Directed by Ryan Coogler Written by Ryan Coogler & Joe Robert Cole, based on the comics by Stan Lee and Jack Kirby Cast: Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, Sterling K. Brown, Angela Bassett, Forest Whitaker, Andy Serkis, Florence Kasumba, John Kani, David S. Lee, Nabiyah Be, Isaach De Bankolé, Connie Chiume, Dorothy Steel, Danny Sapani, Atandwa Kani, Ashton Tyler, Denzel Whitaker, Seth Carr, Alexis Rhee Soundtrack: Ludwig Göransson
I don’t know if anybody had the vision in 1998 that in twenty years time Marvel would be eighteen movies deep into a run of who-knows-how-many dozens of connected films grossing billions-upon-billions of dollars at the box office, but I do know that it all started with Blade.
That’s right. The financial success of Blade was enough to convince Marvel that this whole movie thing was worth getting into (after some, shall we say, false starts in the 80s and early 90s). Ten years later, bing-bang-boom, we’ve got Iron Man, and the Marvel Cinematic Universe is off to the races. Ten years on from there, enter Black Panther. In a way, you could say it’s all come full circle.
But enough about that. Is the movie any good?
Yes, very much so.
Black Panther is decidedly among the better MCU films thus far, is refreshingly story-driven, and has the most stand-alone feel of its peers since the original Guardians of the Galaxy in 2014.
More than that though, it’s got a lot of meat to it.
For one thing, the basic story is downright Shakespearean (King dies, Prince ascends the throne, and so on and so forth), but the film also delves into such real-world issues as the African vs. African-American experience, political isolationism, and violent vs. non-violent revolution, all naturally worked into the script without feeling like they were tacked on by some committee.
Of course, Black Panther is also a superhero movie, and a pretty good one at that. I wouldn’t call it entirely perfect (some of the visuals felt a little lacking, and a few creative choices felt a bit off), but I liked that it was something of an origin story without starting all the way back at square one, and I particularly enjoyed the array of enjoyable characters (unlike some other movie).
If I have a couple of nitpicks, for one, it bums me out that seemingly everybody can put on an effective accent except for Chadwick Boseman as the titular character (although Forest Whitaker for some reason decided to sound like an Afrikaner…weird), and, second, I felt like Michael B. Jordan’s performance was a little too “I’m from the streets!” I thought a little subtlety could have gone a long way there, but, like I said, these are nitpicks.
Overall, I have to hand it to Ryan Coogler for making yet another quality film that’s undoubtedly part of a larger franchise but also has enough legs to stand on its own, and credit to Marvel for letting him do it his way. I was feeling pretty superhero-fatigued heading in, and I was worried there wouldn’t be enough to overcome that, but, in that respect, the movie triumphed.
(All Planet of the Apes films inspired by Pierre Boulle’s novel La Planète des Singes aka Monkey Planet, but you probably already knew that.)
None of this should have worked.
The original 1968 Planet of the Apes movie is a total classic, and Lord knows it was followed up by many a sequel of, shall we way, differingquality. Not to mention that epic fail of a remake in 2001.
So why reboot the franchise with a prequel (of all things) more than forty years after the original film?
I don’t know. I still don’t know. But I’m glad they did it.
“They” in this case being husband and wife super-team Rick Jaffa and Amanda Silver, who wrote and produced the first of these new films, and who have remained on as guiding hands (to say the least) ever since. Whereas so many reboots/remakes/sequels/prequels/re-imaginings/etc. feel like cynical cash grabs, the Jaffa/Silver Apes movies seem to have a passion for the material that shines through, and I think a lot of that is owed to Rick and Amanda.
I’ve said it before; I’ll say it again. These films are the paragon of “movies that nobody wanted or needed, but we’re getting them anyway.” They are well-executed, emotionally moving works of art, but even beyond that, they are pushing the envelope of filmmaking.
Historically, I’m an anti-CGI guy, and I still very much am when the practical will look better, but, in the case of these films, what they’ve been able to do with motion capture technology and digital rendering is beyond outstanding; though, of course, without quality writing, I don’t know how much it would matter, but I digress.
Let’s get to it.
Original Release Date: August 5, 2011
Directed by Rupert Wyatt Written by Rick Jaffa & Amanda Silver Cast: Andy Serkis, Karin Konoval, Terry Notary, Richard Ridings, Christopher Gordon, Devyn Dalton, Jay Caputo, James Franco, Freida Pinto, John Lithgow, Brian Cox, Tom Felton, David Oyelowo, Tyler Labine, Ty Olsson, James Pizzinato, Dean Redman, Sandy Robson, Timothy Webber Soundtrack: Patrick Doyle
To think this all started with just one ape…
We weren’t quite ready for this back in 2011 (I know I missed it for sure).
Not that Rise of the Planet of the Apes (or ROTPOTA, as it’s often abbreviated) didn’t do well at the box office (it was actually right in line with the major superhero releases of the year, which is impressive), but I think most people were so caught up with “OMG, CGI MONKEYS” that a lot of actual film criticism went out the window.
I say all this because, upon further review, Rise of the Planet of the Apes is nearly perfect. It’s a film that thrives on the “show, don’t tell” philosophy, using visual storytelling as a means of both exposition and character development in order to move us through a rather sprawling plot (in terms of passage of time) at an expeditious but not overwhelming pace. In different hands, this movie easily could have been two and a half hours long, completely bloated, and needlessly bogged down in the details (and/or unmotivated action schlock), but Rupert Wyatt and company knew well enough to keep things moving. I’m not saying all of the logic is flawless, but it’s more-than-acceptable movie logic.
In terms of the cast, I’m not the biggest James Franco fan in general, but I think he does just fine here, and that’s largely true of everybody else (especially John Lithgow, who, range-wise, has the most to do). If I have one minor criticism, it’s that a few of the more antagonistic characters are maybe just a touch too arch, but there’s nothing that’ll take you completely out of the movie. By-and-large, everybody feels pretty real.
Of course, the true stars (of all of these movies) are the motion capture actors; most notably Andy Serkis as “Caesar”, but I’ll throw in Terry Notary (who’s no one trick ape) as “Rocket” and Karin Konoval (who gets a human cameo in this film) as “Maurice” as well. They’re really the Kirk, Spock, and McCoy of this franchise, and the range of emotion they bring is ultimately what transcends the digital divide to make everything work.
If you haven’t seen Rise, or even if you have, I highly recommend a repeat viewing. The effects have aged slightly in six years (especially compared to the later films), but the story and storytelling still holds up, and it’s eminently entertaining while still packing an emotional punch (I was honestly moved to tears at the end).
Rating: ★★★★½
Original Release Date: July 11, 2014
Directed by Matt Reeves Written by Mark Bomback and Rick Jaffa & Amanda Silver Cast: Andy Serkis, Jason Clarke, Gary Oldman, Keri Russell, Toby Kebbell, Kodi Smit-McPhee, Kirk Acevedo, Nick Thurston, Terry Notary, Karin Konoval, Judy Greer, Keir O’Donnell, Kevin Rankin Soundtrack: Michael Giacchino
One of the beauties of the Mad Max series is that you can watch any of them without knowledge of the others, and still understand what’s happening and why. This is also true of these Apes films, and Dawn handles it particularly elegantly (fair to say it’s The Road Warrior to Rise‘s Mad Max, in terms of pre- vs. post-apocalypse).
It’s a shame that Rupert Wyatt, for whatever reason, wan’t able to return to direct after doing such a great job with Rise, but Matt Reeves has proven to be no slouch.
Dawn of the Planet of the Apes (DOTPOTA?) is markedly different from its predecessor, but the high quality is still there (dare I say, some things are better, although it did have nearly double the budget; definitely worth it as it similarly held serve with the big superhero films of the year).
For one thing, it’s much more laconic and slower-paced than Rise, although I’d never say it drags, but, more importantly, the story is much less about constantly connecting the dots and much more about ideals and ethics (and atmosphere), like many great sci-fi stories before it (Kirk, Spock, and McCoy come to mind again). Technically, there are “villains” in this film, but it’s really different points of view at odds, both on the human side and the ape side.
The result is akin to a Shakespearean tragedy, equal parts devastating and beautiful.
One thing I have to commend this film in particular on is the production design. Unless you’re just shooting in a desert wasteland or a forest preserve (as often happened in the Eighties and Nineties), it can be difficult to convey a true sense of post-apocalyptic life, but James Chinuld and his team did a fantastic job, not only with the ape village, but “San Francisco” overrun with vegetation and the ravages of time.
I’d also be remiss if I didn’t mention Michael Giacchino’s score; not that Patrick Doyle did a bad job on Rise, but it definitely has a more generic overall sound whereas Giacchino’s score has more of a classic feel, and also works in elements reminiscent of the original ’68 film (though, again, Dawn had nearly double the budget of Rise, so you have to factor that in).
Again, the motion capture artists bring quality performances, but the human performers stand out a little more in this one (in a good way), especially Gary Oldman as a guy trying to hold an entire colony together, and I’ll give credit to Jason Clarke as well; you really believe his character and why he’s putting his life on the line for the sake of something bigger.
It’s lofty praise, but I’ve seen this film compared to The Empire Strikes Back, and I think that’s fair. It’s certainly an apt comparison in terms of the tones of the second installments relative to the first ones, and taking the stories in different directions. I don’t necessarily rate it higher than the first because I think they’re both equally successful at what they’re trying to accomplish, but, as I’ve mentioned, there’s a bit more polish thanks to the greatly increased budget.
And, yes, I teared up at the end of this one, too.
Highly recommend.
Rating: ★★★★½
Directed by Matt Reeves Written by Mark Bomback & Matt Reeves, based on characters created by Rick Jaffa & Amanda Silver Cast: Andy Serkis, Woody Harrelson, Steve Zahn, Karin Konoval, Amiah Miller, Terry Notary, Ty Olsson, Michael Adamthwaite, Toby Kebbell, Gabriel Chavarria, Judy Greer, Sara Canning, Devyn Dalton, Aleks Paunovic, Alessandro Juliani, Max Lloyd-Jones, Timothy Webber, James Pizzinato, Dean Redman, Sandy Robson Soundtrack: Michael Giacchino
“And now, the end is near…”
At last, we’ve reached the end of this trilogy (and, I hope, the end of this series, although if it keeps making money they’ll probably keep milking it until I’m dead, like Star Wars).
Right off the bat, I knew I was going to have to take points off from this movie because it does not handle the introductory catch-up as elegantly as its predecessor (title cards as opposed to clever montage). And, at the end, I felt like it was a little longer than it needed to be (although it was very late by that point), so, I just can’t rate War quite as highly as Rise or Dawn.
BUT, this is still a production of exceeding quality (especially the score; I think Michael Giacchino slightly tops himself from the last movie), and one I’d recommend without any qualms.
One last small criticism though, and I normally don’t get into plot elements for new movies, but, just to properly set expectations, I think the title of this film is slightly misleading. Yes, there’s a war on, and everything that happens is in the context of that war, but if you’re expecting a huge chunk of time devoted to battle sequences, this isn’t necessarily that movie (it’s very anti-Hobbit in that regard).
That said, one of the things I most appreciate about this film is that, despite the fact that it stars CGI apes (who at this point look nearly flawless, to be honest), it has the cinematic look and emotional tone of something from even further back than 1968. In fact, and older critics may call me blasphemous for saying this, but I very much got Sam Spiegel-David Lean vibes while watching this (which actually means we’ve come full circle, because The Bridge on the River Kwai was also based on a Pierre Boulle novel). It just has that classic of a feel to it.
Really, there’s not much else that I can say. For a third installment in a series, it’s hard to ask for much more: gorgeous to look at, emotionally engaging, and a story that feels rather timeless.
A fitting conclusion to one of the greatest movie trilogies, certainly of my lifetime, if not all-time. I can only hope more people come to appreciate its brilliance as time goes on.
Rating: ★★★★☆
Just to wrap this all up, all of these movies are strong on their own merit, but they also go the extra mile to throw in references to the original movies from the Sixties and Seventies (usually subtle; usually), which is fun and interesting for the fans.
Again, I can’t say enough how unimaginable it was before these films came out that I’d ever find myself so invested in digitally-created characters in live-action movies, but the effects people at Weta do tremendous work, guided by quality performances from quality actors.
Give this series the keys and it’ll drive your heart.
I don’t know what to tell you if it doesn’t.
P.S. Thanks to Alamo and Mondo for the incredible merchandise, as usual.
The Hobbit Directed by Peter Jackson Written by Fran Walsh, Philippa Boyens, Peter Jackson, and Guillermo del Toro, based on the novel by J.R.R. Tolkien Cast: Martin Freeman, Ian McKellen, Richard Armitage, Ken Stott, William Kircher, James Nesbitt, Stephen Hunter, Mark Hadlow, Graham McTavish, Dean O’Gorman, Peter Hambleton, Aidan Turner, Jed Brophy, John Callen, Adam Brown, Cate Blanchett, Hugo Weaving, Christopher Lee, Bret McKenzie, Sylvester McCoy, Lee Pace, Orlando Bloom, Evangeline Lilly, Luke Evans, Stephen Fry, John Bell, Craig Hall, Benedict Cumberbatch, Billy Connolly, Thomas Robins, Antony Sher, Manu Bennett, Andy Serkis, Barry Humphries, Kiran Shah, Elijah Wood, Ian Holm, Dan Hennah
Soundtrack: Howard Shore
Oh, my head.
Yesterday, I made the decision, perhaps foolish, to see all three Hobbit films in one sitting (at my old favorite, the Alamo Drafthouse Theater in Yonkers, NY).
I had not seen the previous two Hobbit films at all, frankly, because I wasn’t really interested in seeing another three movies about Hobbits and Dwarves and whatnot in Middle Earth, but, ultimately, the opportunity to see a complete trilogy, with fresh eyes, in a theater with plenty of food and drink at hand, was too enticing to pass up, even if I did have to take time off from work to do so.
Was it worth it? In the end, I suppose so, if for nothing else than it gives me something to talk about. It’s not often that I get to write about a movie (or series of movies) before most people get to see it, so here goes.
Now, when I first heard that J.R.R. Tolkien’s [roughly] 300-page novel, The Hobbit, was going to be adapted into not just one film, but a whole trilogy of films, I said to myself, “It’s going to be the Star Wars Prequels all over again,” in that a later-produced trilogy that takes place before the events of the original trilogy could not possibly live up to the original, and might even leave a black mark on the whole franchise.
Now, is Peter Jackson’s The Hobbit anywhere near as bad as Star Wars: Episodes I-III?
No, of course not.
Unlike the Prequels, which are almost completely irredeemable as films, there are many enjoyable aspects of The Hobbit movies, but there are a few themes, somewhat reminiscent of Episodes I-III, that run throughout these films and make it difficult for me to recommend them as presently constituted.
What am I talking about?
1. The Characters (aka “Who’s the protagonist?)
This is, in fact, a very minor complaint, and I don’t actually mind movies straying away from traditional storytelling and featuring multiple leads, but for what is essentially a nearly eight-hour long motion picture called The Hobbit, there are an awful lot of long stretches where the title character isn’t around, or, if he is, the story is not from his perspective. I get that Peter Jackson essentially raided the Tolkien library for any other unadapted source material related to Middle Earth to pad out the running time (which is the proper way to do so; add more STORY…we’ll come back to padding later), but, at times, it’s just a little tough to reconcile how much of The Hobbit is told without him, and how often it feels like the Dwarf or Wizard show.
2. Tone (aka “You’re making a movie for children, right?”)
One issue with the Star Wars Prequels, and it’s echoed almost perfectly by The Hobbit, is that the movies get darker and darker as the trilogy progresses, as if the filmmakers think they need to compensate for something. Now with the Prequels I think this was entirely intentional, as a response to the negative audience reaction to Jar Jar Binks and other such attempts at “comedy.” With The Hobbit one could argue that it’s part of the natural progression of the story, and at the end of the day I don’t specifically have a problem with Peter Jackson wanting to make an adaption for mature audiences, but at the same time he’s making an adaptation of a children’s novel, complete with lots of kid-friendly moments (like dwarves doing annoying dwarf things). Do we really need to also see decapitations and people burning and dead children? Again, who are these movies really for?
Which leads me to my next point.
3. Excess (aka “I may have gone too far in a few places.”)
Peter Jackson is a huge Tolkien fan.
He’s also arguably the most excessive director working today, and has been going all the way back to his schlock horror days with movies such as Dead Alive (aka Braindead) and Meet the Feebles. Now, excess can be good when properly channeled (think Quentin Tarantino), but a three-hour long King Kong movie that nobody wanted or needed, and fails to justify its own existence (unlike certain other ape-themed movies which are fantastic), is not what I had in mind.
The core problem with these movies isn’t just how long they are, it’s WHY they’re as long as they are; and while there are other Tolkien works folded into the story, the excessive running times are ultimately due to excessive action scenes, some of which look fine, and others of which look like cutscenes from videogames (and I don’t mean no PS4; I’m talking XBOX 360 at best). In fact, a great deal of tension is lost from our heroes actually physically behaving like videogame characters; with such speed, strength, and agility that they basically become unbelievable within their own fantasy universe.
You see, Peter Jackson and George Lucas both failed to realize that even in this amazing age of digital technology, just because you can dream something, and just because you can create it in a computer, does not outright mean you should commit it to film. And it also seems like both of them are in favor of pushing technology in the wrong direction: Lucas, to further his own laziness, and Jackson, well, I guess to make 48fps telenovelas about Middle Earth.
Anyway, I could more easily accept a Hobbit trilogy if it was three 100-120 minute films, or like a 6-8 part TV miniseries; but three two-and-a-half to three-hour long films is just insane, and I’m not just saying that because I saw all three in a row. Remember, this whole thing is essentially based on one 300-page children’s novel. The Rankin/Bass animated version from the late-1970s clocks in at a crisp 77 minutes, and while it does leave some story elements out, does Peter Jackson’s version really need to be over six times as long? I argue no.
Now I’ve spent nearly a thousand words hammering what I don’t like, and why I don’t recommend this trilogy as it stands, but I don’t want to end on a totally down note, because I don’t actually hate these movies. In fact, you could say I really want to like them, but overwhelming factors prevent me from doing so.
If you’ve already seen Journey and Smaug, going #OneLastTime to see Five Armies can’t hurt, but if you haven’t seen any of them before, I say don’t bother with them.
I hope there will come a day, after Five Armies is released on home format, that someone in the fan-edit community will take all the footage available and compile together a reasonable-length version of Peter Jackson’s The Hobbit, because as I said before, there are plenty of gems to find: good performances; emotional moments; all the wonders of a fantasy world.
Right now, it’s just not worth 8 hours (474 minutes, to be precise) of your time.
Tarantino
), but a three-hour long King Kong movie that nobody wanted or needed, and fails to justify its own existence (unlike certain
other
ape-themed movies which are fantastic), is not what I had in mind.
animated version from the late-1970s clocks in at a crisp 77 minutes, and while it does leave some story elements out, does Peter Jackson’s version really need to be over six times as long? I argue no.