Neuvième mouture d'une stagnante et percluse saga adaptée du fameux roman de Pierre Boulle, qui s'enfonce et s'enlise dans des marécages d'ineptie et de fatuité avec ses insipides séquences d'une lourdeur faramineuse teintée de ridicule et de mièvrerie. www.cinefiches.com
My attention started to lag because it seemed as if its plot had been reduced to a simple revenge tale but then I thought "Matt Reeves made a snowy spaghetti Western with apes as a stand-in for Indians. Fuck." It was genuinely thrilling and then became ridiculous. I took Woody Harrelson's performance as proof that this was completely intentional.
The third entry in the prequel of PLANET OF THE APES franchise. WAR FOR THE PLANET OF THE APES maybe not as complex as RISE or DAWN. But this movie still offered you some excitements. The true power of this movie is its character development. We see an old Caesar. He grew older & wiser. Thanks to Andy Serkis' mo-cap performance. I think he deserves an Oscar. I loved how this movie paid homage to the original version.
Treating the most ludicrous premise of the summer with the most sincerity shouldn't work, but the relentless class and dignity that Reeves imbues these dramas with is always surprising. The visuals are relied on to tell the story, since the characters can't or don't talk, in an almost PIXAR-ian way, and look beautiful besides. It's just a shame that I don't actually care about this world.
"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.
3.5, almost a 4, but I only want to talk about the good things. Courageous use of closeups in this - not just because it lays bare the marvelous effects, but also because an expressive closeup is a lost art even in American indies. Sound mix is dynamic, full of unexpected surges. This movie has a big, perhaps a bit too serious, heart, and I felt fully converted to the cause at the end.
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.
An uncompromisingly bleak meditation on what it means to be a sentient being. Inspired by classics from the 10 commandments to Apocalypse Now, this genre masterpiece focusses on dark themes such as cultural purification and attempted genocide and depicts how Cesar remarkably portrayed by Serkis, leads his people out of the madness of 2 groups of men slaughtering one another. but nature has no sympathy for the victors
Mamma mia,ne facessero altri 40 perché ogni volta è più bello del precedente. Reeves mostra cosa si può fare con 100 milioni di dollari (non solo robba per tredicenne),scrive una storia di vendetta sporca e feroce e immerge il tutto in un' atmosfera western che rimanda ai grandi classici. Finalmente c'è un antagonista di livello e dopo due ore e venti ne vorresti ancora e ancora....lunga vita a Cesare.
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.