By Brett Blake DAWN OF THE PLANET OF THE APES is not only a stirring and engrossing example of science fiction, it’s also a flat-out excellent work of cinema, and 2014’s best film so far. That may sound like hyperbole to some, but DAWN OF THE PLANET OF THE APES easily surpasses even the lofty heights of its predecessor, 2011’s RISE OF THE PLANET OF THE APES, to become one of the great sci-fi allegories of the decade. Picking up ten-or-so years after the previous film, the story again revolves around Caesar (played through “performance capture” technology by Andy Serkis), the leader of a society of abnormally intelligent apes apes living in Muir Woods north of San Francisco. They haven’t seen any humans in years, a byproduct of a global outbreak of “simian flu,” which wiped out most of the world’s human population. Mankind is not all gone, though, as a group of surviving humans have banded together in San Francisco under the leadership of Malcolm (Jason Clarke) and Dreyfus (Gary Oldman); their attempt to restore power to the city brings them into contact with Caesar and his apes, and it is this clash of civilizations and species that forms the backbone of the story’s conflict. The PLANET OF THE APES series - which dates back to 1968 with the classic, Charlton Heston-led original - is often highly regarded for its unbelievably bold narrative choices (the first film features one of the greatest twist endings in all of cinema, for example, while later films routinely gave audiences what can only be described as “downer endings”), and it has always dealt with sophisticated, cerebral, and even quite dark themes. Racial hatred, class oppression, and the fear of nuclear annihilation are all key elements of the subtexts of the original films; even under the cool makeup and the time travel hijinks, those earlier films had big things on their mind. So, too, does DAWN OF THE PLANET OF THE APES, which - boiled down - is a thoughtful meditation on the corrupting and poisonous effects of violence and vengeance, an idea that underlines just about every key point in the story. Just having a compelling idea like that at its heart is not what really sets the movie apart, though; it’s the way in which it addresses/tackles that theme that is so intelligent and complex. At the core, one could say the basic premise of the film is “apes versus men,” and one would not be faulted for expecting a simplistic “apes = good, men = bad” kind of approach, but the filmmakers want none of that, for that is the easy (read: lazy) storytelling approach. As presented in the film, neither camp is wholly good or bad, and each have (basically) reasonable intentions. There are noble and virtuous characters in each group, just as there are those who are scared and prejudiced, and it is this prejudice that eventually plunges both groups into violent conflict. Caesar and Malcolm embody the capacity for men and apes to coexist and understand one another, but their desire for a peaceful outcome is constantly undercut by those around them, and while much of the film’s third act is quite thrilling, there’s an air of inevitable tragedy surrounding it. It’s so rare for a blockbuster to even attempt to depict this kind of gray area, but this movie more than makes an attempt. It embraces the gray, and the result is a story that’s as intellectually satisfying as it is emotionally or viscerally. As such, those hungry for a non-stop, action-packed spectacle are apt to be just a bit disappointed. Yes, there are some big action beats (a nighttime assault by the apes on the humans’ San Francisco colony is as harrowing and thrilling a setpiece as there’s been all year), but the movie plays out more like a thriller. There are plenty of exciting moments, but the true thrill of the movie is in its ideas and themes. The acting - across the board - is tremendous. Much has been said about Andy Serkis and his performance as Caesar, and all the praise is justified; he builds on what he did in the previous movie, and his Caesar here is more weary, but he’s still willing to see the best in those around him, be they ape or human. His human opposite number is Jason Clarke’s Malcolm, and he’s a worthy face for the potential decency that humanity has to offer; it’s a sensitive and “everyman”-ish performance from Clarke, and one that positions him to quickly rise to leading man status. As Dreyfus, Gary Oldman is as reliable as always, and his character is (thankfully) nowhere near as one-note as he could have been (a moment where Dreyfus weeps over pictures of his dead family imparts invaluable depth and humanity to a character who is, ostensibly, one of the story’s antagonists). And just as Caesar has something of a mirror image in Malcolm, so too does Dreyfus (well, kind of) in the character of Koba, a scarred, angry, and scheming ape played by Toby Kebbell. Koba is perhaps the most fascinating character in the entire film, and as he allows his hatred of humans to overpower him (and to drive both groups towards war), Kebbell gets some great moments to play, particularly those involving his stand-offs with Caesar. The visual effects used to bring the apes to life are, quite simply, extraordinary. The CGI on display here sets the new gold standard for believability, and the ape characters surpass the likes of Davy Jones (from the PIRATES OF THE CARIBBEAN franchise), Gollum (from THE LORD OF THE RINGS), and even RISE OF THE PLANET OF THE APES’ own primates, and are - for the most part - entirely photorealistic. It’s a huge achievement for the talented artists and technicians (in concert with the actors playing the roles) and one that should surely net them Oscars once the Academy Awards roll around next year. Another key component is the movie’s musical score. Composer Michael Giacchino supplied the scores for director Matt Reeves’ previous two films, 2008’s CLOVERFIELD and 2010’s LET ME IN, and he’s on board here, as well. The score works terrifically within the context of the film itself; at times it’s openly emotional, and yet at other times it embraces dissonance and eeriness. It’s an effective mix of tones, and the central theme (though reminiscent of some of Giacchino’s work for the television show LOST) ties everything together in a quite affecting way. Engrossing from its first moment to its last, DAWN OF THE PLANET OF THE APES is a thought-provoking morality tale in the best sci-fi tradition, and it’s the most complete and satisfying science fiction blockbuster since INCEPTION. It’s that good.
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