I was a freshman in high school when Super Troopers first hit theaters, and perhaps that is why it’s practically embedded into my soul, but I’d like to think it goes deeper than that.
After all, if you didn’t know by know, I’m pretty honest when it comes to assessing and reassessing films, so I’d tell you if it didn’t hold up, but it does hold up. In fact, at this point, I’d say it’s nearly timeless.
Needless to say, I was pretty excited back in March of 2015 when Broken Lizard announced that not only was the ball finally rolling on a sequel, but they were going to do it strictly on their own terms (not that they really had a choice, but that’s a whole other story).
And yes, I know some of you will say, “But don’t you hate the I KNOW WHAT THAT IS-ificaion of 21st Century Hollywood?” which I most certainly do, but given that Super Troopers 2 is a low-budget comedy financed by the fans and not some studio cash-grab, I don’t think it qualifies for that particular kind of scrutiny.
Anyway, as I said, the original Super Troopers is ingrained in me. It’s one of those movies I could put on repeat and watch over and over again without tiring.
One reason why I love it so much is that it was this little movie made by a group of old college friends (Colgate; ever heard of it?) that punched way above its weight class, and, yes, it’s funny and clever, but it’s also very well constructed (dare I say, nearly as well-constructed as Ghost Busters). The script is tight, the pacing is as good as you’ll find, the jokes are well-timed, and, as zany as everything is as a whole, it somehow still feels relatively grounded.
By contrast, Super Troopers 2, to its detriment, is immediately more heightened than its predecessor. I was honestly so taken out of the movie from the beginning that by the time I finally started warming up to it, the nostalgia sheen was almost completely faded, which is a shame. This is not to say that the sequel is completely without merit (the end credits at least left me with a good aftertaste). I bet if I ever watch it again someday there’ll be some things that really make me laugh again, but, for a first impression, I was fairly let down (though not as much as SPECTRE).
So, yeah, not much else I can say. If you’ve never seen the original Super Troopers, it’s one of the best R-rated comedies of the 2000s (Non-Wright/Pegg/Frost Division) and you should probably get around to seeing it. If you’re already a fan, seeing the sequel won’t hurt, just don’t expect it to blow your mind.
Ratings: Super Troopers: ★★★★½ Super Troopers 2: ★★★☆☆
P.S.
Even though I liked but didn’t love it, I still appreciate Jay, Kevin, Steve, Paul, and Erik for signing posters for all of us hardcores willing to watch a double feature at 4:20 on a Thursday afternoon. Thanks, guys!
(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.
Directed by Luke Scott
Written by Seth W. Owen Cast: Kate Mara, Anya Taylor-Joy, Rose Leslie, Michael Yare, Toby Jones, Chris Sullivan, Boyd Holbrook, Vinette Robinson, Michelle Yeoh, Brian Cox, Jennifer Jason Leigh, Paul Giamatti, Crispian Belfrage, Jonathan Aris Soundtrack: Max Richter
Very few people would dispute that Ridley Scott is a talented filmmaker. From ‘Alien’ and ‘Blade Runner’, to ‘Gladiator’ and ‘Black Hawk Down’, to ‘American Gangster’ and ‘The Martian’ (not to mention that ‘1984’ ad for the Apple Macintosh), he’s been leaving an indelible mark on cinema for nearly four decades.
Unfortunately, Ridley Scott is only a producer on ‘Morgan’, supporting his son, Luke, who’s making his directorial debut.
Now, I’m not going to pass judgement on Luke Scott and say he’s a bad director solely based on his first effort. Generally speaking, he knows how to point and shoot, but ‘Morgan’ as a whole is disappointing.
Quite simply, the concept is highly derivative, the story is paper thin and predictable, the characters don’t feel real (they all talk funny, like people in a hack science fiction movie), and questions that should be answered never are. I mean, honestly, the marketing for the movie asks, “What is Morgan?” but we already know she’s a synthetic life form based on the trailer. The one thing I would have liked to know is why she was created, and that’s never answered.
As with my review of ‘Blood Father‘, I also find ‘Morgan’ frustrating because of the shear waste of talented actors. I’ve seen a good chunk of the cast give good performances in other movies, and I can reasonably assume the others I haven’t seen before have done solid work as well, but nobody leaves ‘Morgan’ covered in glory (not even Brian Cox, who’s merely a bookend character). To be clear, I wouldn’t describe anything in the movie as the worst acting I’ve ever seen, and it’s very possibly they were all just directed poorly, but there wasn’t a single character I came to care about in a significant way.
That’s it. That’s all I have to say. The movie’s hollow and not worth your time.
Rating: ★★☆☆☆
P.S.
There’s an attempt at a twist ending that I found neither surprising or interesting.
