It isn’t often that a sequel to a loose remake of an original property turns out well – in fact, this reviewer would be hard pressed to think of a single example… at least until now. Dawn of the Planet of the Apes is a true exception to the rule – it’s an engaging science-fiction flick that offers just as much (or perhaps even more so) heart and sociological commentary as it does action and spectacle. It features more than enough that is new to an “Apes” movie to make it a worthwhile investment of time.
Picking up after the events of the previous film, the human race has been virtually decimated by a viral outbreak. The apes haven’t even seen a person in years and a simian society has formed, led by Caesar (Andy Serkis). However, conflict arises when a group of humans led by Malcolm (Jason Clarke) and Ellie (Keri Russell) appear in the hopes of repairing a nearby dam and powering a small portion of San Francisco for other survivors.
This leads to great tension between the parties. While Caesar slowly opens up to negotiation, others within his group want to finish the humans off. Malcolm must deal with equally prejudiced team members, as well as a panicked counterpart Dreyfus (Gary Oldman) ready to use force to take the power supply they so desperately need. As Caesar and Malcolm call for calm and rational behavior, a couple of fearful and angry personalities on both sides begin to teeter the groups toward all out warfare. This leads to numerous tension-filled sequences.
The themes of tolerance and thinking before making rash decisions are effectively delivered, but along the way director Matt Reeves (Let Me In) also explores relationships within the communities, mirroring the two groups at several points. Naturally, complements must be paid to actor Serkis’s motion-capture performance. It’s another step forward for the technology – the actor and CGI effects must carry across some complex emotions on the face of an entirely different species. This includes dealing with mutiny from within his own team, fearing for the safety of his family and managing his conflicted feelings towards humans. In the end, these apes are just as nuanced and believable as their human co-stars.
In addition to the stellar art direction depicting the apocalyptic environments, there are some wonderfully unique camera angles used to capture action. A couple of very striking long takes stand out. One involves a character attempting to make his way around a building during a riot. The camera follows its subject through an elaborate series of twists and turns as chaotic events block passage and force the individual to move in different directions. It’s an impressively choreographed sequence. Still, the most staggering involves a camera mounted to a tank turret that is spinning out of control. It captures a battle in a 360 degree revolution that appropriately suggests the dizzying and terrifying nature of the situation.
Yep, there’s a lot happening on a technical and well as thematic and conceptual level. However, if all of this analysis sounds a bit heavy, one can qualify the film on a purely escapist level – viewers will see apes on horseback, as well as firing weaponry. What’s not to like?
There have been many bland so-called blockbusters this season, but we have seen a few bright spots (including Snowpiercer and Edge of Tomorrow). Now Dawn of the Planet of the Apes can be added to the list. This is how one can make an excellent film from a well worn property – keep the basic concept, but update and use it as an allegory for current concerns. In this case, nations on the brink of war being pushed into conflict based on the actions of a few extreme individuals. So, while there are familiar elements at work, this is a successful flick that uses its entertaining fantasy framework to explore richer themes.