremlins hit the fan, they hit it hard. Thankfully, Miyazaki has lost none of the awe and wonderment that makes his work stand out. He is perhaps the only director alive today who could make you delight in the curvature of a fish bone or emotionally invest in a vehicle (take note Cars, just don't come back). 

This sense of majesty is mirrored in Joe Hisaishi truly breathtaking score. Hisaishi perfectly captures Jiro's childlike energy, as well as complementing the dramatic moments with virtuoso skill. His score, along with Miyazaki's ever-stunning imagery create a superb blend of solemnity and playfulness.

The voice cast, too, is extremely impressive. In the English dub, Joseph Gordon-Levitt provides his usual blend of likability and vulnerability that makes him the perfect star. Emily Blunt, as Jiro's lover Nahoko, makes a compelling case that Edge of Tomorrow may not, you know, suck. Stanley Tucci is on top form as the deliciously flamboyant Caproni, the Italian engineer who corresponds with Jiro through a series of wonderously realised dream sequences. Martin Short is genuinely hilarious as comic-relief Kurokawa, Jiro's grumpy and overbearing boss; who happens to be a dwarf. Special mention must go to Werner Herzog as Castorp, whose soothing tones and welcoming voice are sure to make him a fan-favourite.

Luckily, all are dealt a pack of aces in Miyazaki's most realistic and sombre screenplay to date. Jiro, for instance, isn't your typical hero. He isn't particularly charismatic or even special, other than his naive and uncynical worldview. He's simply a good man, trying to do the right thing. The supporting players are a richly-drawn and memorable gathering of well rounded, deeply human individuals. Even for a movie filled with daydreams and pure happen chance, The Wind Rises is the most natural and emotionally resonant animated movie I've ever seen.

A lot has been made about the supposed politics behind the movie, with some claiming Miyazaki glorifies the Japanese military. This is, for lack of a better term, utter bollocks. The film isn't about World War II, or even Jiro's inventions. It is the tale of one man's dream and the growth he must go through to achieve it. It is an ode to creativity, the rush of invention and the thrill of seeing your creations take shape. Caproni even says: "Airplanes are not tools for war. They're not for making money. Airplanes are beautiful dreams. Engineers turn dreams into reality" Saying this movie is about World War II is like saying 2001 is about a giant fetus floating in space.

The Wind Rises is also the director's most personal film to date. There does seem to be a autobiographical element, with Caproni telling Jiro before his retirement "Artists are only creative for 10 years" If you know the background of the production, this line registers as an interesting nod. Miyazaki at first didn't want to make an 11th feature, planning to create a manga version of The Wind Rises. It took producer Toshio Suzuki to convince him to make it into the film we have now. Perhaps Miyazaki is saying filmmakers are only creative for 10 movies? If so, he couldn' be more wrong...

The Wind Rises is an indisputable masterpiece, a heartbreaking tale of the cost of creativity. It's a movie you'll walk out of wanting to do something, even if that something is sitting on your arse and writing a review of it. A beautiful, philosophical movie that truly transcends its format, becoming something else entirely: art. If this is to be Hayao Miyazaki's final film, it is the perfect swansong to a perfect director...

Five Word Verdict: A powerful, essential modern masterpiece

Score: 5/5

Blog Update

Goodbye and Hello

This is a public service announcement:

I am no longer using this blog.

This is another public service announcement:

I am now making reviews on YouTube.

I'm going to stop doing these public announcements, they're not very efficient.

Anyway, I have decided to move on to YouTube reviews. There are several reasons, mainly greater potential audience and more contact with other critics. I will be uploading scripted Month Round-Ups of films I saw that given month. I will also make longer, more in-depth reviews of older films. If you have any video suggestions, please do leave them in the comments below!

Lastly, I would like to thank anyone who is reading this. You are awesome. Period.

Until the next time: ciao.

PS: That is the extent of my Italian, sorry Mario.