Caesar and his ape colony are embroiled in a battle with an army of humans. When the apes suffer heavy losses, Caesar wrestles with his darker instincts as he resolves to avenge his kind. The battle pits Caesar against the humans’ leader, a ruthless Colonel.
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It was in the midst of the snowy rural stuff where the film is aiming to be THE SEARCHERS with even more sign language that it starts to get good. There’s a quite brilliant scene of Maurice the orang (Karin Kanoval and her animators) and a silent little girl (Amiah Miller) which is LOOONG, wordless, quiet, tender and hypnotic. Really unexpected in a summer blockbuster.
This elaborate, largely silent language is one of the more fascinating aspects of the film, simultaneously invoking both empathy and alienation. Another variation on this theme is articulated through the numerous dramatic close-ups of simian visages, upon which the tiniest facial inflections are transmitted from the production’s human actors to the splendidly textured digital characters via advanced motion-capture systems.
A rich, complicated entry in a franchise that has always been willing to strain for significance, this takes full advantage of CGI character-creating technology, which is evolving more rapidly than its sapient apes. Watching all three of the recent Apes films in succession, the progress of motion-capture performance in a relatively short time is as astonishing as the leap in sound recording between The Jazz Singer (1927) and King Kong(1933).
[4DX+ATMOS 3D] (Ai os meus queridos macaquinhos...! ♡) Maurice is a technological marvel: never quite dawns on me that he's actually a CGI son. His eyes contain some of the most moving gazes & expressions I've ever seen on a character this decade. Serkis' Caesar must be seriously Oscar'd. He's acting way past 100. The Californian Promised land-hillside made me think oh so much about "2001". The Heat-like death </3 ▽
Begins with a startling, atmospheric, and almost frightening reintroduction to the explosive warfare between man and ape. The excitement quickly devolves into a simplistic, over-explained slog. Could Harrelson's character have been more of a caricature? In the end, no amount of incredible CGI can save a dull and predictable story. Maybe the war was really between more action or an engaging story. Stalemate?
Is there any current tentpole franchise with a bigger gap between the preposterousness of its premise and the somber mood of its presentation? Remarkable, then, how often this brooding crowd-pleaser gets away with it. Parts truly caught me off guard, and there's something about watching CGI creations reach new heights of photorealism while semi-rooting for the end of our own species that feels so very 2017.
An indisputable paradigm shifter in how cinematic technology perfectly serves the story, up there with 'A Trip to the Moon', 'King Kong', '2001', 'Jurassic Park' etc. The mocap is *breathtaking* - do see it on the biggest screen possible. The words needed to describe Serkis' performance alone have not yet been invented. It's *almost* a masterpiece, were it not for Harrelson's disappointingly shade-free Colonel.
"Caesar! What is happening?" Beat. Caesar explains. "Look! What are they doing?" Beat. He instantly clarifies. It's the type of indicative storytelling that almost ruins the new APES. Compared to the superior DAWN, this is a shaggy-dog story with an absurd storyline (Woody Harrelson lays it all out to comical effect). Reeves directs from his own script, yet cannot prevail. Serkis' mo-cap performance is unbelievable.
The 2nd film this summer that has a misdirection of being called a 'war' film (the 1st being DUNKIRK). Heck, this third entry is even more meditative and quiet than RISE and DAWN. That time of the year again where the question "Can Andy Serkis won an Oscar for a motion capture performance?" arise.
This is exceptional science fiction filmmaking with incredible effects and excellent motion capture performances that feel absolutely real and actually make you feel something for these characters. Andy Serkis should receive an Academy Award for his extraordinary work in motion capture performance alone. This was also a solid end to a solid trilogy.
Digital. Apparently, in our banal and frustrating actuality, it's in the territory of science fiction that certain North-American cinerma seek the necessary tragedy who gives the possibility of making films beyond a stupid immediacy. After "Logan" and surprisingly for one who didn't like the previous film of this saga, a sober and wise exercise on drama, except for a few exhibitionist drone's movements.